DOCSLIB.ORG

Theatrical CV

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Theatrical CV Represented by Miles Polaski ​ ​ ​ ​ SOUND DESIGNER & COMPOSER Michael Griffo ​ ​ ​ ​ ​ ​ ​ ​ ​ ​​ ​​ ​ ​ ​ [email protected] 773.905.4529 [email protected] www.milespolaski.com ​ ​​ ​ 212-556-6714 SOUND DESIGN — PLAYS (selected credits) ​ ​ ​ ​ ​ ​ ​ ​​ ​ ​ PRODUCTION PLAYWRIGHT PRODUCING COMPANY DIRECTOR WHERE STORMS ARE BORN Harrison David Rivers Williamstown T​ h​ eatre Festival Saheem Ali ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ TWO CLASS ACTS A.R. Gurney The Flea Theatre Stafford Arima ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ FULFILLMENT Thomas Bradshaw The Flea Theatre Ethan McSweeny ​ ​ ​ ​ ​ ​ ​ ​ BOOK OF JOSEPH Karen Hartman Chicago Shakespeare Theatre Barbara Gaines ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ BYHALIA MISSISSIPPI Evan Linder Contemporary American Thtr. Fest. Marc Masterson ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ WASHER DRYER Nandita Shenoy Ma-Yi Theatre Benjamin Kamine ​ ​ ​ ​ ​ ​ ​ ​ SAGITTARIUS PONDEROSA MJ Kaufman Nat. Asian American Theatre Co. Ken Rus Schmoll ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ A CHRISTMAS CAROL add. James Palmer Trinity Repertory James D. Palmer ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ THE HAIRY APE Eugene O’Neill Goodman / The Hypocrites Sean Graney ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ MEN ON BOATS Jaclyn Backhaus American Theatre Company William Davis ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ PICNIC and ...LITTLE SHEBA William Inge Transport Group Jack Cummings III ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ WANT Zayd Dohrn Steppenwolf Theatre Kimberly Senior ​ ​ ​ ​ ​ ​ MAN IN LOVE Christina Anderson Steppenwolf Theatre Robert O’Hara ​ ​ ​ ​ ​ ​​ ​ ​ ​ ​ THE KID THING Sarah Gubbins Chicago Dramatists Joanie Schultz ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ CADILLAC Bill Jepsen Chicago Dramatists Edward Sobel ​ ​ ​ ​ ​ ​ CUCKOO’S NEST Dale Wasserman The Gift Theatre John Kelly Connolly … ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ WHITE PEOPLE J.T. Rogers The Gift Theatre Michael P. Thornton ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ MOUSE IN A JAR Martyna Majok Red Tape Theatre William Davis ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ LOVE OF THE NIGHTINGALE Timberlake Wertenbaker Red Tape Theatre James D. Palmer ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ROSSUM’S UNIVERSAL ROBOTS Karel Capek Strawdog Theatre Shade Murray ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ THE 39 STEPS Patrick Barlow Duke City Repertory Vincent Carlson ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ A CHRISTMAS STORY Philip Grecian Fox Valley Repertory John Gawlick ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ LEAVING IOWA Tim Clue, Spike Manton Fox Valley Repertory Rachel Rockwell ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ THE SECRETARIES The Five Lesbian Brothers About Face Theatre Bonnie Metzgar ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ SWEET TEA E. Patrick Johnson About Face Theatre Daniel Alexander Jones ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ SOUND DESIGN — MUSICAL THEATRE (selected credits) ​ ​ ​ ​ ​ ​ ​ ​ ​​ ​​ ​ ​ GUYS AND DOLLS Abe Burrows, Jo Swerling Merry-Go-Round Playhouse Richard J. Hinds ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ LES MISERABLES Claude-Michel Schönberg Barter Theatre Richard Rose ​ ​ ​ ​ ​ ​ ​ ​ THE ORIGINAL GREASE Jim Jacobs, Warren Casey American Theater Company PJ Paparelli ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ XANADU Douglas Carter Beane American Theater Company Lili-Anne