JULIETTE CARRILLO CV Website
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
News Release
NEWS RELEASE FOR IMMEDIATE RELEASE: August 16, 2019 ARIZONA THEATRE COMPANY OPENS 2019/2020 SEASON WITH MARCO RAMIREZ’ “ORIGINAL AND GRACEFUL” THE ROYALE Arizona Theatre Company (Sean Daniels, Artistic Director; Billy Russo, Managing Director) kicks off the 2019/2020 season, its 53rd, with Marco Ramirez’ power-packed boxing drama, The Royale, a deeply theatrical and emotionally moving story loosely based on the life of the world’s first African-American heavyweight boxing champion, Jack Johnson, Sept. 7-28 at the Temple of Music & Art in Tucson and Oct. 3-20 at the Herberger Theater Center in Phoenix. Described as “original and graceful” by The New York Times, The Royale explores one man’s struggle while reflecting on a bigger one in the midst of Jim Crow’s south in 1910. It’s also the story of a brother and his sister who remains his greatest adversary and strongest motivation as he struggles for glory and respect. And it’s a boxing story without a single fist-driven punch being thrown. Even so, “The Royale packs a punch!” The New York Times wrote. Playwright Marco Ramirez, whose plays have been produced at Lincoln Center Theater, The Kennedy Center, The Humana Festival, The Old Globe (San Diego), The Bush Theatre (London) and American Theater Company, among others, also has built both a reputation and a following as a TV writer for hits including Marvel’s Daredevil (Netflix) The Defenders (Netflix), Sons of Anarchy (FX) and Orange is the New Black (Netflix). "Marco Ramirez and Michael John Garcés are two of the most exciting artists working in our country today. -
2017Seasonpressrelea
Crowded Fire Theater FOR IMMEDIATE RELEASE: Contact: Tiffany Cothran (415) 523-0034 [email protected] CROWDED FIRE THEATER’S 2017 SEASON WITH PLAYS BY MIA CHUNG AND PLAYWRIGHT-IN-RESIDENCE CHRISTOPHER CHEN YOU FOR ME FOR YOU by Mia Chung, March 9-April 1 A TALE OF AUTUMN by Christopher Chen, September 14-October 7 Translated by Rachel Willson-Broyles Presented at the Thick House 1695 18th St, San Francisco San Francisco - Crowded Fire Theater (CFT) Crowded Fire’s Artistic Director Mina Morita unveiled the 2017 mainstage season lineup including two contemporary plays that continue to uphold the company’s long tradition of producing boundary - pushing, thought-provoking theater. At a season-announcement party on Saturday, November th 19 Morita addressed Crowded Fire donors, patrons, and artists saying “We are a divided country in the midst of a divisive time. It is more important now, more than ever to use our creative and critical thought to mine our cultural memory and to interrogate our existence. I am thrilled to present selections next season that do just that.” Crowded Fire‘s 2016 season begins with the Bay Area premiere of Mia Chung’s YOU FOR ME FOR YOU (3/9-4/1), a heart-wrenching and magical tale of two North Korean sisters divided in their patriotism and separated in their attempt to leave North Korea for the United States. YOU FOR ME FOR YOU will be directed by M. Graham Smith. The mainstage season concludes with local favorite Christopher Chen’s world premiere of A TALE OF AUTUMN (9/14-10/7), a Crowded Fire commissioned piece born from a deep mutual concern over the ever-increasing power of corporate personhood in present day capitalism. -
Dead Man's Cell Phone Media Release
FOR IMMEDIATE RELEASE PROFILE THEATRE PRESS CONTACT: Natalie Genter-Gilmore, Marketing and Communications Manager PH: 503.242.0080 [email protected] DEAD MAN’S CELL PHONE By Sarah Ruhl January 29 – February 15, 2015 PORTLAND, Ore., January 8, 2015 – PROFILE THEATRE (Adriana Baer, Artistic Director) proudly presents Dead Man’s Cell Phone by Sarah Ruhl. Performances run January 29 – February 15, 2015 on the Morrison Stage at Artists Repertory Theatre. Tickets are currently on sale at Profiletheatre.org. Dead Man’s Cell Phone is the first production in Profile Theatre’s 2015 Season dedicated to the works of playwright Sarah