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The Complete Text: Amy Herzog’s 4000 MILES Tales from the OCCUPY MOVEMENT STEPHEN KING DARES To Write a Musical PLUS: APRIL 201 2  THEATRE COMMUNICATIONS GROUP

Will Eno, Jez Butterworth

that resonate, like Toronto’s dwwkhrj, and those that simply want to show solidarity, like qjolvkkhdñ wuhin Berlin, Germany. And where will the New York–based Svich be stationed? She’ll be in attendance at a Barnard College reading co-sponsored by theduwk qvwlwxwh, and one at qvhpeohwxglr khdwuh in May. She won’t be able to see all the readings, but that’s theatrical business as usual. As she puts it, “Any theatre that you make exists outside of you and travels on its own terms.” That’s a kind of spill we can fully endorse. Visit thewayofwater.

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There’sbeen a changing of the guard at the idyllic 90-seat Harbor Stage on Cape Cod where, since 1985, hoo„hhwdueru


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Harbor Stage Company was born. Details of its inaugural three-month season are still forthcoming. In the meantime, the troupe will offer a presentation at April’s “Wellfleet Blossoms” festival to introduce itself to the community. WHAT’s executive director dunrxjkis philosophical. “We always understood we wouldn’t be at the Harbor Stage for-

ever.” Indeed, that’s one reason the company built a second space. Still, Hough admits, “Actors are going to miss the sunsets before they go on stage. I sat there last summer during one of those sunsets and told them, ‘This may be a funky theatre, but it’s the most beautiful theatre in the world.’” Visit the companies’ sites: www.harborstage. org and

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has made its seasonal home. The building’s owner, reñ huwÝhuulv, had leased it to WHAT for $24,000 per May-to-October season, but in January declined to renew, opting instead to rent to a troupe of former WHAT actors called the dueruwdjhrpsdq|, under the leadership of rehuw ursi. uhqgdlwkhuv— who worked since 2008 at WHAT with HSC co-founders pdqgdroñ olqv, rqdwkdqlhoglqj, wdf|lvfkhu and hzlv khhohu—says the move was years in the making. “While we worked there, we got a real sense of the company that started that space with an artist-run ideal. That was the big rea-

son we kept coming back.” In 2007, WHAT built the Julie Harris Stage, a 220-seat second stage a few miles inland. Eventually, as Withers and others saw it, the company began to shift its producing focus to running a year-round performing arts center. Then, last year, longtime WHAT artistic director hiilqq stepped down. Spurred by these developments, the


American Theatre Magazine Pathway Article  

Article in American Theatre Magazine (April 2012 issue) that discusses the study done about how theatre helps students with Autism.

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