Brown ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ BITTERSWEET Noel Coward Light Opera Works Jim Harms ​ ​ ​ ​ ​ ​ ​ ​ HELLO, DOLLY Michael Stewart Light Opera Works Rudy Hogenmiller ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ THEY’RE PLAYING OUR SONG Alan Jay Lerner Fox Valley Repertory Jonathan Berry ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ORIGINAL MUSIC AND COMPOSITION (selected credits) ​ ​ ​ ​ ​ ​ ​ ​​ ​ ​ MEN ON BOATS Jaclyn Backhaus American Theater Company William Davis ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ T. Dan Aibel American Theater Company Margot Bordelon ​ ​ ​ ​ ​ ​ ​ ​ A PERSISTENT MEMORY Jackob Hoffmann MBL Productions Jessi Hill ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ EVERYTHING IS WONDERFUL Chelsea Marcantel Contemporary American Thtr. Fest. Edward Herendeen ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ MARY’S WEDDING Stephen Massicotte Barter Theatre Katy Brown ​ ​ ​ ​ ​ ​ ​ ​ OF MICE AND MEN John Steinbeck Steppenwolf Theatre Michael P. Thornton ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ LAKEBOAT David Mamet Steep Theatre George Cederquist ​ ​ ​ ​ ​ ​ RICHARD III William Shakespeare Strawdog Theatre Nic Dimond ​ ​ ​ ​​ ​ ​ ​ ​ ​ ROSSUM’S UNIVERSAL ROBOTS Karel Capek Strawdog Theatre Shade Murray ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ EQUUS Peter Shaffer Redtwist Theatre Joe Stead ​ ​ ​ ​ ​ ​ LOVE OF THE NIGHTINGALE Timberlake Wertenbaker Red Tape Theatre James D. Palmer ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ (2011 to 2015) BARTER THEATRE, STATE THEATRE OF VIRGINIA​ ​​ ​​ ​​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ RESIDENT SOUND & PROJECTION DESIGNER AND HEAD OF SOUND DEPARTMENT at LORT Regional Theatre. ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ Designed sound and projections for more than 65 productions in its three venues. Selected credits include: Les Misérables, 9 ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​​ ​ ​ ​ ​ ​ ​ ​​ ​ ​ ​ ​ to 5 the Musical (dir: Richard Rose), A Streetcar Named Desire, Avenue Q, Mary’s Wedding (dir: Katy Brown), Dial M for Murder ​ ​ ​ ​ ​ ​ ​ ​​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ (dir: Tricia Matthews), The Blonde, the Brunette, and the Vengeful Redhead (dir. Susanne Boulle). ​ ​ ​ ​ ​ ​​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​​ ​ ​ ​ ​ ​ AREAS OF EXPERTISE AFFILIATIONS ​ ​ ​ ​ ○ Theatrical Sound Designer and Composers Association ○ Design for musical and non-musical productions. ​ ​​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ (TSDCA) member since 2016. ○ Music composition: Folk, Classical, Rock, ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ○ American Theatre Company (2016-2017): sound designer Electronic, ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​​ ​​ ​​ ​ in residence. ○ Music production, mixing and mastering. ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ○ 2nd Story Chicago (2006-2011): company member, sound ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ○ Mash-up and music remixes. designer, music curator, musical director. ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ○ Voice-over production and direction. ○ Collaboraction Theatre Company (2007-2011): company ​ ​ ​ ​ ​ ​ ​ ​ ​ ​​ ​ ​ ​ ​ ​ ​ ​ ​ ○ Projection & media design. member, resident sound designer. ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ○ Interactive audio/visual installations. ​ ​ ​ ​ ​ ​ ○ DAWs (Ableton Live, Logic, Pro Tools, Sonar). ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ GUEST RESIDENCIES ○ MIDI programing and sequencing. ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ○ Master Classes in conjunction with designing sound for ○ Sound system design. ​ ​​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ University of Nebraska‘s production of SHE KILLS ○ QLab, SFX, WATCHOUT, Isadora, & Resolume ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ MONSTERS (2016). Arena ​ ​ ○ Master Classes in conjunction with designing sound and ​ ​​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ programming. composing original music for the University of Texas at ​ ​​ ​​ ​​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ○ After Effects, Photoshop. Austin’s productions of THE CATARACT (2012) and DR. ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ○ Computer construction, software & hardware JEKYLL AND MR. HYDE (2011). ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ installation, and audio interfaces. ​ ​​ ​​ ​​ ​ ​ ​ ​ ​ ​ ​ AWARDS AND HONORS ​ ​ ​ ​ ○ S.A.L.T. Award Nominee — GUYS AND DOLLS — Merry-Go-Round Playhouse (2017) ​ ​ ​ ​ ​ ​ ​ ​​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ○ Drama Desk Award Nominee — FULFILLMENT — The Flea Theatre (2016) ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ○ Joseph Jefferson Award Nominee — FULFILLMENT — American Theatre Co. (2016) ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ○ Joseph Jefferson Award Nominee for LOVE OF THE NIGHTINGALE — Red Tape Theatre (2011) ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ○ Honor Award Recipient — THE KID THING— Chicago Dramatists (2011) ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ○ Joseph Jefferson Award Recipient — MOUSE IN A JAR — Red Tape Theatre (2010) ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ○ Joseph Jefferson Award Nominee — ONE FLEW OVER THE CUCKOO’S NEST — The Gift Theatre (2010) ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ○ Joseph Jefferson Award Nominee — WHITE PEOPLE — The Gift Theatre (2008) ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ○ Joseph Jefferson Award Nominee — EQUUS — Redtwist Theatre (2008) ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ .
Load more

Recommended publications
  • Horton Foote
    38th Season • 373rd Production MAINSTAGE / MARCH 29 THROUGH MAY 5, 2002 David Emmes Martin Benson Producing Artistic Director Artistic Director presents the World Premiere of by HORTON FOOTE Scenic Design Costume Design Lighting Design Composer MICHAEL DEVINE MAGGIE MORGAN TOM RUZIKA DENNIS MCCARTHY Dramaturgs Production Manager Stage Manager JENNIFER KIGER/LINDA S. BAITY TOM ABERGER *RANDALL K. LUM Directed by MARTIN BENSON Honorary Producers JEAN AND TIM WEISS, AT&T: ONSTAGE ADMINISTERED BY THEATRE COMMUNICATIONS GROUP PERFORMING ARTS NETWORK / SOUTH COAST REPERTORY P - 1 CAST OF CHARACTERS (In order of appearance) Constance ................................................................................................... *Annie LaRussa Laverne .................................................................................................... *Jennifer Parsons Mae ............................................................................................................ *Barbara Roberts Frankie ...................................................................................................... *Juliana Donald Fred ............................................................................................................... *Joel Anderson Georgia Dale ............................................................................................ *Linda Gehringer S.P. ............................................................................................................... *Hal Landon Jr. Mrs. Willis .......................................................................................................
