Onwards to part two of the first day of the PICNIC conference schedule–this section of three consecutive panels and presentations was all about the shifts in demographics: the role that race and ethnic background play in producing theatre on Broadway and in emerging online communities, and the role of a changing audience and the way that audience divides its attention on “traditional†media.
First off was a presentation by renowned producer David Binder, who talked us through his experience bringing Lorraine Hansberry’s 1959 play A Raisin in the Sun back to Broadway for a modern day revival. As A Raisin in the Sun is a classic African-American play, Binder wanted to honor its roots, which to him meant that he had to find an African-American director. Broadway isn’t exactly brimming with diversity (of the 40 directors active on Broadway last season, 36 were men and only one person of color), so Binder had his work cut out for him.
What followed was a mildly interesting relay of his quest for a director (he ended up working with the then relatively unknown Kenny Leon) and cast (he managed to snag Sean Combs aka P Diddy for the lead role). I think my appreciation of Binder’s excited monologue was slightly hampered by the fact that my knowledge of all things Broadway is virtually nonexistent and the fact that as a European, I’m a lot less used to such a heavy emphasis being placed on race, so some of his points sounded (literally) rather foreign to me.
On a personal note, Binder gets a lot of credit from me for having the creative guts to bring The New Island Festival to New York City. The festival is based on two important Dutch theater festivals, Oerol and De Parade. From what I gathered from his talk, reviving a play like Raisin in the Sun took a lot more guts than that.
Not your ordinary PICNIC: that’s the tagline I found plastered all over the Westergasfabriek terrain during PINIC ’09. And PICNIC indeed is something quite out of the ordinary. 
Wednesday September 23rd is a day a lot of people in the creative industry have been looking forward to, as tomorrow the fourth installment of PICNIC will kick off in sunny Amsterdam. Previous incarnations of this intangibly sparkly conference were self-defined as a “crossmedia conference†but this year, the organization of PICNIC didn’t even try to put a tagline on the event.
ABC, the producers of LOST, and Australian digital entertainment company Hoodlum walked away from last night’s Emmy Awards with the award for Outstanding Creative Achievement in Interactive Media – Fiction for their work on the alternate reality game Dharma Wants You. ABC secured a win from its NBC competition, beating out both The 30 Rock Digital Experience and The Office Digital Experience for the award.
The dystopian kingdom of Eleysia has its priorities in order: rather than developing automobiles, telecommunications technology, or a democratic political structure, its citizens have perfected the use of tinted goggles as a fashion accessory. Starting later this week, members of an Eleysian religious cult known as The Sect will start proselytizing their ways to our world. You can already view some of their highly stylized promotional materials at their website, 
“Prepare To Drop”
With each iteration of the Halo video game franchise, there has been some form of extended experience, viral campaign, or ARG. For Halo 3 it was 
subtext game
black watchmen
generation loss
pendog creative
masquerade nyc
curators request