#fun facts gillie is the best artist of this group

[jayrockin]

Inktober number 4, a stream of consciousness comic about makeup. No pencils no erasers no mercy, but light digital editing to make the reading flow more obvious. Will continue it if I feel like it.

This kind of takes place outside of story continuum time, but Shyam and Talita are an item here.

PATREON | STORE | Runaway to the Stars

[fictionalcharactermbti]

Fictionalcharactermbti official Game of Thrones/A Song of Fire and Ice MBTI:

Lord Varys “The Mastermind” INTJ INTJs live in the world of ideas and strategic planning. They value intelligence, knowledge, and competence, and typically have high standards in these regards, which they continuously strive to fulfill. INTJs focus their energy on observing the world, and generating ideas and possibilities. Their mind constantly gathers information and makes associations about it. They are tremendously insightful and usually are very quick to understand new ideas. However, their primary interest is not understanding a concept, but rather applying that concept in a useful way.

INTJs spend a lot of time inside their own minds, and may have little interest in the other people's thoughts or feelings. INTJs are ambitious, self-confident, deliberate, long-range thinkers. They may see them as aloof and reserved. Indeed, the INTJ is not overly demonstrative of their affections, and is likely to not give as much praise or positive support as others may need or desire. They have insight into the Big Picture, and are driven to synthesize their concepts into solid plans of action. Their reasoning skills gives them the means to accomplish that. (Description Source: Personality Page)

Davos Seaworth “The Virtuoso” ISTP ISTPs are attentive to details and responsive to the demands of the world around them. Because of their astute sense of their environment, they are good at moving quickly and responding to emergencies. ISTPs are reserved, but not withdrawn: the ISTP enjoys taking action, and approaches the world with a keen appreciation for the physical and sensory experiences it has to offer.

Independent and reserved, ISTPs treasure their personal space, and want to be free to be spontaneous and follow their own lead. ISTPs are selective about their relationships, and appreciate others who allow them plenty of freedom to do their own thing. They seek understanding, but in a practical sense: they like to be able to put their technical knowledge to immediate use and are quickly bored by theory. (Description Source: Truity)

Brienne of Tarth “The Duty-Fulfiller” ISTJ ISTJs are quiet and reserved individuals who are interested in security and peaceful living. They have a strongly-felt internal sense of duty, which lends them a serious air and the motivation to follow through on tasks. Organized and methodical in their approach, they can generally succeed at any task which they undertake. ISTJs are very loyal, faithful, and dependable. They place great importance on honesty and integrity. 

They are "good citizens" who can be depended on to do the right thing for their families and communities. While they generally take things very seriously, they also usually have an offbeat sense of humor and can be a lot of fun - especially at family or work-related gatherings. ISTJs tend to believe in laws and traditions, and expect the same from others. They're not comfortable with breaking laws or going against the rules. If they are able to see a good reason for stepping outside of the established mode of doing things, the ISTJ will support that effort. (Description Source: Personality Page)

Peytr Baelish “The Executive” ENTJ ENTJs are natural born leaders. They live in a world of possibilities where they see all sorts challenges to be surmounted, and they want to be the ones responsible for surmounting them. They have a drive for leadership, which is well-served by their quickness to grasp complexities, their ability to absorb a large amount of impersonal information, and their quick and decisive judgments. They are "take charge" people. They are constantly scanning their environment for potential problems which they can turn into solutions. They generally see things from a long-range perspective, and are usually successful at identifying plans to turn problems around.

They dislike to see mistakes repeated, and have no patience with inefficiency. They may become quite harsh when their patience is tried in these respects, because they are not naturally tuned in to people's feelings, and more than likely don't believe that they should tailor their judgments in consideration for people's feelings. ENTJs love to interact with people. As Extroverts, they're energized and stimulated primarily externally. There's nothing more enjoyable and satisfying to the ENTJ than having a lively, challenging conversation. They especially respect people who are able to stand up to the ENTJ, and argue persuasively for their point of view. (Description Source: Personality Page)

Bran Stark “The Protector” INFJ INFJs are gentle, caring, complex and highly intuitive individuals. Artistic and creative, they live in a world of hidden meanings and possibilities. INFJs place great importance on havings things orderly and systematic in their outer world. They put a lot of energy into identifying the best system for getting things done, and constantly define and re-define the priorities in their lives. On the other hand, INFJs operate within themselves on an intuitive basis which is entirely spontaneous. They know things intuitively, without being able to pinpoint why, and without detailed knowledge of the subject at hand. They are usually right, and they usually know it. 