    [Show full text]
  • Bernhardt Hamlet Cast FINAL
    IMAGES AVAILABLE FOR DOWNLOAD HERE CAST ANNOUNCED FOR GEFFEN PLAYHOUSE WEST COAST PREMIERE OF “BERNHARDT/HAMLET” FEATURING GOLDEN GLOBE NOMINEE DIANE VENORA AS SARAH BERNHARDT WRITTEN BY THERESA REBECK AND DIRECTED BY SARNA LAPINE ALSO FEATURING NICK BORAINE, ALAN COX, ISAIAH JOHNSON, SHYLA LEFNER, RAYMOND McANALLY, LEVENIX RIDDLE, PAUL DAVID STORY, LUCAS VERBRUGGHE AND GRACE YOO PREVIEWS BEGIN APRIL 7 - OPENING NIGHT IS APRIL 16 LOS ANGELES (February 24, 2020) – Geffen Playhouse today announced the full cast for its West Coast premiere of Bernhardt/Hamlet, written by Theresa Rebeck (Dead Accounts, Seminar) and directed by Sarna Lapine (Sunday in the Park with George). The production features Diane Venora (Bird, Romeo + Juliet) as Sarah Bernhardt. In addition to Venora, the cast features Nick BoraIne (Homeland, Paradise Stop) as Louis, Alan Cox (The Dictator, Young Sherlock Holmes) as Constant Coquelin, Isaiah Johnson (Hamilton, David Makes Man) as Edmond Rostand, Shyla Lefner (Between Two Knees, The Way the Mountain Moved) as Rosamond, Raymond McAnally (Size Matters, Marvelous and the Black Hole) as Raoul, Rosencrantz, and others, Levenix Riddle (The Chi, Carlyle) as Francois, Guildenstern, and others, Paul David Story (The Caine Mutiny Court Martial, Equus) as Maurice, Lucas Verbrugghe (Icebergs, Lazy Eye) as Alphonse Mucha and Grace Yoo (Into The Woods, Root Beer Bandits) as Lysette. It’s 1899, and the legendary Sarah Bernhardt shocks the world by taking on the lead role in Hamlet. While her performance is destined to become one for the ages, Sarah first has to conVince a sea of naysayers that her right to play the part should be based on ability, not gender—a feat as difficult as mastering Shakespeare’s most Verbose tragic hero.
    [Show full text]
  • Board of Directors. I Want to Make Sure That There’S a Diversity Ourselves — We Live with Them for Long Periods of of Voices Being Published by DPS
    ISSUE 16 DRAMATISTS PLAY SERVICE SPRING 2015 ROUND TABLE with JOHN PATRICK SHANLEY, Dramatists Play Service POLLY PEN, and LYNN NOTTAGE is very fortunate not just to publish and license the best BY PETER HAGAN, PRESIDENT American playwrights, but also to have four of them sit on our the publishing conversation. As a woman of always going to be slightly different from that of the color, I also see my role as one of advocacy; agents. Our plays are creative extensions of Board of Directors. I want to make sure that there’s a diversity ourselves — we live with them for long periods of of voices being published by DPS. time; we keep them close and protected until we release them into the world. The founding charter of the Play Service, back in As time has gone by, have you seen your Then we entrust our plays 1936, called for the Board to be split evenly position as a playwright member change? to others for safekeeping: between playwrights (all members of the initially agents, and eventually Dramatists Guild) and agents. Back then, the star John Patrick Shanley: When I first served on publishing companies like playwrights included Howard Lindsay, George the Board, I was skeptical and challenging DPS. For better or worse, Abbott, and Sidney Howard. Today our stars are and, frankly, young. But over time I morphed agents can approach the Donald Margulies, Polly Pen, Lynn Nottage, and from opponent to colleague. business of publishing with John Patrick Shanley, who have been members a certain level of objectivity of the board ranging from five years (Nottage) to PP: Ways of thinking about how theatrical and distance; however, it’s over 20 (Shanley).
