Here are the top five comment generating posts of the past week:
‘Water for Elephants’ Brings the Circus to Broadway
The New York Times: At the sound of a gunshot, a performer, wreathed in white silks, tumbles from the ceiling. His body somersaults, over and over, faster and faster, until it hangs suspended, just above the stage floor. This scene, in the first act of “Water for Elephants,” a new musical that begins previews Feb. 24 at the Imperial Theater, portrays the death of an injured horse. And it captures the singular methods of the show — a synthesis of theater and circus, bedazzled for a Broadway audience.“Willy’s Chocolate Experience” Nightmare: What Went Wrong?
Vanity Fair: If you stop and think about it, Willy Wonka’s chocolate factory is an absolutely terrifying place. A lunatic millionaire lures a group of children and their unwitting parents to his massive estate, where they are expected try his non-FDA approved concoctions—and, one by one, are horribly disfigured in the process.The AI-Generated Script From the Fake Willy Wonka Experience Is Beyond Wild
The Mary Sue: Willy’s Chocolate Experience, an AI-generated disaster that recently went down in Glasgow, Scotland, is going to dominate the news cycle for weeks. Why? Because every time we think we’ve learned the most bonkers thing about the whole fiasco, something even more wild comes out.Oompa Loompa Actor From 'Willy Wonka Experience' Speaks Out
brobible.com/culture: The “Willy Wonka Experience” that unfolded in Glasgow, Scotland has taken the internet by storm given the sheer absurdity of it all. Not only did the organizers use AI art to advertise the event, but the event itself was hosted in a dingy warehouse and featured nothing but “plastic props, a small bouncy castle, and some backdrops pinned against the walls.”We go to the theatre to feel something – and people do. Trigger warnings don’t stop that
Arifa Akbar | The Guardian: So we’re back here again: the debate on trigger warnings has become so persistent and volatile that the discussion might require its own trigger warning these days (as per above). Is the act of alerting an audience to sensitive, potentially triggering, content such as sex, violence and suicide (and that’s just in Romeo and Juliet) a helpful access aid or it is infantilising us and neutering the power of theatre?
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