Consequently, INFJs put a tremendous amount of faith into their instincts and intuitions. Because the INFJ has such strong intuitive capabilities, they trust their own instincts above all else. This may result in an INFJ stubborness and tendency to ignore other people's opinions. They believe that they're right. On the other hand, INFJ is a perfectionist who doubts that they are living up to their full potential. INFJs are rarely at complete peace with themselves - there's always something else they should be doing to improve themselves and the world around them. (Description Source: Personality Page)

Podrick Payne “The Defender” ISFJ ISFJs are conventional and grounded, and enjoy contributing to established structures of society. They are steady and committed workers with a deep sense of responsibility to others. They focus on fulfilling their duties, particularly when they are taking care of the needs of other people. They want others to know that they are reliable and can be trusted to do what is expected of them. They are conscientious and methodical, and persist until the job is done.

ISFJs are characteristically humble and unassuming, and rarely call attention to themselves. They can often be found offering assistance to others in a modest, understated way. They are loyal and hardworking, and often commit themselves to tasks and projects with the aim of being helpful to their families, friends, and communities. They are typically involved in social groups, but do not want the spotlight: they are more likely to be found behind the scenes, working diligently to fulfill their role. (Description Source: Truity)

Lady Melisandre “The Counselor” ENFJ ENFJs are people-focused individuals. They live in the world of people possibilities. Because ENFJ's people skills are so extraordinary, they have the ability to make people do exactly what they want them to do. They get under people's skins and get the reactions that they are seeking. ENFJ's motives are usually unselfish, but ENFJs who have developed less than ideally have been known to use their power over people to manipulate them.

ENFJ's are so externally focused that it's especially important for them to spend time alone. This can be difficult for some ENFJs, because they have the tendency to be hard on themselves and turn to dark thoughts when alone. Consequently, ENFJs might avoid being alone, and fill their lives with activities involving other people. Their strongest interest lies in being a catalyst of change in other people.  Their genuine interest in Humankind and their exceptional intuitive awareness of people makes them able to draw out even the most reserved individuals. (Description Source: Personality Page)

Tywin Lannister “The Guardian” ESTJ ESTJs live in a world of facts and concrete needs. They live in the present, with their eye constantly scanning their personal environment to make sure that everything is running smoothly and systematically. They honor traditions and laws, and have a clear set of standards and beliefs. They expect the same of others, and have no patience or understanding of individuals who do not value these systems. They value competence and efficiency, and like to see quick results for their efforts.

ESTJs are take-charge people. They have such a clear vision of the way that things should be, that they naturally step into leadership roles. They are self-confident and aggressive. They are extremely talented at devising systems and plans for action, and at being able to see what steps need to be taken to complete a specific task. They can sometimes be very demanding and critical, because they have such strongly held beliefs, and are likely to express themselves without reserve if they feel someone isn't meeting their standards. But at least their expressions can be taken at face-value, because the ESTJ is extremely straight-forward and honest. (Description Source: Personality Page)

Gilly “The Artist” ISFP ISFPs tend to be tolerant and nonjudgmental, but are deeply loyal to the people and causes that matter to them. They endeavor to accept and support other people, but are ultimately guided by their own core values. They will typically look for ways to be accommodating and may have difficulty dealing with others who are not willing to do the same. ISFPs are typically modest and may underestimate themselves. 

They usually do not like to be in the spotlight, preferring instead to take a supporting role, and will avoid planning and organizing whenever possible. Sensitive and responsive, they step in to do what needs to be done and are satisfied by their personal sense of being helpful to others. They may initially appear distant or aloof, but if you watch closely, you can observe their caring in the thoughtful things they do for others. They are carefully observant of the practical needs of other people, and often step in with quiet, unassuming assistance at just the moment it is needed. (Description Source: Truity)

Loras Tyrell “The Adventurer” ESTP ESTPs have a strong flair for drama and style. They're fast-moving, fast-talking people who have an appreciation for the finer things in life. They may be gamblers or spendthrifts. They're usually very good at story telling and improvising. They typically makes things up as they go along, rather than following a plan. 