    [Show full text]
  • Selected Correspondence from the Horton Foote
    SELECTED CORRESPONDENCE FROM THE HORTON FOOTE COLLECTION, 1912-1991 by SUSAN CHRISTENSEN Presented to the Faculty of the Graduate School of The University of Texas at Arlington in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY THE UNIVERSITY OF TEXAS AT ARLINGTON August 2008 ACKNOWLEDGEMENTS I would like to thank Horton Foote for his generosity in granting me permission to include transcriptions of his family members’ correspondence in my dissertation. I would also like to thank his daughter Hallie for her kind assistance. I have been fortunate to have the opportunity to work with Dr. Laurin Porter, my supervising professor, an extraordinary teacher, a remarkable scholar, and a generous and thoughtful person. During my graduate studies, her wisdom has inspired me and her encouragement has sustained me. I would like to extend my heartfelt appreciation to the members of my graduate committee, Dr. Desirée Henderson and Dr. Neill Matheson, and also to Dr. Wendy Faris and Dr. Thomas Porter, for their kindness and their work on my behalf. I am grateful to Dr. Russell Martin III, the director of the DeGolyer Library at Southern Methodist University, and his staff, who assisted me during the many months I spent conducting archival research. Finally, and most importantly, I would like to thank my husband Robert for his unwavering support and love. July 16, 2008 ii ABSTRACT SELECTED CORRESPONDENCE FROM THE HORTON FOOTE COLLECTION, 1912-1991 Susan Christensen, Ph.D. The University of Texas at Arlington, 2008 Supervising Professor: Laurin Porter This dissertation includes a discussion of archival research and editorial procedures employed in the study, introductory essays on the private correspondence of the family of Horton Foote, and transcriptions of one hundred letters selected from the personal correspondence in the Horton Foote Collection reposited in the DeGolyer Library at Southern Methodist University in Dallas, Texas, with extensive annotations and ancillary materials.
    [Show full text]
  • Grease" Is Presented Through Special Arrangement with and All Authorised Performance Material Are Supplied by Theatrical Rights Worldwide (TRW)
    The Geneva Amateur Operatic Society Really Youthful Group presents: Book, Music, and Lyrics by Jim Jacobs and Warren Casey "Grease" is presented through special arrangement with and all authorised performance material are supplied by Theatrical Rights Worldwide (TRW). 122-124 Regents Street, 3rd floor, London, W1B 5SA www.theatricalrights.co.uk The videotaping or audio recording of this performance is strictly prohibited Know it all Chairman's welcome Dear Friends of GAOS, on behalf of the Society I would like to welcome you to the Marens theatre here for the 2019 Really Youthful Group production of Grease. I’m sure Grease needs no introduction – as both young and old will have seen clips of Olivia Newton John and John Travolta singing the well known melodies. So instead I thought it would be more useful - for the benefit of those that have never seen a GAOS musical production until now – to explain that GAOS has been active in Geneva since 1971 – and has welcomed thousands of people to its shows over the soon to be 50 years. We depend on ticket sales to finance future production and we receive no sponsorship or subsidies. Over the years we have enjoyed a growing and diverse membership of people who work and have fun together on-and- off stage to produce shows of a high standard. The Really Useful Group was established by the Society over ten years ago as a means to introduce teenagers to musical theatre, and most importantly, to encourage those returning to Geneva after their studies to enrich the Society with their newly acquired skills either as actors, musicians, set designers, costume designers, lighting or sound engineers, or any of the other myriad of jobs that together make our productions so enjoyable for audiences and participants alike.
