{"id":64684,"date":"2026-11-04T11:47:25","date_gmt":"2026-11-04T10:47:25","guid":{"rendered":"https:\/\/metaphoremagazine.com\/?p=64684"},"modified":"2026-11-04T11:47:28","modified_gmt":"2026-11-04T10:47:28","slug":"rob-ashford-bringing-broadways-magic-to-tangier-in-the-service-of-philanthropy","status":"publish","type":"post","link":"https:\/\/metaphoremagazine.com\/fr\/rob-ashford-bringing-broadways-magic-to-tangier-in-the-service-of-philanthropy\/","title":{"rendered":"Rob Ashford: Bringing Broadway’s Magic to Tangier in the Service of Philanthropy"},"content":{"rendered":"

An award-winning American director and choreographer whose extraordinary career has taken him from Broadway to London’s West End, Rob Ashford has discovered another stage for his talents in the enchanting Moroccan city of Tangier. Through the Tangier Charity Plays, he has brought together some of the world’s most celebrated actors, designers and cultural figures, transforming the performing arts into a remarkable expression of generosity, friendship and international philanthropy.<\/strong><\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

There are those who achieve distinction in their chosen profession and others who discover, somewhere along the way, that success carries with it an opportunity to enrich the lives of people far removed from the world in which that success was achieved.<\/p>\n\n\n\n

Rob Ashford belongs to that rather admirable second category.<\/p>\n\n\n\n

An American director and choreographer of international renown, Ashford has spent much of his professional life working with some of the greatest talents of the contemporary theatre. His productions have graced Broadway, London’s West End and major opera houses, earning him a Tony Award, Olivier Awards and an Emmy, together with numerous other distinctions.<\/p>\n\n\n\n

Yet beyond the bright lights of New York and London, he has cultivated an undertaking of a very different character, one that combines his love of theatre with an affectionate attachment to Morocco and a genuine desire to contribute to the community that has welcomed him.<\/p>\n\n\n\n

In Tangier, the extraordinary city overlooking the Strait of Gibraltar, Ashford has helped establish a theatrical tradition that would be remarkable anywhere in the world.<\/p>\n\n\n\n

The Tangier Charity Plays bring internationally acclaimed actors together for intimate performances staged in some of the city’s most beautiful private gardens and residences. These productions, conceived not as commercial enterprises but as charitable occasions, have attracted an exceptional circle of performers, designers, patrons and supporters.<\/p>\n\n\n\n

They have also helped revive a tradition of theatrical creativity that once made Tangier an important meeting place for writers, artists, musicians and performers from across the world.<\/p>\n\n\n\n

It is a splendid example of what can be accomplished when artistic excellence and philanthropy are brought together with imagination, goodwill and a considerable amount of personal dedication.<\/p>\n\n\n\n

From West Virginia to Broadway<\/h2>\n\n\n\n

Rob Ashford’s journey into the theatre was far from conventional.<\/p>\n\n\n\n

Born in Orlando, Florida, in 1959, he grew up in Beckley, West Virginia, where his father worked as a schoolteacher and his mother was employed by the government.<\/p>\n\n\n\n

His early ambitions were directed towards the law rather than the stage. He attended Washington and Lee University on a scholarship, intending to pursue a legal career, but his involvement in university theatre awakened an enthusiasm that would change the course of his life.<\/p>\n\n\n\n

He subsequently studied dance at Point Park University in Pittsburgh before moving to New York, where he began building a career as a professional performer.<\/p>\n\n\n\n

Those early years provided him with a particularly valuable education. Working as a dancer in Broadway productions, he acquired a practical understanding of theatrical performance from within the ensemble, learning the importance of discipline, collaboration, timing and the relationship between movement and dramatic storytelling.<\/p>\n\n\n\n

His Broadway performing credits included Anything Goes, Crazy for You and Victor\/Victoria. He subsequently developed his career as a choreographer, working alongside established figures before receiving the opportunity that would establish his international reputation.<\/p>\n\n\n\n

In 2002, his choreography for Thoroughly Modern Millie won the Tony Award for Best Choreography.<\/p>\n\n\n\n

It was a remarkable achievement, particularly for a choreographer making his Broadway debut in that capacity.<\/p>\n\n\n\n

The production demonstrated his flair for theatrical spectacle, his command of different dance traditions and his ability to create movement that advanced the narrative rather than merely embellishing it.<\/p>\n\n\n\n