They love to have fun, and are fun people to be around. They can sometimes be hurtful to others without being aware of it, as they generally do not know and may not care about the effect their words have on others. It's not that they don't care about people, it's that their decision-making process does not involve taking people's feelings into account. They make decisions based on facts and logic. (Description Source: Personality Page)

[chaj]

via planamag.com

Western reactions to K-pop, the acceptability of racist Asian jokes, and the perceived threat of Asians

Source: Big Hit Entertainment

This is a guest article by EC

Follow EC on Twitter at @ececlulu

The first time K-pop boy group BTS performed in America was on their show, American Hustle Life, where members “worried they wouldn’t find 200 fans to fill the venue” they were tasked to perform at in 2014 (Billboard).

Two days ago, BTS performed live at the annual Dick Clark’s New Year’s Rockin’ Eve’ to millions of viewers and rang in the new year in America. Yet, Andy Cohen and Anderson Cooper of CNN chose to comment on how they were “lackluster”:

“I mean…here’s the deal. We gotta get real. We just saw BTS, we think they were phoning it in.” — Andy Cohen (2:06:46 on the countdown here)

All while BTS was still performing on stage.

I wasn’t surprised. Disrespect towards Asian artists isn’t new in the United States. Unfortunately, informed by a history of devaluing and antagonizing Asian work, Western reactions to K-pop haven’t been as accepting as media outlets have made them out to be.

Creator Ethan Klein of H3H3 Productions has never been one to shy away from controversy, especially on Twitter and his H3 Podcast series.

Indeed, when Blackpink came up in “The Most Liked Music Videos” segment of YouTube Rewind 2019, Klein commented:

“I don’t like K-pop, I hate K-pop. I don’t get BTS. They look like — They’re just a bunch of — How did this become a thing in Western culture? Where all these grown men and little girls are jerking off to little k-pop boys. It’s like a little fetish. It’s like a little tw*nk gay fetish about these k-pop boys.” — Ethan Klein, H3 Podcast #164 (25:45–26:10)

#h3h3isoverparty trended on Twitter almost immediately after the episode’s release. K-pop fans criticized how Klein characterized them as “little girls,” emphasizing the diversity of the fandom. Other fans called Klein out for xenophobia and homophobia.

Klein did not take the criticism seriously. In response, he tweeted:

My message to K-pop fans: Lighten up nerds, it you can't handle your hobby being made fun of a little bit then you are really are just a bunch of little girls jerking off to kpop boys.

 — @h3h3productions

To the rest of the world, this may be easily brushed off as just fandom drama. Yet on a deeper level, Klein’s comments reflect troubling stereotypes. His comments add to a history of Western racial humor typecasting, antagonizing, and devaluing Asians — normalized by comics, presenters, and public figures.

We’ve seen it before. 2016, on the Oscars stage: Chris Rock’s tasteless skit involving Asian children, ironically after criticizing the Oscars for lacking diverse representation (Vanity Fair). 2017, from the Chainsmokers: member Alex Pall joking about not bringing his dog to China in a Chinese interview (Mashable). 2018, in a comedy podcast by then-to-be-SNL member Shane Gillis (he got fired for this segment): “Why do the fucking ch*nks live there?” when discussing reasons for disliking Chinatown and Asians (Vox). 2019, in an unaired “America’s Got Talent” segment: Jay Leno’s tired joke about Koreans eating dog meat (NBC). All perpetuate damaging, xenophobic stereotypes about Asians. All portrayed as harmless humor.

There’s a lot to criticize in K-pop. Fancam spamming, cultural appropriation, sex crimes, etc., the list goes on and on. But stereotyping groups and the industry as a whole isn’t productive.

Categorizing something as humor can be extremely effective at perpetuating harmful stereotypes.

After all, the easiest response to someone taking offense is to counter: “it’s just a joke!” It’s an easy way to absolve the speaker of responsibility. Suddenly, it’s the listener’s fault for getting offended; they’re too sensitive, or too slow, or just unable to take a joke.