    [Show full text]
  • DAVID CAPARELLIOTIS Caparelliotis Casting /212-575-1987 [email protected]
    DAVID CAPARELLIOTIS Caparelliotis Casting /212-575-1987 [email protected] CASTING DIRECTOR (selected) Holler If Ya Hear Me (Todd Kreidler) Palace Theatre/Broadway dir. Kenny Leon (upcoming) Casa Valentina (Harvey Fierstein) Freidman Theatre/ Broadway dir. Joe Mantello (upcoming) Commons of Pensacola (Amanda Peet) Manhattan Theater Club dir. Lynne Meadow The Snow Geese (Sharr White) Freidman Theatre/ Broadway dir. Daniel Sullivan All New People (Zach Braff) Second Stage Theatre dir. Peter DuBois Water By The Spoonful (Quiara Hudes) Second Stage Theatre dir. Davis McCallum My Name Is Rachel Corrie Minetta Lane/Off-Broadway dir. Alan Rickman Complicit (Joe Sutton) Old Vic/London dir. Kevin Spacey Orphans (Lyle Kessler) Schoenfeld Theatre/ Broadway dir. Daniel Sullivan Lonely I’m Not (Paul Weitz) Second Stage Theatre dir. Trip Cullman Tales of the City: the musical American Conservatory Theatre dir: Jason Moore Romantic Poetry (John P. Shanley) MTC/Off-Broadway dir: John P. Shanley Trip to Bountiful (Horton Foote) Sondheim Theatre/ Broadway dir. Michael Wilson Dead Accounts (Theresa Rebeck) Music Box Theatre/ Broadway dir. Jack O’Brien Fences (August Wilson) Cort Theatre/Broadway dir. Kenny Leon Sweet Bird of Youth (T. Williams) Goodman Theatre/ Chicago dir. David Cromer The Other Place (Sharr White) Freidman Theatre/ Broadway dir. Joe Mantello Seminar (Theresa Rebeck) Golden Theatre/ Broadway dir. Sam Gold Grace (Craig Wright) Court Theatre/ Broadway dir. Dexter Bullard Bengal Tiger … (Rajiv Josef) Richard Rodgers/ Broadway dir. Moises Kaufman Stick Fly (Lydia Diamond) Cort Theatre/ Broadway dir. Kenny Leon The Columnist (David Auburn) Freidman Theatre/Broadway dir. Daniel Sullivan The Royal Family (Ferber) Freidman Theatre/ Broadway dir.
    [Show full text]
  • The Pin-Up Boy of the Symphony: St. Louis and the Rise of Leonard
    The Pin-Up Boy of the Symphony St. Louis and the Rise of Leonard Bernstein BY KENNETH H. WINN 34 | The Confluence | Fall/Winter 2018/2019 In May 1944 25-year-old publicized story from a New Leonard Bernstein, riding a York high school newspaper, had tidal wave of national publicity, bobbysoxers sighing over him as was invited to serve as a guest the “pin-up boy of the symphony.” conductor of the St. Louis They, however, advised him to get The Pin-Up Boy 3 Symphony Orchestra for its a crew cut. 1944–1945 season. The orchestra For some of Bernstein’s of the Symphony and Bernstein later revealed that elders, it was too much, too they had also struck a deal with fast. Many music critics were St. Louis and the RCA’s Victor Records to make his skeptical, put off by the torrent first classical record, a symphony of praise. “Glamourpuss,” they Rise of Leonard Bernstein of his own composition, entitled called him, the “Wunderkind Jeremiah. Little more than a year of the Western World.”4 They BY KENNETH H. WINN earlier, the New York Philharmonic suspected Bernstein’s performance music director Artur Rodziński Jeremiah was the first of Leonard Bernstein’s was simply a flash-in-the-pan. had hired Bernstein on his 24th symphonies recorded by the St. Louis Symphony The young conductor was riding birthday as an assistant conductor, Orchestra in the spring of 1944. (Image: Washing- a wave of luck rather than a wave a position of honor, but one known ton University Libraries, Gaylord Music Library) of talent.
