I don’t pretend to be an expert in the business of theatre, but as an interested observer I have been alarmed by both the decrease in the number of professional productions, as well as the difficulty of finding venues where work can be produced.
La Jolla Playhouse
When the Tijuana dance company Lux Boreal made Dance Magazine’s 25 to Watch in 2008, I wrote that they were raising the bar for dance in Tijuana. And, whether or not it’s Lux Boreal’s influence (I suspect it is), the six mostly-from-Baja works in “4×4 TJ Night,” curated by the company, were super, the best of them showing complexity and wit, as well as serious technical chops.
We asked each of our writers to cast their thoughts as “bravos” and “boos.” As you’ll see, some of them found it easier to do than others. Be that as it may, we proudly present essays by Ken Herman, Kris Eitland, Bill Eadie, David Dixon, Martin Jones Westlin, and Welton Jones.
When a corporation grows old and loses energy, a popular plan is to take it over with money borrowed against its liquidation profits, then strip it for profit. That’s the business of high-risk or “junk” bonds and it can make people rich, if they don’t care about what’s ethical, legal or decent. In a tough, well-mounted new drama at the La Jolla Playhouse, Ayad Akhtar elaborates.
When a corporation grows old and slows down, one plan is to take it over borrowing its stock against the value that can be stripped from its wreckage.