Further successes followed, including The Wedding Singer, Curtains, Cry-Baby, Promises, Promises, How to Succeed in Business Without Really Trying and Evita.<\/p>\n\n\n\n

In London, his work encompassed productions such as Parade, A Streetcar Named Desire, Anna Christie and Shrek the Musical.<\/p>\n\n\n\n

His talents also extended beyond musical theatre into opera, film and television, reflecting an unusually broad artistic range.<\/p>\n\n\n\n

Ashford’s achievement lies not simply in his command of choreography, but in his understanding that the performing arts are fundamentally collaborative.<\/p>\n\n\n\n

Theatre requires actors, musicians, directors, designers and technicians to surrender something of their individual ambitions in pursuit of a shared artistic result.<\/p>\n\n\n\n

It is precisely this capacity for bringing people together that would eventually become the foundation of his philanthropic work in Tangier.<\/p>\n\n\n\n

Tangier: A City That Has Always Inspired Artists<\/p>\n\n\n\n

\"\"
Tangier (Kingdom of Morocco)<\/figcaption><\/figure>\n\n\n\n

Tangier has long occupied a singular position in the cultural imagination.<\/p>\n\n\n\n

Situated at the meeting point of the Mediterranean and the Atlantic, within sight of the European continent, the city has for centuries been a crossroads of civilisations, languages and traditions.<\/p>\n\n\n\n

Its history as an international city attracted an extraordinary collection of writers, painters, musicians, diplomats and eccentrics, drawn by its beauty, cosmopolitan atmosphere and freedom from many of the conventions of their native societies.<\/p>\n\n\n\n

Paul Bowles made Tangier his home, while Tennessee Williams, Truman Capote, William S. Burroughs and numerous other literary figures found inspiration in its streets, caf\u00e9s and extraordinary social world.<\/p>\n\n\n\n

The city’s appeal extended equally to the visual arts, fashion and interior decoration. Its great houses and gardens became gathering places for a society in which Moroccan hospitality mingled with European and American cultural traditions.<\/p>\n\n\n\n

It was into this world that Rob Ashford entered, gradually developing a personal attachment to Tangier that went considerably beyond the pleasures of an occasional visit.<\/p>\n\n\n\n

In a 2024 interview with Alain Elkann, conducted at his home in Tangier, Ashford spoke about his life, career and the attraction of the city, which had become an important part of his existence.<\/p>\n\n\n\n

For someone whose professional life involved constant travel between international theatrical capitals, Tangier offered a different rhythm.<\/p>\n\n\n\n

It also provided the opportunity to become involved in a community whose cultural traditions and history held a particular fascination for him.<\/p>\n\n\n\n

The city, however, possessed an earlier theatrical tradition that would prove especially important.<\/p>\n\n\n\n

Reviving an Extraordinary Theatrical Tradition<\/h2>\n\n\n\n

Long before the establishment of the Tangier Charity Plays, theatrical performances had formed part of the city’s international cultural life.<\/p>\n\n\n\n

One of the most remarkable figures associated with this tradition was the American theatre enthusiast and impresario Joseph McPhillips, who organised productions in Tangier and drew upon the city’s extraordinary circle of artists and cultural personalities.<\/p>\n\n\n\n

These were no ordinary amateur theatricals.<\/p>\n\n\n\n

Among the celebrated collaborators associated with McPhillips’s productions were Yves Saint Laurent, who designed costumes, and the composer and writer Paul Bowles, who contributed music.<\/p>\n\n\n\n

One particularly memorable production was Euripides’ Hippolytus, for which Saint Laurent created costumes and Bowles composed the score.<\/p>\n\n\n\n

Following McPhillips’s death in 2007, this theatrical tradition came to an end.<\/p>\n\n\n\n

Years later, Ashford, together with his friends Ryan and the distinguished landscape designer Madison Cox, began discussing the possibility of reviving the idea.<\/p>\n\n\n\n

The concept was appealingly straightforward: invite accomplished actors to Tangier, stage a single exceptional performance and direct the proceeds towards local charitable causes.<\/p>\n\n\n\n

Rather than attempting to create another conventional theatre festival, they envisaged something more intimate and personal, rooted in the generosity of performers and the hospitality of the city.<\/p>\n\n\n\n

The result was the beginning of the Tangier Charity Plays.<\/p>\n\n\n\n

A Summer Evening That Began Something Remarkable<\/h2>\n\n\n\n

The first of Ashford’s charitable theatrical evenings took place in August 2015, when the acclaimed British actress Ruth Wilson performed in a reading of Tennessee Williams’s Suddenly Last Summer.<\/p>\n\n\n\n