    [Show full text]
  • Broadway Starts to Rock: Musical Theater Orchestrations and Character, 1968-1975 By
    Broadway Starts to Rock: Musical Theater Orchestrations and Character, 1968-1975 By Elizabeth Sallinger M.M., Duquesne University, 2010 B.A., Pennsylvania State University, 2008 Submitted to the graduate degree program in Musicology and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Chair: Paul R. Laird Roberta Freund Schwartz Bryan Kip Haaheim Colin Roust Leslie Bennett Date Defended: 5 December 2016 ii The dissertation committee for Elizabeth Sallinger certifies that this is the approved version of the following dissertation: Broadway Starts to Rock: Musical Theater Orchestrations and Character, 1968-1975 Chair: Paul R. Laird Date Approved: 5 December 2016 iii Abstract In 1968, the sound of the Broadway pit was forever changed with the rock ensemble that accompanied Hair. The musical backdrop for the show was appropriate for the countercultural subject matter, taking into account the popular genres of the time that were connected with such figures, and marrying them to other musical styles to help support the individual characters. Though popular styles had long been part of Broadway scores, it took more than a decade for rock to become a major influence in the commercial theater. The associations an audience had with rock music outside of a theater affected perception of the plot and characters in new ways and allowed for shows to be marketed toward younger demographics, expanding the audience base. Other shows contemporary to Hair began to include rock music and approaches as well; composers and orchestrators incorporated instruments such as electric guitar, bass, and synthesizer, amplification in the pit, and backup singers as components of their scores.
    [Show full text]
  • GREASE • Production Overview • Lesson Guides • Student Activities • At-Home Projects • Reproducibles Copyright 2007, Camp Broadway, LLC All Rights Reserved
    A tool for using the theater across the curriculum to meet National Standards for Education GREASE • Production Overview • Lesson Guides • Student Activities • At-Home Projects • Reproducibles Copyright 2007, Camp Broadway, LLC All rights reserved This publication is based on Grease with book, music and lyrics by Jim Jacobs and Warren Casey and directed and choreographed by Kathleen Marshall. The content of the Grease edition of StageNOTES™: A Field Guide for Teachers is fully protected under the copyright laws of the United states of America and all other countries with which the United States has reciprocal copyright relations. All rights regarding publishing, reprint permissions, public readings, and mechanical or electronic reproduction, including but not limited to, CD-ROM, information storage and retrieval systems and photocopying, and the rights of translation into foreign languages are strictly prohibited. Printed in the United States of America First Digital Edition: January 2008 For more information on StageNOTES™ and other theatre arts related programs, contact: Camp Broadway, LLC 336 West 37th Street, Suite 460 New York, New York 10018 Telephone: (212) 575-2929 Facsimile: (212) 575-3125 Email: [email protected] www.campbroadway.com Table of contents Using the Field Guide and Lessons...................................................................................................4 Synopsis and Character Breakdown..................................................................................................5 Overture
    [Show full text]
  • National Register Nomination
    NPS Form 10-900 OMB No. 1024-0018 United States Department of the Interior National Park Service National Register Listed January 5, 2018 National Register of Historic Places Registration Form This form is for use in nominating or requesting determinations for individual properties and districts. See instructions in National Register Bulletin, How to Complete the National Register of Historic Places Registration Form. If any item does not apply to the property being documented, enter "N/A" for "not applicable." For functions, architectural classification, materials, and areas of significance, enter only categories and subcategories from the instructions. Place additional certification comments, entries, and narrative items on continuation sheets if needed (NPS Form 10-900a). 1. Name of Property Historic name William Inge Boyhood Home Other names/site number KHRI #125-2670-00179 Name of related Multiple Property Listing N/A 2. Location Street & number 514 N. 4th Street not for publication City or town Independence vicinity State Kansas Code KS County Montgomery Code 125 Zip code 67301 3. State/Federal Agency Certification As the designated authority under the National Historic Preservation Act, as amended, I hereby certify that this x nomination _ request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property x meets _ does not meet the National Register Criteria. I recommend that this property be considered significant at the following level(s) of significance: x national statewide local Applicable National Register Criteria: A x B C ___D See file.