Now, imagine you’re at a bar. Or in an auditorium. Or at the Oscars. Or wherever you’re among an audience where there’s more than just you listening. I don’t know how many times I’ve kept quiet because everyone else around me is laughing.

Here’s the thing, though: not everything that elicits laughter is a joke.

There are good-natured jokes, and then there’s just plain old mockery.

If we look at racial humor, Yumi Nagashima, for example, incorporates lots of stereotypes about Asian women in her acts. Hasan Minhaj bases material on his Indian family and identity all the time. Misha Han, Joel Kim Booster, and more do similar things. But these comics incorporate stereotypes effectively. Often, their jokes are funny because their punchlines subvert what the audience expects according to their preconceived notions. Or, they attest to a universal experience between them and their audience. Most importantly, their jokes effectively provoke an examination of relevant social dynamics. Take one of Hasan Minhaj’s jokes: “Americans hit on the arm and bruise the body…Indians slap on the face and bruise the soul.” This plays on the stereotype of Asian parents utilizing corporal punishment, but consider the “bruise the soul” part. The joke prompts reflection — how and why does corporeal punishment bruise the soul? There’s an implied statement on the Asian practice of corporal punishment and how it affects children’s development here.

But where’s the punchline with the Asian jokes mentioned earlier in this article? Is joking about Asians eating dogs going to make Asians and Asian Americans listening reflect upon their dog-eating habits? No, because most of us don’t. Eat. Dogs. And even if we did, why is a joke about Asians eating dogs more acceptable than a joke about Westerners eating cows or pigs? We have to acknowledge the inherent cultural bias in these hackneyed comments about Asians consuming dogs. (See a great article about the double standard here).

Cheap shots like this only serve to denigrate Asians and Asian Americans. Like Klein’s and Gillis’s segments, their comments are mere bashing. Once called out, they attempt to mitigate reactions by characterizing their comments as humor. So why did they consider their comments acceptable in the first place?

The fact that racist Asian comments are considered acceptable says something about how Asians are viewed in the United States. Think model minority. We’re meek, submissive, quiet. We’re followers, listeners, takers of what we can get. We don’t complain about what we can’t get.

First, how problematic is it that this is considered what’s “model”?

Second, this makes us an easy target. Mockery works best when it’s one-directional.

The portrayal of Asians as meek and submissive has special implications for Asian men. As Klein echoed in his comments about K-pop, Asian men are effeminate, weak, and only desirable as fetish symbols.

Now, calling a star “gay” isn’t a new comment in pop culture. Justin Bieber, One Direction, and countless other young male stars have been insulted in a similar fashion online. Once these insults are levied at stars of Asian descent, however, racial implications are emphasized. To call a man “gay” and a “tw*nk” suggests emasculation and effeminacy, reflecting Asian stereotypes perpetuated by early racial theorists. Assistant Professor at Lebanon Valley College, Julia Meszaros, sums it up well in a HuffPost article:

In order to “prove” to the world that colonialism was indeed a “civilizing” mission, Western theorists utilized discussions of others’ aberrant sexualities to justify their interventions abroad. As white Europeans colonized large swaths of Asia, white masculinity was posited as the apex that men could potentially reach. Asian men were placed on the opposite side of the spectrum and constantly portrayed as feminine and weak in the face of European conquerors. The colonial stereotypes regarding Asian men’s femininity continue to inform our current racial stereotypes. — Julia Meszaros, HuffPost

The stereotypical portrayal of Asian male stars isn’t new. Psy, when Gangnam Style became popular in the United States, received similar emasculating comments. In an analysis of Western media coverage of K-pop published by the University of Chicago, author Jenna Gibson notes that:

In addition, even supposedly positive appearances brought with them problematic stereotypes that likely colored the view of K-pop among readers or viewers. Particularly when discussing Gangnam Style and Psy, articles often described him as unattractive, chubby, and quirky, exoticizing and ultimately dismissing supposedly shallow Asian pop culture, as well as feeding into problematic stereotypes of hilarious but ultimately emasculated Asian men. — Jenna Gibson, University of Chicago

Here, we see a conflict between Western media’s desire to take advantage of the hallyu wave and its inability to tell informed, aware stories because of internalized biases. K-pop’s ability to generate buzz and conversation is undeniable. This is why there’s been a surge in news outlets covering K-pop and celebrities dropping K-pop names to attract views and clicks. And by the nature of media, there’s nothing wrong with that. What’s wrong is relying on clichéd stereotypes to frame commentary. Stereotypes that inform judgment.