Ruhl. “Sarah Ruhl is interested in exploring a reciprocity with the audience. How can we invite you to be in relationship with the stage instead of just observing it from afar?” says Adriana Baer, Profile Artistic Director and director of Dead Man’s Cell Phone. “Perhaps it is by casting a light onto something we all recognize - an object as basic as a cell phone - and using that to show something greater, something magnificent about the human condition.” In Dead Man’s Cell Phone, as Jean takes possession of the cell phone of a dead man, she is thrown into a mysterious journey of self-discovery and awakening. Through this small modern device, she finds adventure, purpose and even love – but at what cost? This hilarious and paradoxical treatise on the digital world probes at the thin line between reality and fantasy, privacy and openness, and even life and death. Cast The cast for Dead Man’s Cell Phone features Dana Millican (Last seen at Profile in 2012’s Fifth of July), Don Kenneth Mason (Last seen at Profile in 2013’s Blood Knot), Patricia Hunter and Dana Green. -
FOR IMMEDIATE RELEASE: August 13, 2018 Media Contacts: the PR Team, [email protected] Dan Fernelius, 612-508-7499 Mixed Blood
FOR IMMEDIATE RELEASE: August 13, 2018 Media Contacts: The PR Team, [email protected] Dan Fernelius, 612-508-7499 Mixed Blood announces Lisa Loomer’s Pre-Broadway Run of ROE rd as its TBA offering in its 43 season, TRANSFORMING THE IMPOSSIBLE TO THE PROBABLE (Minneapolis/St. Paul) – In the wake of Justice Kennedy’s retirement from the Supreme Court and the fragile longevity of Roe v Wade, the Mixed Blood Theatre Company announces its pre-Broadway run of ROE by Lisa Loomer in its 2018-19 season. It is optioned for Broadway and Mixed Blood is the only regional theatre in the country that has been given permission to produce it this season. ROE By Lisa Loomer, Directed by Mark Valdez March 15 – April 7, 2019 ROE, a theatrical survey of the complicated and fiery underpinnings of Roe v. Wade, the U.S. Supreme Court ruling that established a woman’s right to an abortion. Roe precisely illustrates the fractured and fracturing history of one of the most polarizing social issues of the modern era. Sarah Weddington was a 26-year-old lawyer when she argued Roe v. Wade and accidental heroine Norma McCorvey was a 22-year-old poor, hard-living lesbian bartender seeking to end her third pregnancy when she first agreed to be the plaintiff under the pseudonym “Jane Roe,” decades before she renounced her involvement in the case and became an anti-abortion advocate. ROE is an historically sweeping rare play that takes this inflammatory American issue head-on. Lawyer’s and plaintiff’s subsequent journeys mirrored the American divide. -
South Coast Repertory Is a Professional Resident Theatre Founded in 1964 by David Emmes and Martin Benson
IN BRIEF FOUNDING South Coast Repertory is a professional resident theatre founded in 1964 by David Emmes and Martin Benson. VISION Creating the finest theatre in America. LEADERSHIP SCR is led by Artistic Director David Ivers and Managing Director Paula Tomei. Its 33-member Board of Trustees is made up of community leaders from business, civic and arts backgrounds. In addition, hundreds of volunteers assist the theatre in reaching its goals, and about 2,000 individuals and businesses contribute each year to SCR’s annual and endowment funds. MISSION South Coast Repertory was founded in the belief that theatre is an art form with a unique power to illuminate the human experience. We commit ourselves to exploring urgent human and social issues of our time, and to merging literature, design, and performance in ways that test the bounds of theatre’s artistic possibilities. We undertake to advance the art of theatre in the service of our community, and aim to extend that service through educational, intercultural, and community engagement programs that harmonize with our artistic mission. FACILITY/ The David Emmes/Martin Benson Theatre Center is a three-theatre complex. Prior to the pandemic, there were six SEASON annual productions on the 507-seat Segerstrom Stage, four on the 336-seat Julianne Argyros Stage, with numerous workshops and theatre conservatory performances held in the 94-seat Nicholas Studio. In addition, the three-play family series, “Theatre for Young Audiences,” produced on the Julianne Argyros Stage. The 20-21 season includes two virtual offerings and a new outdoors initiative, OUTSIDE SCR, which will feature two productions in rotating rep at the Mission San Juan Capistrano in July 2021. -