The choice was particularly appropriate.<\/p>\n\n\n\n

Williams himself had been associated with Tangier, and his plays, with their intense psychological drama and atmospheric settings, seemed entirely at home in a city whose own history was filled with extraordinary personalities and unconventional lives.<\/p>\n\n\n\n

The performance established the essential character of the undertaking.<\/p>\n\n\n\n

This was to be theatre of genuine artistic quality, presented in an intimate setting and supported by people who were willing to contribute their talents to a charitable cause.<\/p>\n\n\n\n

What began as an individual occasion gradually developed into a much-anticipated cultural tradition.<\/p>\n\n\n\n

Subsequent productions became increasingly ambitious, attracting performers whose names were familiar to audiences throughout the world.<\/p>\n\n\n\n

\"\"
A Little Night Music<\/figcaption><\/figure>\n\n\n\n

Among the works presented were Arthur Miller’s The Crucible, with Kenneth Branagh; Terence Rattigan’s After the Dance, with Jessie Buckley; and Stephen Sondheim’s A Little Night Music, featuring Tony Goldwyn.<\/p>\n\n\n\n

The productions also attracted contributions from leading figures in fashion and design, including Gene Meyer, the celebrated milliner Stephen Jones and fashion editor Hamish Bowles.<\/p>\n\n\n\n

Marisa Berenson, herself closely associated with the international cultural world of Morocco, became another familiar participant.<\/p>\n\n\n\n

The audience was no less distinguished. Guests have included the philanthropist and social figure Lynn Wyatt, designer Calvin Klein, producer Colin Callender and Princess Uma of Morvi.<\/p>\n\n\n\n

Yet the presence of celebrated personalities is only one aspect of the achievement.<\/p>\n\n\n\n

What makes the Tangier Charity Plays particularly attractive is the willingness of these individuals to participate in an undertaking whose principal purpose is not commercial reward, but the pleasure of contributing to something worthwhile.<\/p>\n\n\n\n

Theatre in the Gardens of Tangier<\/h2>\n\n\n\n

Part of the charm of the Tangier Charity Plays lies in their settings.<\/p>\n\n\n\n

Rather than relying upon a conventional theatre auditorium, performances have been staged in private gardens and residences, where the natural beauty of Tangier becomes an integral part of the theatrical experience.<\/p>\n\n\n\n

The result is an atmosphere that recalls an earlier age of artistic patronage, when performances were arranged in the houses and gardens of cultivated hosts, and the distinction between private hospitality and public cultural life was rather less rigid than it is today.<\/p>\n\n\n\n

There is something wonderfully appropriate about this arrangement.<\/p>\n\n\n\n

Theatre, after all, began long before the invention of the modern auditorium. The ancient Greeks performed beneath the open sky, and throughout European history dramatic entertainments have flourished in courtyards, gardens, palaces and country houses.<\/p>\n\n\n\n

\"\"
The Crucible<\/figcaption><\/figure>\n\n\n\n

Ashford’s productions draw upon this tradition while bringing to it the professional standards of contemporary international theatre.<\/p>\n\n\n\n

They also celebrate the architectural and horticultural beauty of Tangier, where extraordinary gardens frequently lie concealed behind the walls of private residences.<\/p>\n\n\n\n

These surroundings provide a sense of intimacy that even the most magnificent conventional theatre can rarely reproduce.<\/p>\n\n\n\n

The audience is not simply watching a performance. It is participating in an occasion in which the setting, the actors and the charitable purpose form part of a shared experience.<\/p>\n\n\n\n

A Remarkable Production of The Cherry Orchard<\/h2>\n\n\n\n
\"\"
Rob Ashford directed a one-night-only performance of The Cherry Orchard<\/em> at the home of interior designer Veere Grenney.<\/figcaption><\/figure>\n\n\n\n

One of the more recent examples of the ambition behind the Tangier Charity Plays was the 2025 staging of Anton Chekhov’s The Cherry Orchard.<\/p>\n\n\n\n

The production brought together an exceptional company, including Gillian Anderson, Michelle Dockery and Penelope Wilton, under Ashford’s direction.<\/p>\n\n\n\n

It took place in the magnificent gardens of Gazebo, the Tangier residence of the distinguished British interior designer Veere Grenney, whose generosity in providing a setting for these productions has become an important part of their success.<\/p>\n\n\n\n