Klein likely meant to generate controversy with his comments, not attack a whole racial group — he’s basked in the attention that fans on both sides have given him in the past few days. Yet no matter the intentions, the result is the same, and it again reflects upon how casually racism against Asians is accepted in the Western world today.

Furthermore, we can differentiate between standard anti-pop reactions and anti-Asian reactions by identifying an anti-Asian narrative painting Asians as alien and not belonging. About K-pop entering the US, Klein exclaims, “how did this become a thing in Western culture,” exasperated. Here, BTS and K-pop are portrayed as infringing upon “Western culture.” Subtext: they don’t belong — they shouldn’t belong. Klein’s comments, while reflecting standard anti-pop reactions combined with emasculating stereotypes against Asian males, also reflect another troubling angle on Asians: that they are somehow threatening to the Western status quo. It isn’t hard to draw a parallel between this stance and Yellow Peril, emphasizing again just how racially charged Western reactions to K-pop are.

Yellow Peril, a racist term originating from the 19th century, describes the existential threat that Asians pose to Western culture and lifestyles; it was popularized as Asian workers began to immigrate to the West. Economically, Westerners feared that Asians workers, who often worked for much lower wages, were undercutting native workers and stealing their work. Sexually, racial theorists painted Asian men as predators of white women and Asian women as hyper-sexual and submissive. Politically, Asian immigrants were seen as potential security threats and carriers of communism. These stereotypes combined built up the metaphor of Yellow Peril, which informed legislation such as the Chinese Exclusion Act and race riots such as the Chinese massacre of 1871. The depiction of Asians and Asian forces as threatening continues to exist and inform action in today’s society. White flight, when white people move out en mass out of ethnicized suburbias, often comes from fears that their children will be unable to compete with minority children in public schools. We see headlines about China encroaching on trade almost every day. And online, anti-Asian rhetoric festers in forums, posts, and social media.

Western society fears Asian improvement. It tells the Asian individual, yes, pull yourself up by the bootstraps enough so that he/she can be used as a model, an example, but never pull yourself up high enough to threaten existing power structures. Racial rhetoric places Asians as a convenient separator between white people and other minorities. The perceived success of Asians is used to delegitimize struggles faced by other ethnic groups; at the same time, Asians are still not welcomed into spaces traditionally inhabited by whites. The integration of Asians occurs when it only reinforces traditional hierarchies.

Pop music is not just a cultural export but also part of Korea’s economic engine. As K-pop songs begin to hit the US iTunes and Billboard charts, and as BTS begins to perform on shows such as New Year’s Rockin Eve, SNL, and GMA, the potential of K-pop unseating American pop (and by extension, Asian culture becoming more present in Western culture) becomes very real. This perhaps explains why as the Western music market has clamored to profit off of K-pop, they’ve carved out a niche for it instead of integrating it into the existing system. Despite high chart positions, K-pop songs are rarely played on radio. The VMAs were criticized for singling out K-pop as a category this year. Washington Post has called this “separate but equal” (Washington Post). And Klein’s comments, in an attempt to minimize the perceived threat of K-pop, infantilizes its fans and emasculates its idols.

BLACKPINK (Source: udiscovermusic)

It’s interesting to note that Klein’s first reaction, upon seeing a BLACKPINK music video, is to comment upon BTS’s entry into the US and not BLACKPINK’s. First, BTS is the representative group to Westerners right now. But beneath that, BTS is a male k-pop group, and in our examination of reactions to K-pop, we cannot ignore the implications that gender may have. Different stereotypes of Asian men and women likely inform differing reactions to K-pop groups as well. Asian women have been historically stereotyped as submissive and compliant. Yet Asian men, on the other hand, have been also stereotyped as predatory to white women: Asian men are a threat to dirtying or contaminating the purity of the white race, as perpetuated by Hollywood and WWII-era propaganda. Emasculation is a solution, as is redirection. Comments describing Asian men as asexual or gay invalidate their supposed sexual agency against white women, and these stereotypes may explain why Asian men are often seen as the least desirable type of partner. Steve Harvey utilized a punchline in 2017 based on the idea that finding Asian men attractive is amusing (Hollywood Reporter). Data from Yahoo! Personal in the 2000s showed that “more than 90% of non-Asian women said they would not date an Asian man” (Sage Journals). And 10 years later, OkCupid’s data shows Asian men rated lowest by women on their platform (OkCupid).

