Connelly Theater suspends operations due to landlord scrutiny of show scripts and general manager resignation.
The Connelly Theater, located in the vibrant East Village of New York City, has long been a cherished venue for innovative performing arts productions. From the successful Broadway play “Job” to the one-woman show “Kate” by Kate Berlant, and the Pulitzer finalist satire “Circle Jerk,” the theater has hosted a diverse range of performances that push boundaries and captivate audiences.
However, recent developments have raised concerns among producers and artists who have utilized the space. The theater is owned by the Roman Catholic Archdiocese of New York, which has recently increased its scrutiny of the content of productions seeking to rent the venue. This has led to at least three planned productions having to find alternative locations, causing disruptions in the theater community.
Josh Luxenberg, the theater’s general manager, resigned in response to the heightened scrutiny from the archdiocese. Additionally, the Catholic school that acts as an intermediary between the theater and the archdiocese announced the suspension of all theater operations, further complicating the situation for producers and artists.
While producers renting the Connelly Theater were aware of the archdiocese’s ownership and the clause in their contracts allowing the church to prohibit certain content, the recent rigorous review of scripts before approval came as a surprise. New York Theater Workshop, for instance, was informed by a bishop that their production of “Becoming Eve,” based on a memoir about a transgender rabbi, could not be staged at the Connelly. As a result, they are now seeking an alternative venue for the show.
The rejection of “Becoming Eve” has raised questions about artistic freedom and censorship in the theater community. Patricia McGregor, the artistic director of New York Theater Workshop, expressed surprise at the rejection, highlighting the importance of having a space for provocative and artistically rigorous shows. The incident has also sparked concerns about potential resistance to challenging content in other venues beyond the East Village.
In conclusion, the Connelly Theater’s recent challenges with content approval highlight the delicate balance between artistic expression and institutional oversight in the performing arts. Producers and artists are navigating the evolving landscape of censorship and artistic freedom, seeking alternative venues to showcase their work while upholding their creative vision.
Source: The NY Times
