If you’re a regular reader of this blog, you know that we’ve still got one long week ahead of us before David Henry Hwang’s Chinglish premieres in the Albert. (June 18. Be there.) Luckily, this Monday at the Goodman we’re planning a staged reading in the Owen of another new work to hold you over—Rohina Malik’s The Mecca Tales, which was developed as part of our Playwrights Unit program.
The Playwrights Unit is the Goodman’s group of four local playwrights who have been meeting monthly over the course of a year to workshop their new plays in progress. Monday’s reading represents the culmination of Ms. Malik’s work on her play The Mecca Tales over the past year. The following Monday, June 20, we’ll stage a reading of another Playwrights Unit writer’s work, when Lisa Dillman’s American Wee-Pie takes to the Owen stage. Tickets to both events are FREE, but reservations are required (and the buzz is they're filling up fast), so if you’re hoping to snag a seat give the box office a call at 312.443.3800, or visit this page.
In the meantime, check out this week’s links, harvested fresh for your reading enjoyment:
While we continue to explore the culture and customs of contemporary China, The New York Times takes in the classical culture of China's neighbors to the North. (We’re keeping our fingers crossed for a US tour of Chinggis Khaan.)
What light is that through yonder multiplex breaks? The Los Angeles Times finds out.
And back on the East Coast, a critic takes note of one fleeting night when old-school underground theater came to life in Brooklyn. (The New York Times)
Speaking of coming to life, The Atlantic declares Google’s Les Paul-inspired doodle the search engine’s coolest doodle to date. (We’re still partial to the Martha Graham tidbit from this past April.)
And Denver’s National Theatre Conservatory meets a sad and untimely end. (The Denver Post)
The Los Angeles Times examines the dark marketing arts behind luring in an audience, one Tony performance at a time.
And in the UK, a theater (theatre?) manifesto hoping to ensure the young squirts have access to live-action culture. (The Stage)