2016 Presidential Election, adaptation, Alton Sterling, Andrew Lloyd Webber, Back to the Future, Barack Hussein Obama II, Bertolt Brecht, Bill Clinton, Birth of a Nation, Black Lives Matter, Cats, Charles Lewis III, democracy, electoral process, Erykah Badu, Founding Fathers, funding for the arts, Hamilton, Hillary Clinton, In For a Penny, Lin-Manuel Miranda, musical theatre, NEA National Endowment for the Arts, Philando Castile, Playbill, politics, President of The United States of America, progressive politics, racism, Ronald Reagan, San Francisco Olympians Festival, San Francisco Theater Pub, SF Olympians, SF Theater Pub, Three Kings, TS Eliot, Woodrow Wilson
In which I try to take a break from recent politics to ponder the relationship between US presidents and theatre.
Charles Lewis casts his vote from the front row.
“To live means to finesse the processes to which one is subjugated.”
– Bertolt Brecht, On Politics and Society (1941)
I needed a distraction.
It wasn’t just my incessant hunt for a “real people” job, it wasn’t just my putting serious attention towards my Olympians script, it wasn’t just my anger over Alton Sterling and Philando Castile winding up the latest casualties of racist White cops when their only “crime” was being Black in public. It wasn’t just any of those things, it was all of that and more.
I needed something to clear my head yesterday, so my attempt to escape politics lead me to the Playbill site. Incidentally, my eye was caught by a quick mention of Democratic front-runner Hillary Clinton attending her second performance of the now-Pulitzer-and-Tony-winning musical Hamilton
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