Pop culture has fed into this stereotype. As Eddie Huang from Fresh Off the Boat wrote in a New York Times opinion piece:

“The structural emasculation of Asian men in all forms of media became a self-fulfilling prophecy that produced an actual abhorrence to Asian men in the real world” — Eddie Huang, The New York Times.

Keeping Asian men undesirable proves beneficial to non-Asian men, as non-Asian men will never be the “most undesirable one.” An ego boost of sorts. However, K-pop’s popularity proves that Asian men can be attractive in the West, thus threatening this dynamic between Asian men and non-Asian men. Deconstruct further and we return to the concept of Yellow Peril, of restricting the spread of Asian culture, ideas, and genes. To racists, with K-pop, as masses of female, white fans begin to find Asian men worthy of idolizing, the popularization of Asian men connotes not just a cultural takeover but perhaps a racial takeover as well.

K-pop has continued to break boundaries anyways — groups playing major stadiums, BLACKPINK headlining Coachella, NCT 127 appearing on major talk shows — so I’m optimistic. Ironically, growing up, I don’t think my friends or I have ever been questioned for idolizing white pop stars as Asian Americans. Our favorites: Taylor Swift and One Direction. Neither have Western stars ever avoided the Asian music markets. Linkin Park, Beyoncé, Avril Lavigne— all have toured China in the last decade. Dua Lipa just attended MAMA 2019. And arguably, collaborations between K-pop stars and Western artists can be seen as attempts to capitalize upon K-pop’s popularity as much as they can be seen as attempts to penetrate a Western market. It’s just that Western reactions to K-pop can be informed by Western stereotypes against Asians.

I think back to when I went to Poptopia this year, when NCT 127 played last. Fans called out 99.7, the organizer, for letting NCT 127 apparently headline while other artists such as Halsey and Lizzo were not headlining.

Fans Expressing Their Discontent (Source: Facebook)

In reality, Halsey and Lizzo played the longest sets. NCT 127 only played four songs: Cherry Bomb, Regular, Superhuman, Highway to Heaven. Yet during the break between Lizzo and NCT 127, I watched as throngs of attendees streamed out of the stadium, leaving only a sea of fans holding green lanterns in front.

As a family passed by, I overheard the son asking, “Mom, is the concert over?”

“It’s over, we’re going home,” she answered decisively, while the son looked back at the fans congregating in the front.

Attendees were still streaming out as NCT 127 danced to Cherry Bomb. Less than half of the floor and 100s sections stayed. I couldn’t stop thinking about how disheartening it must be to dance to a leaving audience. Of course, not being able to finish watching the concert could be attributed to other things. Needing to rise early for work or wanting to avoid the traffic, for example. But secretly, I griped about attendees not being able to stay for just 15 more minutes out of respect for a new group. It seemed to me that they weren’t taken seriously because they were new, they were Asian, and that they were foreign. Like the CNN comments. It’s true that Cohen and Cooper might not have found the performances engaging. But to criticize on live national television, while the group was still performing in the background, conveys a fundamental level of disrespect.

Perhaps, the question isn’t if K-pop is ready for the United States, but if the United States is ready to accept K-pop as legitimate.

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Plan A Magazine is creating articles and a podcast (Escape from Plan A) | Patreon

CNN, H3H3, and BTS: The West’s Disrespect of Asian Artists was originally published in Plan A Magazine on Medium, where people are continuing the conversation by highlighting and responding to this story.

[newyorktheater]

“Fairview,” winner of the 2019 Pulitzer Prize for Drama, began Off-Off Broadway.

