ROAD SHOW January 2 – 19, 2014
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Boca Raton, Florida 1 Boca Raton, Florida
Boca Raton, Florida 1 Boca Raton, Florida City of Boca Raton — City — Downtown Boca Raton skyline, seen northwest from the observation tower of the Gumbo Limbo Environmental Complex Seal Nickname(s): A City for All Seasons Location in Palm Beach County, Florida Coordinates: 26°22′7″N 80°6′0″W Country United States State Florida County Palm Beach Settled 1895 Boca Raton, Florida 2 Incorporated (town) May, 1925 Government - Type Commission-manager - Mayor Susan Whelchel (N) Area - Total 29.1 sq mi (75.4 km2) - Land 27.2 sq mi (70.4 km2) - Water 29.1 sq mi (5.0 km2) Elevation 13 ft (4 m) Population - Total 86396 ('06 estimate) - Density 2682.8/sq mi (1061.7/km2) Time zone EST (UTC-5) - Summer (DST) EDT (UTC-4) ZIP code(s) Area code(s) 561 [1] FIPS code 12-07300 [2] GNIS feature ID 0279123 [3] Website www.ci.boca-raton.fl.us Boca Raton (pronounced /ˈboʊkə rəˈtoʊn/) is a city in Palm Beach County, Florida, USA, incorporated in May 1925. In the 2000 census, the city had a total population of 74,764; the 2006 population recorded by the U.S. Census Bureau was 86,396.[4] However, the majority of the people under the postal address of Boca Raton, about 200,000[5] in total, are not actually within the City of Boca Raton's municipal boundaries. It is estimated that on any given day, there are roughly 350,000 people in the city itself.[6] In terms of both population and land area, Boca Raton is the largest city between West Palm Beach and Pompano Beach, Broward County. -
Sondheim's 'Assassins' Playwrights Horizons Through Feb
THE HOLLYWOOD REPORTER, MONDAY. JANUARY 28, 1991 49 Theater review Sondheim's 'Assassins' Playwrights Horizons Through Feb. 16 ASSASSINS Director Jerry Zaks by ROBERT OSBORNE Music-lyrics Stephen Sondheim NEW YORK — Stephen Sond- Book John Weidman heim's latest musical, "Assassins," is a Set design Loren Sherman Costume design William Ivey Long raging disappointment. Offbeat, it is. Lighting Paul Gallo Controversial, it is. Daring, it is. Good, Musical director Paul Gemignani it isn't. Irresponsible, it may be. Choreography D. J. Giagni Cast: Victor Garber, Patrick Cassidy, Terrence There's every possibility this Mann, Jonathan Hadary, Greg Germano, Eddie Sondheimer will be snuffed out Korbich, Lee Wiling'. Annie Golden. Debra Monk, quickly, despite the fact there's not a Jam Alexander. Joy Franz, Lyn Greene, John Jelli- son, Marco Olson, William Parry, Michael Shul- seat to be had during its limited man tryout run at this 139-seat off- Broadway house. Except for diehard of the song that opens and closes the Sondheim fans who'll want a gander show, "Everybody's Got the Right at anything done by the composer- (to a Dream)." lyricist, there's little here that will While a troubador-narrator (ex- satisfy or attract most theatergoers. cellently done by Patrick Cassidy) The show is a 90-minute musical counters with the suggestion "Guns kalediscope focusing on nine notori- don't right the wrongs, and soon the ous figues of history who either country's back where it belongs," killed, or attempted to kill, U.S. more emphasis is given to the theory presidents from Lincoln to Reagan. -
Putting It Together
46th Season • 437th Production SEGERSTROM STAGE / September 11 - October 11, 2009 David Emmes Martin Benson Producing ArtiStic director ArtiStic director presents PUTTING IT TOGETHER words and music by Stephen Sondheim devised by Stephen Sondheim and Julia McKenzie Thomas Buderwitz Soojin Lee Steven Young Drew Dalzell Scenic deSign coStume deSign Lighting deSign Sound deSign Joshua Marchesi Jamie A. Tucker* Production mAnAger StAge mAnAger musical direction by Dennis Castellano directed by Nick DeGruccio Dr. S.L. and Mrs. Betty Eu Huang Huang Family Foundation honorAry ProducerS corPorAte Producer Putting It Together is presented through special arrangement with music theatre international (mti). All authorized performance materials are also supplied by mti. 421 West 54th Street, new york, ny 10019; Phone: 212-541-4684 Fax: 212-397-4684; www.mtiShows.com Putting It Together• SOUTH COA S T REPE R TO R Y P1 THE CAST (in order of appearance) Matt McGrath* Harry Groener* Niki Scalera* Dan Callaway* Mary Gordon Murray* MUSICIANS Dennis Castellano (conductor/keyboards), John Glaudini (synthesizer), John Reilly (woodwinds), Louis Allee (percussion) SETTING A New York penthouse apartment. Now. LENGTH Approximately two hours including one 15-minute intermission. PRODUCTION STAFF Casting ................................................................................ Joanne DeNaut, CSA Dramaturg .......................................................................... Linda Sullivan Baity Assistant Stage Manager ............................................................. -
Florence Klotz Costume Designs [Finding Aid]. Music Division, Library
Florence Klotz Costume Designs Guides to Special Collections in the Music Division of the Library of Congress Music Division, Library of Congress Washington, D.C. 2018 Contact information: http://hdl.loc.gov/loc.music/perform.contact Catalog Record: https://lccn.loc.gov/2015667105 Additional search options available at: https://hdl.loc.gov/loc.music/eadmus.mu018005 Processed by the Music Division of the Library of Congress Finding aid encoded by Library of Congress Music Division, 2018 Revised 2018 April Collection Summary Title: Florence Klotz Costume Designs Span Dates: 1971-1985 Call No.: ML31.K606 Creator: Klotz, Florence Extent: 670 items Extent: 19 containers Extent: 11.5 linear feet Language: Collection material in English Location: Music Division, Library of Congress, Washington, D.C. LC Catalog record: https://lccn.loc.gov/2015667105 Summary: Florence Klotz was an American costume designer best known for her work on Broadway musical collaborations with composer Stephen Sondheim and director Harold (Hal) Prince, including Follies (1971), A Little Night Music (1973), and Pacific Overtures (1976). The collection contains finished costume designs, sketches, fabric samples, and other materials for five musicals and one film adaptation. Selected Search Terms The following terms have been used to index the description of this collection in the LC Catalog. They are grouped by name of person or organization, by subject or location, and by occupation and listed alphabetically. People Coleman, Cy. On the Twentieth Century. Grossman, Larry. Grind. Klotz, Florence. Sondheim, Stephen. Follies. Sondheim, Stephen. Little night music. Sondheim, Stephen. Pacific overtures. Subjects Costume design. Costume designers. Musical theater--United States. Theater--United States. -
Interpretation: a Journal of Political Philosophy
Interpretation A JOURNAL A OF POLITICAL PHILOSOPHY Spring 1994 Volume 21 Number 3 Aristophanes' Mark Kremer Criticism of Egalitarianism: An Interpretation of The Assembly of Women Steven Forde The Comic Poet, the City, and the Gods: Dionysus' Katabasis in the Frogs of Aristophanes Tucker Landy Virtue, Art, and the Good Life in Plato's Protagoras Nalin Ranasinghe Deceit, Desire, and the Dialectic: Plato's Republic Revisited Olivia Delgado de Torres Reflections on Patriarchy and the Rebellion of Daughters in Shakespeare's Merchant of Venice and Othello Alfred Mollin On Hamlet's Mousetrap Joseph Alulis The Education of the Prince in Shakespeare's King Lear David Lowenthal King Lear Glenn W. Olsen John Rawls and the Flight from Authority: The Quest for Equality as an Exercise in Primitivism Book Reviews Will Morrisey The Roots of Political Philosophy: Ten Forgotten Socratic Dialogues, edited by Thomas L. Pangle John C. Koritansky Interpreting Tocqueville s "Democracy in America," edited by Ken Masugi Interpretation Editor-in-Chief Hilail Gildin, Dept. of Philosophy, Queens College Executive Editor Leonard Grey General Editors Seth G. Benardete Charles E. Butterworth Hilail Gildin Robert Horwitz (d. 1987) Howard B. White (d. 1974) Consulting Editors Christopher Bruell Joseph Cropsey Ernest L. Fortin John Hallowell (d. 1992) Harry V. Jaffa David Lowenthal Muhsin Mahdi Harvey C. Mansfield, Jr. Arnaldo Momigliano (d. 1987) Michael Oakeshott (d. 1990) Ellis Sandoz Leo Strauss (d. 1973) Kenneth W. Thompson European Editors Terence E. Marshall Heinrich Meier Editors Wayne Ambler Maurice Auerbach Fred Baumann Michael Blaustein Patrick Coby Edward J. Erler Maureen Feder-Marcus Joseph E. Goldberg Stephen Harvey Pamela K. -