The occasion attracted an international audience and was subsequently described by Hamish Bowles in Vogue, whose account captured both the theatrical achievement and the singular atmosphere of the gathering.<\/p>\n\n\n\n

Even the weather appeared determined to introduce a little additional drama. Rain threatened the occasion before conditions improved sufficiently for the performance to proceed.<\/p>\n\n\n\n

When Kenneth Branagh was obliged to withdraw at short notice, the young actor Stefan Healy stepped into the production, demonstrating the adaptability and collaborative spirit upon which live theatre depends.<\/p>\n\n\n\n

The evening brought together the elegance of an Edwardian-inspired gathering, the beauty of a Moroccan garden and the emotional richness of Chekhov’s masterpiece.<\/p>\n\n\n\n

Following the performance, guests continued their celebrations in the surrounding houses and gardens, while the weekend also provided opportunities to explore Tangier’s galleries, cultural institutions and historic residences.<\/p>\n\n\n\n

It was precisely the kind of occasion that demonstrates how the performing arts can contribute to the cultural life of a city while supporting a charitable purpose.<\/p>\n\n\n\n

The Philanthropy Behind the Performances<\/h2>\n\n\n\n

Although the Tangier Charity Plays have acquired an enviable reputation as social and cultural occasions, their charitable purpose remains central to their identity.<\/p>\n\n\n\n

From the beginning, the intention was to use the generosity of internationally recognised performers and the enthusiasm of a supportive audience to raise money for local causes.<\/p>\n\n\n\n

This approach is particularly effective because it brings together resources that might otherwise remain entirely separate.<\/p>\n\n\n\n

Actors contribute their time and professional abilities. Designers lend their imagination and expertise. Private individuals make their homes available, while patrons purchase tickets knowing that their participation contributes to a charitable undertaking.<\/p>\n\n\n\n

The result is a collaborative form of philanthropy in which the pleasure of attending an exceptional performance becomes inseparable from the satisfaction of supporting the local community.<\/p>\n\n\n\n

There is also a valuable distinction between simply donating money and creating an occasion that encourages others to participate in generosity.<\/p>\n\n\n\n

Ashford has accomplished the latter.<\/p>\n\n\n\n

Through his professional relationships, he has been able to persuade celebrated performers to travel to Morocco and participate in productions that offer something quite different from the usual commercial theatre engagement.<\/p>\n\n\n\n

For those involved, the reward is not financial. It is the opportunity to work with admired colleagues, enjoy the extraordinary atmosphere of Tangier and contribute to a worthwhile cause.<\/p>\n\n\n\n

The plays also provide a means of connecting the international community of Tangier with charitable needs within the city and its surrounding region.<\/p>\n\n\n\n

The specific beneficiary organisations and cumulative sums raised have not been consistently disclosed in the published accounts consulted for this feature, and it would therefore be misleading to attach an unsupported financial figure to Ashford’s achievements.<\/p>\n\n\n\n

What is well documented is the charitable purpose of the productions and the remarkable generosity of the artistic and social circle that has developed around them.<\/p>\n\n\n\n

The Importance of Friendship and Patronage<\/h2>\n\n\n\n
\"\"
Sea House picnic for Suddenly Last Summer<\/figcaption><\/figure>\n\n\n\n

No account of the Tangier Charity Plays would be complete without acknowledging the circle of friends and collaborators who have helped make them possible.<\/p>\n\n\n\n

Ashford’s partner, Kevin Ryan, has been closely involved in the undertaking from its inception, helping transform an imaginative proposal into a series of theatrical occasions.<\/p>\n\n\n\n

Madison Cox, whose work as a landscape designer and custodian of the Yves Saint Laurent and Pierre Berg\u00e9 cultural legacy has made him an important figure in Morocco, was another early supporter.<\/p>\n\n\n\n

Veere Grenney has played an equally valuable role by opening his beautiful Tangier residence to performances, providing a setting that has become almost as memorable as the productions themselves.<\/p>\n\n\n\n

The participation of figures such as Marisa Berenson, Hamish Bowles, Stephen Jones and numerous other distinguished supporters has contributed to the enterprise’s distinctive character.<\/p>\n\n\n\n

These are individuals whose professional achievements have brought them considerable recognition, yet who have been willing to devote their time and creativity to a project founded upon friendship and charitable purpose.<\/p>\n\n\n\n

It is a reminder of the enduring importance of private patronage in the arts.<\/p>\n\n\n\n

Throughout history, some of the most memorable cultural achievements have emerged not solely from governments or major institutions, but from individuals who possessed the imagination, means and generosity to bring talented people together.<\/p>\n\n\n\n