“Small theaters” play a large role in making New York City the world’s cultural capital, according to  “All New York’s a Stage,” a report issued this week by the Mayor’s Office of Media and Entertainment that looks at the cultural and economic impact of Off-Broadway and Off-Off Broadway, a “sector” (in policy-speak) that is made up of “748 small venue theater organizations” that generate “$1.3 billion in total economic output” annually. They also generate much of the theater world’s cultural heat these days. One example: Some dozen Pulitzer Prize winning plays originating in NYC’s small theaters, including this year’s winner “Fairview” above (Soho Rep), 2016’s “Hamilton” (New York Public Theater), 2015’s “Between Riverside and Crazy” (Atlantic) and 2014’s “The Flick” (Playwrights Horizons.)   One arresting fact: The majority of staff of these theaters are volunteers.  Here are some charts from the report:

  Thanksgiving Week Broadway Schedule

including 15 shows adding performances today!

The Week in New York Theater Reviews

Ronete Levenson (Sue), Lindsay Rico (Paula), Helen Cespedes (Emma), Jennifer Lim (Cindy)

Fefu and Her Friends

Fefu picks up a double-barrel shotgun and shoots at her husband near the beginning of “Fefu and Her Friends,” billed as a modern classic and written by the beloved avant-garde playwright Maria Irene Fornés,  who died in October 2018 at the age of 88. “It’s a game we play,” Fefu explains matter-of-factly to her friends, putting the gun back against the drawing room chair. “I shoot and he falls. Whenever he hears the blast he falls.”

For the first time in 40 years, Off-Broadway theatergoers can actually hear that gunshot blast too, thanks to a Theater for a New Audience production, directed by Liliana Blain-Cruz, that is itself a blast….for much of the time. For the rest of the time, it’s…..well, to quote the director herself on her reaction when discovering the work of Maria Irene Fornés: “Oh my god. I don’t understand anything that’s going on, but I love it.”

The Half-Life of Marie Curie

Marie Curie won the Nobel Prize twice, but she was also a woman; so the Nobel committee asked her not to show up at the ceremony. We learn the specific reason why early on in this well-intentioned, workmanlike play by Lauren Gunderson about the friendship between two world-class women scientists who lived a century ago.

Samuel H. Levine as Adam, Kyle Soller as Eric, Kyle Harris as Jasper, Arturo Luís-Soria as Jasper2, Jordan Barbour as Tristan, and Darryl Gene Daughtry Jr. as Jason1

The Inheritance

“The Inheritance,” a long, ambitious play about three generations of gay men in New York, pays homage to two masterpieces, without being one itself. Yet the play by Matthew Lopez, making his Broadway debut, is both sweeping and intimate, sophisticated and raw, a weepy that is often funny. Several performances are transporting, including two actors making their Broadway debuts, and an actress who made hers 67 years ago. There are swoops into intellectual brilliance, such as when one of the characters elaborately compares America to a body, its democracy to a body’s immune system, and the current president to the HIV virus. There are dips into nudity and raunch. There is insight and debate and uplift. Does “The Inheritance” need to be nearly seven hours long and in two parts to achieve all that? The short answer is no. But there’s so much here that’s so wonderful that it’s worth it to those with the stamina.

A Christmas Carol

Who knew that “A Christmas Carol” could be so dangerous!

The assaults begin even before the first line of dialogue in the new, charming if overlong, and extraordinarily well-designed Broadway production of Charles Dickens’ 1843 classic, starring Campbell Scott as Ebenezer Scrooge and Andrea Martin and LaChanze as Ghosts of Christmas Past and Present. Cast members on the stage dressed as 19th century English blokes and birds throw clementines and cookies to (at?) the audience…vigorously.

“I’m suing,” said somebody sitting behind me, in a straight-faced impersonation of Scrooge, after he was hit by one of the packages of chocolate chips.  “Are you an attorney?”

Evita

It’s surely pointless, four decades and two billion dollars after its debut, to rant about Evita, and silly to blame Andrew Lloyd Webber’s theatrical canonization of the amoral historical figure Eva Perón as paving the way for the elevation of another media personality remade into a dictator-loving populist. Still, this core problem I have with the musical stops me from fully embracing its revival at New York City Center, even as I acknowledge that the singing in this production is gorgeous, the orchestra lush, the choreography fun, and the story reinterpreted in some bold and intriguing if not always effective ways.