MACBETH Classic Stage Company JOHN DOYLE, Artistic Director TONI MARIE DAVIS, Chief Operating Officer/GM Presents MACBETH by WILLIAM SHAKESPEARE
MACBETH Classic Stage Company JOHN DOYLE, Artistic Director TONI MARIE DAVIS, Chief Operating Officer/GM presents MACBETH BY WILLIAM SHAKESPEARE WITH BARZIN AKHAVAN, RAFFI BARSOUMIAN, NADIA BOWERS, N’JAMEH CAMARA, ERIK LOCHTEFELD, MARY BETH PEIL, COREY STOLL, BARBARA WALSH, ANTONIO MICHAEL WOODARD COSTUME DESIGN LIGHTING DESIGN SOUND DESIGN ANN HOULD-WARD SOLOMON WEISBARD MATT STINE FIGHT DIRECTOR PROPS SUPERVISOR THOMAS SCHALL ALEXANDER WYLIE ASSOCIATE ASSOCIATE ASSOCIATE SCENIC DESIGN COSTUME DESIGN SOUND DESIGN DAVID L. ARSENAULT AMY PRICE AJ SURASKY-YSASI PRESS PRODUCTION CASTING REPRESENTATIVES STAGE MANAGER TELSEY + COMPANY BLAKE ZIDELL AND BERNITA ROBINSON KARYN CASL, CSA ASSOCIATES ASSISTANT DESTINY LILLY STAGE MANAGER JESSICA FLEISCHMAN DIRECTED AND DESIGNED BY JOHN DOYLE MACBETH (in alphabetical order) Macduff, Captain ............................................................................ BARZIN AKHAVAN Malcolm ......................................................................................... RAFFI BARSOUMIAN Lady Macbeth ....................................................................................... NADIA BOWERS Lady Macduff, Gentlewoman ................................................... N’JAMEH CAMARA Banquo, Old Siward ......................................................................ERIK LOCHTEFELD Duncan, Old Woman .........................................................................MARY BETH PEIL Macbeth..................................................................................................... -
AS YOU LIKE IT, the First Production of Our 50Th Anniversary Season, and the First Show in Our Shakespearean Act
Welcome It is my pleasure to welcome you to AS YOU LIKE IT, the first production of our 50th anniversary season, and the first show in our Shakespearean act. Shakespeare’s plays have been a cornerstone of our work at CSC, and his writing continues to reflect and refract our triumphs and trials as individuals and collectively as a society. We inevitability turn to Shakespeare to express our despair, bewilderment, and delight. So, what better place to start our anniversary year than with the contemplative search for self and belonging in As You Like It. At the heart of this beautiful play is a speech that so perfectly encapsulates our mortality. All the world’s a stage, and we go through so many changes as we make our exits and our entrances. You will have noticed many changes for CSC. We have a new look, new membership opportunities, and are programming in a new way with more productions and a season that splits into what we have called “acts.” Each act focuses either on a playwright or on an era of work. It seemed appropriate to inaugurate this with a mini-season of Shakespeare, which continues with Fiasco Theater's TWELFTH NIGHT. Then there is Act II: Americans dedicated to work by American playwrights Terrence McNally (FIRE AND AIR) and Tennessee Williams (SUMMER AND SMOKE); very little of our repertoire has focused on classics written by Americans. This act also premieres a new play by Terrence McNally, as I feel that the word classic can also encapsulate the “bigger idea” and need not always be the work of a writer from the past. -
Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding Aid Prepared by Lisa Deboer, Lisa Castrogiovanni
Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding aid prepared by Lisa DeBoer, Lisa Castrogiovanni and Lisa Studier and revised by Diana Bowers-Smith. This finding aid was produced using the Archivists' Toolkit September 04, 2019 Brooklyn Public Library - Brooklyn Collection , 2006; revised 2008 and 2018. 10 Grand Army Plaza Brooklyn, NY, 11238 718.230.2762 [email protected] Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Table of Contents Summary Information ................................................................................................................................. 7 Historical Note...............................................................................................................................................8 Scope and Contents....................................................................................................................................... 8 Arrangement...................................................................................................................................................9 Collection Highlights.....................................................................................................................................9 Administrative Information .......................................................................................................................10 Related Materials ..................................................................................................................................... -
Determining Stephen Sondheim's
“I’VE A VOICE, I’VE A VOICE”: DETERMINING STEPHEN SONDHEIM’S COMPOSITIONAL STYLE THROUGH A MUSIC-THEORETIC ANALYSIS OF HIS THEATER WORKS BY ©2011 PETER CHARLES LANDIS PURIN Submitted to the graduate degree program in Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ___________________________ Chairperson Dr. Scott Murphy ___________________________ Dr. Deron McGee ___________________________ Dr. Paul Laird ___________________________ Dr. John Staniunas ___________________________ Dr. William Everett Date Defended: August 29, 2011 ii The Dissertation Committee for PETER PURIN Certifies that this is the approved version of the following dissertation: “I’VE A VOICE, I’VE A VOICE”: DETERMINING STEPHEN SONDHEIM’S COMPOSITIONAL STYLE THROUGH A MUSIC-THEORETIC ANALYSIS OF HIS THEATER WORKS ___________________________ Chairperson Dr. Scott Murphy Date approved: August 29, 2011 iii Abstract This dissertation offers a music-theoretic analysis of the musical style of Stephen Sondheim, as surveyed through his fourteen musicals that have appeared on Broadway. The analysis begins with dramatic concerns, where musico-dramatic intensity analysis graphs show the relationship between music and drama, and how one may affect the interpretation of events in the other. These graphs also show hierarchical recursion in both music and drama. The focus of the analysis then switches to how Sondheim uses traditional accompaniment schemata, but also stretches the schemata into patterns that are distinctly of his voice; particularly in the use of the waltz in four, developing accompaniment, and emerging meter. Sondheim shows his harmonic voice in how he juxtaposes treble and bass lines, creating diagonal dissonances. -
INTO the WOODS Stephen Sondheim (Music and Lyrics) and James Lapine (Book) Directed by Susi Damilano Music Director: Dave Dobrusky Choreography: Kimberly Richards
Press Release For immediate release May 2014 [email protected] Download Hi Res photos here INTO THE WOODS Stephen Sondheim (music and lyrics) and James Lapine (book) Directed by Susi Damilano Music Director: Dave Dobrusky Choreography: Kimberly Richards June 24th to September 6th Previews June 24 – June 27 at 8pm Tuesdays through Thursdays at 7pm, Fridays and Saturdays at 8pm Saturdays at 3pm and Sundays at 2pm (except 6/29) PRESS OPENING: Saturday, June 28th at 8pm San Francisco, CA (May 2014) – San Francisco Playhouse (Artistic Director Bill English & Producing Director Susi Damilano) concludes its provocative eleventh season with Into the Woods by Stephen Sondheim (music and lyrics) and James Lapine (book). What happens after “happily ever after?” Fractured fairy tales of a darker hue provide the context for Into the Woods, which deconstructs the Brothers Grimm by way of “The Twilight Zone.” While the faces and names are familiar, Cinderella, Rapunzel, Little Red Riding Hood, Jack in the Beanstalk and company inhabit a sylvan neighborhood in which witches and bakers are next-door neighbors, handsome princes from once-parallel fables are competitive (and equally vain) brothers, and all the stories intersect through unexpected new plot twists. Stephen