    [Show full text]
  • Christopher Hampton, John Patrick Shanley, Patricia Marx and Theresa Rebeck December 2009 | Volume #31
    IN THIS ISSUE: Christopher Hampton, John Patrick Shanley, Patricia Marx and Theresa Rebeck December 2009 | Volume #31 EDITOR A NOTE FROM THE EDITOR Arlene Hellerman Donald Westlake often said, “When I write a COPY EDITOR novel, I’m God, and when I write a screenplay, Shelley Wolson I’m cup-bearer to the gods.” The same could be DESIGNER said of the relationship between screenwriting Tom Beckham and playwriting. SUPERVISING CONSULTANT The conversations in this issue cover both Marsha Seeman of these genres. John Patrick Shanley and CONSULTANT Christopher Hampton talk about playwriting, Nicole Revere screenwriting and directing. Theresa Rebeck and Patricia Marx talk about writing plays and films, ADVISOR but also about the process of writing prose. Marc Siegel On The Back Page we’re publishing Gina Gionfriddo’s one-act play America’s Got Tragedy. Michael Winship | president Bob Schneider | vice president Gail Lee | secretary-treasurer — Arlene Hellerman Lowell Peterson | executive director All correspondence should be addressed to The Writers Guild of America, East 555 West 57th Street New York, New York 10019 Telephone: 212-767-7800 Fax: 212-582-1909 www.wgaeast.org Copyright © 2009 by the Writers Guild of America, East, Inc. Christopher Hampton AND John Patrick Shanley New York CitY – April 27, 2009 SHANLEY: I have questions for you. HAMPTON: Between 5 and 10. HAMPTON: Oh, do you? ON WRITING: Do you think that gave you a different perspective when you got back to England? Did you SHANLEY: Questions that are sort of simple but inter- see it as an outsider? esting to me. One is, when you started writing, was there either a play that you wanted to do something HAMPTON: Yes, very much so.
    [Show full text]
  • University of Hawai'i at Hilo Theatre
    UH Hilo Performing Arts Department Master Production List 1979- 2020 Musicals GIVE MY REGARDS TO BROADWAY - A Musical Revue AMAHL AND THE NIGHT VISITORS by Gian Carlo Menotti CAROUSEL by Rodgers and Hammerstein OLIVER by Lionel Bart SOUTH PACIFIC by Rodgers and Hammerstein MY FAIR LADY by Lerner and Loewe FLOWER DRUM SONG by Rodgers and Hammerstein FIDDLER ON THE ROOF by Stein and Bock THE SOUND OF MUSIC by Rodgers and Hammerstein CABARET by Kander and Ebb I DO! I DO! by Jones and Schmidt YOU’RE A GOOD MAN CHARLIE BROWN by Clark Gesner archy and mehitabel by Joe Darion and Mel Brooks AN EVENING OF OPERA SCENES, Conceived by Margaret Harshbarger JESUS CHRIST SUPERSTAR by Tim Rice and Andrew Lloyd Weber** THE MIKADO by Gilbert and Sullivan WEST SIDE STORY by Bernstein and Sondheim (1988) I’M GETTING MY ACT TOGETHER AND TAKING IT ON THE ROAD, by Joan Micklin Silver & Julianne Boyd ANNIE by Thomas Meehan A.....MY NAME IS ALICE by Joan Micklin Silver, Julianne Boyd LITTLE SHOP OF HORRORS by Ashman & Menken NUNSENSE by Dan Goggin MUSIC MINUS ONE by George Furth, starring Leslie Uggams* * World Premiere EASY STREET: AN AMERICAN DREAM, by Wendell Ing * * World Premiere CAMELOT by Lerner and Lowe WORKING, THE MUSICAL A CHRISTMAS CAROL, by Bedloe, Wood, & Shapcott AMAHL AND THE NIGHT VISTORS, by Gian-Carolo Menotti SWEENEY TODD, by Stephen Sondheim INTO THE WOODS, by Stephen Sondheim GUYS AND DOLLS, by Frank Loesser A LITTLE NIGHT MUSIC, by Stephen Sondheim COMPANY, by Stephen Sondheim 100 YEARS OF BROADWAY, A Musical Revue OKLAHOMA, by Rodgers
    [Show full text]