The Tangier Charity Plays belong to this distinguished tradition.<\/p>\n\n\n\n

From Tangier to New York: The Continuing Life of Tru<\/h2>\n\n\n\n

An especially interesting example of the artistic value of the Tangier initiative is the production of Tru, Jay Presson Allen’s one-man play about the American writer Truman Capote.<\/p>\n\n\n\n

Performed by the acclaimed actor Jesse Tyler Ferguson under Ashford’s direction, the production began as part of the Tangier charitable theatrical series.<\/p>\n\n\n\n

Its success demonstrated that these performances, despite their intimate settings and limited engagements, could become important artistic ventures in their own right.<\/p>\n\n\n\n

The production subsequently travelled to New York, where Ferguson appeared in a 52-performance engagement at the House of the Redeemer.<\/p>\n\n\n\n

The play explores Capote’s life following the publication of the controversial extract from his unfinished novel Answered Prayers, examining the consequences of his estrangement from the fashionable society that had once embraced him.<\/p>\n\n\n\n

The choice of subject was particularly appropriate for Tangier, a city long associated with writers whose lives frequently challenged conventional expectations.<\/p>\n\n\n\n

It also illustrated Ashford’s ability to identify theatrical material that resonates with the history and atmosphere of the place in which it is performed.<\/p>\n\n\n\n

What began as an intimate charitable presentation was thus able to acquire a second life before a wider audience.<\/p>\n\n\n\n

The Wider Cultural Significance of the Tangier Charity Plays<\/h2>\n\n\n\n
\"\"
Rob Ashford with Marisa Berenson and dancers Follies<\/figcaption><\/figure>\n\n\n\n

The importance of Ashford’s undertaking extends beyond the immediate success of individual productions.<\/p>\n\n\n\n

Tangier has always possessed an extraordinary cultural identity, but that identity requires continuing investment, imagination and participation if it is to remain relevant to new generations.<\/p>\n\n\n\n

By bringing major international performers to the city, the Tangier Charity Plays help maintain its reputation as a meeting place for artistic excellence.<\/p>\n\n\n\n

They also demonstrate that cultural activity need not be confined to established metropolitan centres.<\/p>\n\n\n\n

A theatrical production staged in a private Moroccan garden can possess every bit as much artistic integrity as one presented in a celebrated theatre in London or New York.<\/p>\n\n\n\n

Indeed, the intimacy of such a setting can sometimes offer something that larger institutions find difficult to reproduce: a direct relationship between performer and audience, free from the elaborate machinery of commercial theatrical production.<\/p>\n\n\n\n

There is also a diplomatic dimension to this kind of cultural exchange.<\/p>\n\n\n\n

Theatre possesses an unusual ability to transcend national boundaries. Its language may be English, French, Arabic or any other, but its essential concerns \u2014 love, ambition, jealousy, loyalty, disappointment, humour and human frailty \u2014 are universal.<\/p>\n\n\n\n

When artists from different countries gather in Morocco to create something together, they participate in a form of cultural diplomacy that is both natural and deeply valuable.<\/p>\n\n\n\n

And when that undertaking also supports charitable causes, the artistic experience acquires an additional moral purpose.<\/p>\n\n\n\n

A Different Understanding of Success<\/h2>\n\n\n\n
\""Prima<\/figure>\n\n\n\n

Rob Ashford has achieved more than sufficient professional distinction to secure his place in the history of contemporary musical theatre.<\/p>\n\n\n\n

His Tony Award-winning choreography, his acclaimed work in London and New York, his collaborations with Kenneth Branagh and other major performers, and his achievements in opera and television constitute a formidable career.<\/p>\n\n\n\n

Yet the Tangier Charity Plays reveal another side of his personality and professional philosophy.<\/p>\n\n\n\n

Here, the considerable influence he has accumulated throughout his career is employed not to advance another commercial production, but to create opportunities for generosity.<\/p>\n\n\n\n

His reputation enables him to assemble remarkable casts. His friendships help secure extraordinary settings. His theatrical experience ensures that the resulting performances maintain the artistic standards expected of his professional work.<\/p>\n\n\n\n

The combination is unusually effective.<\/p>\n\n\n\n

It also reflects an admirable understanding of the privileges that accompany a successful career in the arts.<\/p>\n\n\n\n

Theatre has given Ashford an extraordinary life, bringing him into contact with remarkable people and taking him to some of the world’s most fascinating cities.<\/p>\n\n\n\n