Sarah Ruhl’S Singular Voice
SHOW GUIDE April 24 to May 15, 2020 Hilberry Theatre Inside Dear Educators THE PLAY Synopsis, Characters, Setting 2 Wayne State University is proud to produce plays for young people’s The Play 3 enjoyment and to actively explore the beauty, diversity, complexity and challenges of the world around them through the dramatic THE CREATORS arts. We wish to support the development of their creative voice, The Playwright 4 imagination, and understanding of drama and its role in our global society. CURRICULUM SUPPORT Activities presented assist in achieving the Michigan Common Core State Standards (MI-CCSS) This play guide is designed to be a tool in helping you prepare Speaking and Listening 5/6 your students for our performance as well as extend the production Writing 6/7 experience back into the classroom. History/Social Studies 7 Differentiated Learning Activities 8/9 Activities presented assist in achieving the Michigan Common Core State Standards (MI-CCSS). THE THEATRE Location and Seating 10 Your comments and suggestions about this guide, presentation First Time Visitor’s Guide 11 and/or programming are welcome. Email [email protected]. MORE TO SEE 12 Your Students’ Role You may wish to have a discussion with your students before attending the play. Remind your students that they have an important role to play at the performance being the audience. It is because of the audience that the theatre exists. It will be their energy and response that will directly affect the actors onstage. Young audiences should be reminded that live theatre is not like watching TV, a movie or DVD; the actors cannot pause or be rewound, there are no commercial breaks for running to the bathroom, the volume cannot be turned up to hear better if someone other than the actors are talking. -
Sarah Ruhl: a Comprehensive Analysis of the Clean House, Eurydice, Passion Play, Dead Man’S Cell Phone and in the Next Room Or the Vibrator Play
Sarah Ruhl: A Comprehensive Analysis of The Clean House, Eurydice, Passion Play, Dead Man’s Cell Phone and In The Next Room or the Vibrator Play by Heather Welch, B.F.A. A Thesis In THEATRE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of MASTERS OF ARTS Approved William Gelber, Ph.D. Chair of Committee Bruce Hermann, M.F.A. Peggy Miller Dean of the Graduate School May, 2012 Copyright 2012, Heather Welch Texas Tech University, Heather Welch, May 2012 ACKNOWLEDGMENTS I would be remiss if I didn’t thank several people who have been instrumental to the process of writing this thesis and to my development as a student of the theatre. First and foremost, I would like to thank the members of my committee, Dr. Bill Gelber and Bruce Hermann. Dr. Gelber’s guidance throughout the entire process and his probing questions and thorough reviews of each chapter during the editing process has been extremely beneficial to this project. Bruce Hermann also has provided helpful insight and critical questions that shaped the methodology of this thesis and ultimately, the project is better because of it. I am indebted to both of them for their guidance, their kindness and for reassuring me when I was “in the weeds.” I must also give thanks to Dr. Norman Bert. It was in his Dramatic Analysis class in Fall 2010 that I first attempted to write about Sarah Ruhl. Once the semester was over, I realized that I was not quite done with writing about her. -
Working at Osf