Two adaptations of novels by Édouard Louis:

James Russell Morley and Oseloka Obi on the video

The End of Eddy

Parts resemble a book report for school, but won’t be mistaken for a story hour because of the inventive stagecraft and the rawness of the stories — relentless bullying, deadened people in a dying factory town, his sad and funny efforts to ‘be a man,’ his sexual experimenting.

History of Violence

An examination of trauma; that in any case is the most consistently insightful aspect of the adaptation…. committed performances by the four-member cast…but the production ultimately felt more like an exercise in stagecraft rather than a pointed exploration of history or violence.

  The Week in New York Theater News

Grammy Award nominees for best musical theater albums: Ain’t Too Proud, Hadestown,  Moulin Rouge, plus the incidental music from the play Harry Potter and the Cursed Child. The 62nd annual Grammy Awards will be held on January 20, 2020.

Ephraim Sykes in Newsies

Motown’s Ephraim Sykes as member of The Temptations, Berry Gordy Jr.’s brother, member of the Jackson 5

Ephraim Skyes as Seaweed J. Stubbs —

Ephraim Sykes as David Ruffin

Ephraim Sykes will star as Michael Jackson in “MJ,” the musical slated to open on Broadway beginning the summer 2020. A thrilling performer, he’s had an increasingly high-profile career: Memphis,Newsies,Motown,Hamilton, Hairspray Live, and Tony-nominated for his role as avid Ruffin in Ain’t Too Proud: The Life and Times of the Temptations.

He is now both performing in Ain’t Too Proud and rehearsing for MJ. How can he do this? “I always say just a bunch of prayers, and drink as much coconut water as I can find,” he told Essence.

Lynn Nottage, the Pulitzer Prize winning playwright of “Ruined” and “Sweat,” is the book writer for MJ the Musical. In a mutual interview in Vogue magazine between Nottage and Slave Play playwright Jeremy O. Harris, he brings up MJ:

Can I ask you a question about Michael Jackson? How do you contend with the weight of that history?

We all, on some level, recognize the complexity of Michael Jackson. For many years, he has occupied a very specific space.

Going into this moment, when there’s such a spotlight on him, and such decided opinion on it now around what we should do with that history…

Cancel culture is the dominant culture in this moment. But my guiding principle is that you have to sustain the complexity. I really feel as an artist that writing this piece is me trying to process my complicated feelings about someone who I idolized from the time I was five years old. To reconcile that with that person who, in the media, was quite complicated. I can’t simply cancel that person. I have to, as an artist, lean into that complication—that is what I’m investigating by doing this. And I think that the easy thing would be to say no and run away. But for me the more interesting thing is to lean into it and try to figure out personally how I feel.

  Separately, John Logan (Moulin Rouge the Musical, Red, The Aviator) has been hired to writea movie script about Michael Jackson.

Patrick Stewart’s one-man version of “A Christmas Carol” will be presented for two nights only, Dec 11 & 13 at Theater 511 to benefit City Harvest and Ars Nova

“Soft Power” will release a cast recording in Spring 2020.

They grew up at Boston Children’s Theater. Now They Look Back with Alarm

“a group of 17 former students who sent a letter to the theater’s board late last month, detailing a range of negative experiences with [Burgess Clark, the director of Boston’s Children’s Theater]; three alleged that Clark had kissed or touched them inappropriately. Beverly police are investigating; no charges have been filed. A group of older alums sent a second letter describing their own disturbing encounters. Burgess has resigned.”

  Rest in Peace

  Michael J. Pollard in Bye, Bye Birdie

Michael J. Pollard in “The Many Loves of Dobie Gillis”

Michael J. Pollard in “Bonnie and Clyde”

Michael J. Pollard, 80, best known for TV roles (“The Many Loves of Dobie Gillis”) and his Oscar-nominated part in the movie “Bonnie and Clyde”, was also a 5-time veteran of Broadway, such as the original Hugo Peabody in “Bye, Bye Birdie.”

    Small Theater is BIG in NYC. Ephraim Sykes is Michael Jackson, Lynn Nottage answers why she’s taking on MJ. #Stageworthy News of the Week "Small theaters" play a large role in making New York City the world's cultural capital, according to