In Tangier, he has found a way of sharing some of that good fortune.<\/p>\n\n\n\n

A Legacy of Theatre, Generosity and Friendship<\/h2>\n\n\n\n

The most enduring cultural traditions often begin modestly, with an idea proposed among friends and pursued because those involved believe it might bring pleasure to others.<\/p>\n\n\n\n

The Tangier Charity Plays began in precisely this spirit.<\/p>\n\n\n\n

What might have remained a single summer entertainment has developed into a distinctive institution within the city’s international cultural life, attracting celebrated performers and audiences while maintaining its charitable purpose.<\/p>\n\n\n\n

It has revived an earlier theatrical tradition, introduced new generations of actors to the charms of Tangier and demonstrated the remarkable possibilities of combining private hospitality with professional artistic achievement.<\/p>\n\n\n\n

Above all, it has shown that philanthropy need not be solemn or remote.<\/p>\n\n\n\n

It can be imaginative, joyful and immensely entertaining.<\/p>\n\n\n\n

Rob Ashford’s career will rightly be remembered for the productions he has directed and choreographed on the great stages of the world. His work in Tangier, however, deserves recognition for a different reason.<\/p>\n\n\n\n

It represents the conviction that artistic achievement becomes more meaningful when it is shared, and that the friendships formed through a lifetime in the theatre can become a powerful instrument for doing good.<\/p>\n\n\n\n

There is something particularly appealing about the image of an international company of actors gathering in a beautiful Moroccan garden, rehearsing a great play and presenting it for a single evening before an audience united by its appreciation of theatre and its willingness to contribute to a charitable cause.<\/p>\n\n\n\n

It speaks of generosity without ostentation, cultural sophistication without pretension and the pleasure of bringing people together for something genuinely worthwhile.<\/p>\n\n\n\n

Rob Ashford has spent his professional life creating memorable moments upon the stage. In Tangier, he has achieved something equally admirable: transforming the magic of theatre into an enduring celebration of friendship, culture and philanthropy.<\/p>\n\n\n\n

And in a world where artistic success is so frequently measured in awards, box-office receipts and international acclaim, that is an achievement of which he may be particularly proud.<\/p>\n\n\n\n

Research sources: Town & Country, Marshall Heyman, June 2022; Alain Elkann’s interview with Rob Ashford, January 2024; Vogue, Hamish Bowles’s account of the 2025 Tangier production of The Cherry Orchard; Playbill; BroadwayWorld; and Town & Country’s 2026 coverage of Tru.<\/p>","protected":false},"excerpt":{"rendered":"An award-winning American director and choreographer whose extraordinary career has taken him from Broadway to London’s West End,…","protected":false},"author":60,"featured_media":64686,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14,19],"tags":[4778,4781,5143,4779,5145,4795,5144,4551,4780,4777,4793],"class_list":{"0":"post-64684","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-art-culture","8":"category-celebrities","9":"tag-broadway-2","10":"tag-charity-2","11":"tag-charityplays","12":"tag-coreographer","13":"tag-freindship","14":"tag-gazebo","15":"tag-patronage","16":"tag-philanthropy-2","17":"tag-producer","18":"tag-robashford","19":"tag-tangier"},"_links":{"self":[{"href":"https:\/\/metaphoremagazine.com\/fr\/wp-json\/wp\/v2\/posts\/64684","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/metaphoremagazine.com\/fr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/metaphoremagazine.com\/fr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/metaphoremagazine.com\/fr\/wp-json\/wp\/v2\/users\/60"}],"replies":[{"embeddable":true,"href":"https:\/\/metaphoremagazine.com\/fr\/wp-json\/wp\/v2\/comments?post=64684"}],"version-history":[{"count":5,"href":"https:\/\/metaphoremagazine.com\/fr\/wp-json\/wp\/v2\/posts\/64684\/revisions"}],"predecessor-version":[{"id":65351,"href":"https:\/\/metaphoremagazine.com\/fr\/wp-json\/wp\/v2\/posts\/64684\/revisions\/65351"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/metaphoremagazine.com\/fr\/wp-json\/wp\/v2\/media\/64686"}],"wp:attachment":[{"href":"https:\/\/metaphoremagazine.com\/fr\/wp-json\/wp\/v2\/media?parent=64684"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/metaphoremagazine.com\/fr\/wp-json\/wp\/v2\/categories?post=64684"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/metaphoremagazine.com\/fr\/wp-json\/wp\/v2\/tags?post=64684"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}