Sondheim and James Lapine’s beloved musical intertwines classic fairytales with a contemporary edge to tell stories of wishes granted and “the price” paid. Susi Damilano (Director), Dave Dobrusky (Music Director) and Kimberly Richards (Choreographer) will team up to bring a fresh twist to this familiar tale by adding a time-travelling boy, Ian DeVaynes to the Bay Area cast that features: Louis Parnell* (Narrator), Safiya Fredericks* (Witch), El Beh (Baker’s Wife), Keith Pinto* (Baker), Tim Homsley* (Jack), Joan Mankin* (Jack’s Mom), Monique Hafen* (Cinderella), Becka Fink (Cinderella’s Stepmom), identical twins, Lily and Michelle Drexler (Cinderella’s Stepsisters), Noelani Neal (Rapunzel), Corinne Proctor (Red), Ryan McCrary and Jeffrey Adams (Princes/Wolves) and John Paul Gonzales (Steward). -
The Frogs: a Modern Adaptation Comedy by Don Zolidis
The Frogs: A Modern Adaptation Comedy by Don Zolidis © Dramatic Publishing Company The Frogs: A Modern Adaptation Comedy by Don Zolidis. Cast: 6 to 25m., 6 to 25w., 8 to 40 either gender. Disgusted with the state of current entertainment, Dionysus, God of Wine and Poetry, decides that it’s time to retrieve Shakespeare from the underworld. Surely if the Bard were given a series on HBO, he’d be able to raise the level of discourse! Accompanied by his trusted servant, Xanthias (the brains of the operation), Dionysus seeks help from Hercules and Charon the Boatman. Unfortunately, his plan to rescue Shakespeare goes horribly awry, as he’s captured by a chorus of reality-television-loving demon frogs. The frogs put the god on trial and threaten him with never-ending torment unless he brings more reality shows into the world. It won’t be easy for Dionysus to survive, and, even if he does get past the frogs, Jane Austen isn’t ready to let Shakespeare escape without a fight. Adapted from Aristophanes’ classic satire, The Frogs is a hilarious and scathing look at highbrow and lowbrow art. Flexible staging. Approximate running time: 100 minutes. Code: FF5. Cover design: Molly Germanotta. ISBN: 978-1-61959-067-0 Dramatic Publishing Your Source for Plays and Musicals Since 1885 311 Washington Street Woodstock, IL 60098 www.dramaticpublishing.com 800-448-7469 © Dramatic Publishing Company The Frogs: A Modern Adaptation By DON ZOLIDIS Dramatic Publishing Company Woodstock, Illinois ● Australia ● New Zealand ● South Africa © Dramatic Publishing Company *** NOTICE *** The amateur and stock acting rights to this work are controlled exclusively by THE DRAMATIC PUBLISHING COMPANY, INC., without whose permission in writing no performance of it may be given. -
THE SKYLARK and the FROGS Your First Example of Dystopian Writing…Enjoy!
THE SKYLARK AND THE FROGS Your first example of dystopian writing…enjoy! There was once a society of frogs that lived at the bottom of a deep, dark well, from which nothing whatsoever could be seen of the world outside. They were ruled over by a great Boss Frog, a fearful bully who claimed, on rather dubious grounds, to own the well and all that creeped or crawled therein. The Boss Frog never did a lick of work to feed or keep himself, but lived off the labors of the several bottom-dog frogs with whom he shared the well. They, wretched creatures, spent all the hours of their lightless days and a good many more of their lightless nights drudging about in the damp and slime to find the tiny grubs and mites on which the Boss Frog fattened. Now, occasionally an eccentric skylark would flutter down into the well and would sing to the frogs of all the marvelous things it had seen in its journeyings in the great world outside: of the sun and the moon and the stars, of the sky-climbing mountains and fruitful valleys and the vast stormy seas, and of what it was like to adventure the boundless space above them. Whenever the skylark came visiting, the Boss Frog would 20 instruct the bottom-dog frogs to attend closely to all the bird had to tell. "For he is telling you," the Boss Frog would explain, "of the happy laud wither all good frogs go for their reward when they finish this life of trials." Secretly, however, the Boss Frog thought this strange bird was quite mad.