1 Welcome to the Oregon Shakespeare Festival’s 2019 season! We hope you are as excited to join our OSF Company as we are to be a part of it ourselves. If you have not worked here before, we encourage you to learn as much as you can about the company before you begin by reading this welcome information. If you are returning to OSF, please take the time to review this information as the details can change from season to season. Please also visit our website, www.osfashland.org, which has a wealth of information about OSF and the work we do. The Oregon Shakespeare Festival is truly a unique organization in American theatre. In 2019, we will produce over 780 performances of 11 plays in three theatres and one community tour over an eight-month performance season to an audience of close to 400,000. We have one of the most demanding and complex production schedules in the country; our system of rotating repertory is ambitious and impacts everything we do. Add in the unpredictable elements of rain, smoke, heat and cold in our outdoor Allen Elizabethan Theatre, and it can seem pretty hectic around here sometimes. And yet the rewards are astonishing. In 2019, more than 600 theatre professionals, including one of the largest acting companies anywhere in the world, will come together to create the season here in Ashland. OSF is a large organization, and new company members are frequently overwhelmed with questions about it. Please check the Important Contacts appendix in this Welcome Book for information on who to contact when you need something—there are many people here to lend a hand anytime. -
Past TRC Productions
TRINITY REPERTORY COMPANY 201 Washington Street, Providence, RI 02903 PAST PRODUCTIONS Counting seasons: In the official count of seasons (1st, 2nd, 3rd, etc.), it may have been decided in 1970 to not count 1963-64 as the first season. Or a mistake in a brochure may have never been caught until it was much too late. Subscription brochures for the 1969-70 Season and 1970-71 Season both refer to the upcoming season as the 7th Season. Brochures for the 1967-68 and 1968-69 Seasons refer to them respectively as the 5th and 6th Seasons, but a brochure for the 1965-66 Season refers to that as the “second full season.” During the 1963-64 Season, Trinity Players on the Square was not a fully professional company and there were no actual performances in 1963. 1964-65 was the first full season with Adrian Hall as artistic director and Equity contracts. The counting of the seasons proceeded consecutively from the second 7th Season. *World Premiere Production **American Premiere Production ***Pre-Season Productions + Booked-In, Rental, Competition Winner, Special Presentation, or Co-Production 1963-1964 Season • 1st Director Playwright Designers The Hostage Ira Zuckerman Brendan Behan Sets: Sandra Tilles Costumes: Joyce Anderson Lighting: Thomas J. Aubin Sound: Vincent Vessela The House of Bernarda Alba Ira Zuckerman Frederico Garcia Lorca Sets: Morris Nathanson Costumes: Sue Neely Lighting: Thomas J. Aubin and Catie Calvo Sound: Bud Peltier American Dream Adrian Hall Edward Albee Sets: Richard L. Peterson and Carl Ravenal Costumes: Edith Brown Lighting: Thomas J. Aubin and Catie Calvo Sound: Sandra Tilles Orpheus Descending Adrian Hall Tennessee Williams Costumes: Edith Brown Lighting: Thomas J. -
A CHRISTMAS CAROL Adapted by JERRY PATCH
SEGERSTROM STAGE / NOVEMBER 26 THROUGH DECEMBER 24, 2005 David Emmes Martin Benson PRODUCING ARTISTIC DIRECTOR ARTISTIC DIRECTOR presents CHARLES DICKENS’ A CHRISTMAS CAROL adapted by JERRY PATCH SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN Thomas Buderwitz Dwight Richard Odle Donna and Tom Ruzika MUSIC ARRANGEMENT/COMPOSER SOUND DESIGN VOCAL DIRECTOR CHOREOGRAPHER Dennis McCarthy Drew Dalzell Dennis Castellano Linda Kostalik ASSISTANT DIRECTOR PRODUCTION MANAGER STAGE MANAGER Laurie Woolery David Leavenworth Erin Nelson* DIRECTED BY JOHN-DAVID KELLER Paul, Daranne and Courtney Folino Bank of America HONORARY PRODUCERS CORPORATE PRODUCER A Christmas Carol • SOUTH COAST REPERTORY P1 CAST OF CHARACTERS (In order of appearance) LENA, a