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PEOPLE & ARTS Wednesday 17 april 2019
Why Rachel Chavkin is a rarity on Broadway these days

By JOHN CARUCCI ists of color,” Chavkin said.
Associated Press Besides Chavkin, the music
NEW YORK (AP) — As an- and book for “Hadestown,”
other season on Broadway was written by a woman,
draws to a big finish, the Anais Mitchell , and the
opening of “Hadestown” show’s lead producer is
marks a milestone of sorts also a woman, Mara Isaa-
— it’s the only new musical cs.
directed by a woman, Tony Isaacs doesn’t see the
Award-nominee Rachel lack of women directing
Chavkin. on Broadway as intention-
While the lack of women al, rather as a by-product
at the helm of projects re- of a male-dominated in-
mains a systemic problem dustry. “Even people with
in film and television, it also the best intentions tend to
remains on Broadway, de- hire people that look like
spite the theater commu- them,” she said. Isaacs
nity embracing inclusion on strives for a place where
stage with gender identity talent is the only factor to
and non-traditional cast- decide who gets the job.
ing. But when it comes to That’s what appealed to
directors, there’s still a gen- This image released by DKC O&M Co. shows Amber Gray and the cast during a performance of her about “Hadestown.” “I
der imbalance. “Hadestown,” directed by Rachel Chavkin. don’t think in terms of gen-
“It’s pretty shocking,” Associated Press der. This group just happens
Chavkin recently told The a show, when the director capitalization, so more is at conversation can bring at- to be the right team,” Isaa-
Associated Press at the is chosen for the off-Broad- stake. Producers tend to tention to the problem. In cs said. “I’m never going to
“Hadestown” press day. way or regional produc- play it safe by going with her frustration for leveling hire a woman just because
“One of the oldest truths is tion, and they ride it into people they have already the playing field, Chavkin she’s a woman.”
that a woman or artist of Broadway. That was the worked with, and an over- pointed out that those pro- Victoria Myers, the editor-
color has to prove them- case for Chavkin as it led to whelming majority of those ducers and leaders that in-chief of The Interval , an
selves, not just once, but her Broadway debut a few established directors are praise the outspoken voic- online magazine exploring
multiple times, in a way years ago, and her return male. es at awards shows could the role of women in the-
that a special white man or this season. “We are talking about focus more on attainable ater, argues there are com-
mediocre white man may “I had the great fortune more money, but as long solutions, such as gender petent women working off-
not have to.” of coming to Broadway in and as soon as producers disparity. “I think that goes Broadway who are ready
Of the 36 shows currently on 2016 with a show, ‘Nata- realize if someone is doing to producers putting their to step up when called
Broadway, only three musi- sha, Pierre, and the Great good work off-Broadway or money where their mouth upon.
cals are directed by wom- Comet of 1812,’ and that regionally, they are ready is. If they applaud artists “I would say there are fe-
en. Other than Chavkin’s was a show I originally for this next step, I think we who speak out at awards male directors that would
show, there’s also Diane directed in an itty, bitty will see the Broadway com- ceremonies against our do anything on Broadway,
Paulus’ “Waitress “ and Ju- space,” Chavkin. munity radically expand current administration and and they’re ready. You
lie Taymor’s “The Lion King Then there’s the financial with both women and art- its policies, we should see can call them today, and
.” Some say the disparity component: Broadway ists of color,” Chavkin said those same producers in- they would be ready,” My-
begins right at the origin of shows have a much higher Making inclusion part of the vesting in women and art- ers said.q

On ‘Social Cues,’ Cage the Elephant sound uncaged

By MARK KENNEDY The band’s sound seems return to infidelity (“unfaith-
Associated Press more genuine, their strut ful friend” and “you sound
Cage the Elephant, “Social into personal disorder au- shifty”). The superb first
Cues” (RCA) The new Cage thentic. Singer Matt Shultz single, “Ready to Let Go,”
the Elephant album begins punctuates the open- brings us into a raw moment
with a spacy, otherworldly ing song, “Broken Boy,” when a vacation between
hum that’s interrupted by with the occasional slurry, lovers breaks apart and the
some throbbing, insistent cocky “Yeah!” Confidence singer is “trying to hide this
knocking. That leads to runs throughout this assured damage done.” Shultz isn’t
some machine-gun drum- album as if the band has fi- angry as much as sorry in
ming and, as if a door has nally found a hard-fought the gloomy “What I’m Be-
been opened, an infec- consistency. coming,” singing “I’m so
tious, high-tempo post- Their last album was pro- sorry, honey/For what I’m
punk glam tune comes on. duced by Dan Auerbach, becoming.”
It’s the sound of Cage the who seemed to make But the album isn’t com-
Elephant finally uncaged. the band bend toward pletely devoid of hope.
After taking a detour into his sound. “Social Cues” “Let the love light guide
fuzzy guitars, tambourines is produced by John Hill, me home,” Shultz sings on
and a ‘60s vibe with 2015’s who has let the band ex- the melancholy “Skin and
“Tell Me I’m Pretty,” the plore and play and really Bones.”
Kentucky alternative rock- just breathe. Broken love There’s fatigue in “The War
ers have put out arguably This cover image released by RCA shows “Social Cues,” a is a prominent theme, the Is Over” but he acknowl-
their best collection of release by Cage the Elephant. product of Shultz’s mar- edges there was “love was
songs with “Social Cues.” Associated Press riage cracking up and lyrics on both sides.”q