Like the entire world, Southwestern playwrights and theatre artists find themselves pivoting so much that they’re beginning to feel like pandemic ballerinas. And, also, like the rest of the world, we’ve already grown tired of even the word “pivot” itself. All this talk makes one feel like they’ve sprained an ankle as they keep their gazes at eye level, wondering how they might be the first to catch on with what’s next. And new works find themselves an integral part of this virus-driven ballet. One might cynically say that a theatre can take a risk without taking much of a risk at all.
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