vendor of second-hand goods ....................................................... *Madison Dunaway JOE, a cider salesman and a receiver of stolen goods ............................................. *Art Koustik TOY LADY .......................................................................................................... *Hisa Takakuwa PUPPETEER ........................................................................................................ Joshua Campbell UNDERTAKER ......................................................................................................... *Travis Vaden CHIMNEY SWEEP ........................................................................................... *Timothy Landfield ELIZABETH SHELLEY ............................................................................................... -
By Sarah Ruhl Marc Masterson
49th Season • 465th Production JULIANNE ARGYROS STAGE / SEPTEmbER 23 – OcTObER 14, 2012 Marc Masterson Paula Tomei ARTISTIc DIREcTOR mANAGING DIREcTOR David Emmes & Martin Benson FOUNDING ARTISTIc DIREcTORS presents EURYDICE by Sarah Ruhl Gerard Howland Soojin Lee Anne Militello Bruno Louchouarn ScENIc DESIGN cOSTUmE DESIGN LIGHTING DESIGN SOUND DESIGN John Crawford Joshua Marchesi Jennifer Ellen Butler* mULTImEDIA DESIGN PRODUcTION mANAGER STAGE mANAGER Directed by Marc Masterson Tom and Marilyn Sutton Honorary Producers This play originally was produced by Madison Repertory Theatre, Madison, Wisconsin, August 29, 2003. Richard Corley, Artistic Director, Tony Forman, Managing Director. And subsequently produced by Berkeley Repertory Theatre in 2004. Tony Taccone, Artistic Director, Susan Medak, Managing Director. And Yale Repertory Theatre, James Bundy, Artistic Director, Victoria Nolan, Managing Director. Produced by Second Stage Theatre, New York, 2007, Carole Rothman, Artistic Director. EURYDICE is presented by special arrangement with SAMUEL FRENCH, INC. Eurydice • SOUTH COAST REPERTORY • P1 CAST OF CHARACTERS (In order of appearance) Eurydice ....................................................................................... Carmela Corbett* Orpheus ................................................................................................... Alex Knox* Her Father ................................................................................. Timothy Landfield* A Nasty Interesting man/The Lord of the Underworld ............... -
Annual Report 2011 Annual Report 2011
Annual Report 2011 Annual Report 2011 6 Mission Statement and Board of Management 7 Chairman’s report 10 Artistic Director’s report The Plays 12 Don Parties On by David Williamson MTC is a deparTMenT of 14 A Behanding in Spokane by Martin McDonagh The UniversiTy of MelboUrne 16 Apologia by Alexi Kaye Campbell 18 In the Next Room or the vibrator play by Sarah Ruhl 20 Next to Normal by Tom Kitt and Brian Yorkey 22 The Gift by Joanna Murray-Smith MTC Headquarters 24 The Joy of Text by Robert Reid 252 Sturt St 26 Hamlet by William Shakespeare Southbank VIC 3006 28 Rising Water by Tim Winton 03 8688 0900 30 Clybourne Park by Bruce Norris 32 Return to Earth by Lally Katz The MTC Theatre 34 The Importance of Being Earnest by Oscar Wilde 5 140 Southbank Blvd 36 Lawler Studio: The Dream Life of Butterflies by Raimondo Cortese Southbank VIC 3006 38 Lawler Studio: The Water Carriers by Ian Wilding Box Office 03 8688 0800 40 Lawler Studio: Circle Mirror Transformation by Annie Baker mtc.com.au 42 MTC presents: Not Quite Out of the Woods by Jonathan Biggins, Drew Forsythe and Phillip Scott Venues 44 MTC on Tour Throughout 2011 MTC performed its 45 Awards and nominations Melbourne season of plays at the MTC 46 Literary Manager’s report Theatre, Sumner and Lawler Studio, and 47 Play Readings the Fairfax Studio and Playhouse at Arts Centre Melbourne. MTC Education 48 Education Manager’s report 50 Workshops and participatory events 52 Random by debbie tucker green 54 Australia! The Show! by Aidan Fennessy, Jon Halpin, Jean-Marc Russ and Hayden Spencer