William Shakespeare's Richard Ii, Directed By
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Equity News Summer 2019
SUMMER 2019 | VOLUME 104 | ISSUE 3 ACTORS’ EQUITY ASSOCIATION Equity NEWS A CENTURY OF SOLIDARITY CELEBRATING THE 100TH ANNIVERSARY OF THE VERY FIRST EQUITY STRIKE EquityDIRECTORY EASTERN REGION WESTERN REGION BUSINESS THEATRE Kaitlyn Hoffman [email protected], x322 SPECIAL APPEARANCE, GUEST AND DINNER THEATRE ARTIST Philip Ring [email protected], x106 CABARET Kaitlyn Hoffman [email protected], x322 WITHIN LA - 99 SEAT Albert Geana-Bastare [email protected], x118 CASINO Doria Montfort [email protected], x334 TYA, STOCK, LOA TO COST & LOA TO WCLO Christa Jackson [email protected], x129 DINNER THEATRE Gary Dimon [email protected], x414 SPT, HAT Gwen Meno [email protected], x110 DINNER THEATRE ARTIST Austin Ruffer [email protected], x307 LORT Ethan Schwartz [email protected], x150 DISNEY WORLD Donna-Lynne Dalton [email protected], x604 Buckly Stephens [email protected], x602 LOA TO LORT Lyn Moon [email protected], x119 GUEST ARTIST Austin Ruffer [email protected], x307 CONTRACTS WITHIN NORTHERN CALIFORNIA Ethan Schwartz [email protected], x150 LABS/WORKSHOPS Corey Jenkins [email protected], x325 CONTRACTS WITHIN SOUTHERN CALIFORNIA Albert Geana-Bastare [email protected], x118 LOA-NYC Raymond Morales [email protected], x314 CONTRACTS WITHIN TEXAS & UTAH Christa Jackson [email protected], x129 LOA-PP Timmary Hammett [email protected], x376 Gary Dimon [email protected], x414 CONTRACTS -
Shakespeare for the 21 Century: a Vision for the Next 25 Years (Continued)
DRAFT SHAKESPEARE FOR THE 21ST CENTURY: THE NEXT 25 YEARS SETTING THE STAGE FOR THE FUTURE Advancing the Artistic Experience, Nurturing New Audiences & Sustaining the Shakespeare Theatre Company Shakespeare for the 21st Century: The Next 25 Years … Advancing the Artistic Experience, Nurturing New Audiences & Sustaining the Shakespeare Theatre Company Over our first 25 years, I am proud to say that the Shakespeare Theatre Company has helped to redefine classical theatre. Beyond the work of William Shakespeare, our definition – and mission – encompass the ancient Greek and Roman plays that inspired him, the works of his contemporaries and those who followed in his tradition, as well as those modern plays which, in our humble opinion, will become classics in the centuries to come. Classical theatre tells us about ourselves in a way that nothing else does, enriches our lives, helps us appreciate people unlike ourselves, makes us think and glories in the language that we speak. But without it going back into the schools and going to new generations of young people, it will be lost. It would be a terrible thing. I hope I don’t ever see that happen. Michael Kahn, reflecting on his 25 years as Artistic Director of the Shakespeare Theatre Company, April 2011 2 CONFIDENTIAL DRAFT: Friday, July 01, 2011 Shakespeare for the 21st Century: The Next 25 Years … Advancing the Artistic Experience, Nurturing New Audiences & Sustaining the Shakespeare Theatre Company Introduction Michael Kahn’s visionary leadership of the Shakespeare Theatre Company over the last 25 years has provided artistic experiences virtually unmatched anywhere else in America. -
Programming; Providing an Environment for the Growth and Education of Theatre Professionals, Audiences and the Community at Large
AUGUST 2013 Welcome to Welcome to Double Indemnity! It is our pleasure to welcome director John Gould Rubin to The Old Globe for the first time to helm this exciting production. The creative staff John has assembled to bring Double Indemnity to the stage represents a true A-list of great American designers. Both scenic designer Christopher Barreca and lighting designer Stephen Strawbridge are international superstars in their fields. Both have designed hundreds DOUG GATES of productions in every possible area of the Managing Director Michael G. Murphy and Artistic Director Barry Edelstein. American theatre: on Broadway, Off Broadway, in regional theatres, as well as in the worlds of opera and dance. Both head design departments at major universities: Chris at California Institute of the Arts and Stephen at Yale University, where they have a profound influence on the next generation of designers. Costume designer David Israel Reynoso has not only worked at theatres across the country, he recently won an OBIE Award for his work on Punchdrunk’s influential immersive piece Sleep No More. Plus, David now calls San Diego his home, which is a great boon to our local theatrical ecosystem. What’s more, this design team, which also includes Elizabeth Rhodes, Keith Skretch and Kwan-Fai Lam, isn’t an anomaly. The Globe has long been recognized as a national leader in stage design, and our technical artisans — the behind-the-scenes wizards who make those designs a reality — are cherished by the designers they support as among the finest in the American theatre. We are pleased to celebrate them and their achievements, which are so central to the Globe’s continuing success. -
Rachel Chavkin Takes on Broadway
Arts & Humanities High Art, High Ideals: Rachel Chavkin Takes on Broadway The Tony Award-winning director of Hadestown may be theater’s most forward- thinking artist. By Stuart Miller '90JRN | Fall 2019 Zack DeZon / Getty Images Making her way to the stage of Radio City Music Hall to accept the 2019 Tony Award for best direction of a musical, Rachel Chavkin ’08SOA was thinking about time. She had all of ninety seconds to get to the microphone and deliver her speech, which was written on a much-creased piece of paper folded in her hands. Seven months pregnant, Chavkin, thirty-eight, was not about to sprint. As she told Columbia Magazine days later, “I warned my husband: if they call my name, I won’t have time to hug you!” Hadestown, an enthralling, profoundly moving retelling of the myth of Orpheus and Eurydice, would, by night’s end, capture eight awards, including best original score and best musical. The accolades were not only hard won — Chavkin, a leading light of experimental theater, and Anaïs Mitchell, a singer-songwriter from Vermont, shaped and refined Hadestown for seven years — but also, some might say, overdue. In seventy-three years of the Tony Awards (named after Antoinette Perry, an actress, director, and theater advocate), Chavkin became just the fourth woman to win for best direction of a musical, joining Julie Taymor (The Lion King), Susan Stroman (The Producers), and Diane Paulus ’97SOA (Pippin). And in 2019, out of twelve new musicals on Broadway, Hadestown was the only one directed by a woman. The show, playing at the Walter Kerr Theatre on West 48th Street, is set mostly in a New Orleans–style barrelhouse at a time of economic and environmental decay. -
BOYD-QUINSON MAINSTAGE OCTOBER 4-22, 2017 SETTING New York, 1880'S CAST in ORDER of APPEARANCE
JULIANNE BOYD, ARTISTIC DIRECTOR AND Carla and Edward Slomin PRESENT BY Patrick Hamilton FEATURING Ali Rose Dachis Mark H. Dold Kevin O'Rourke Kim Stauffer Peggy Pharr Wilson SCENIC DESIGNER COSTUME DESIGNER LIGHTING DESIGNER SOUND DESIGNER Kate Noll Beth Goldenberg Scott Pinkney Joel Abbott HAIR & WIG DESIGNER PRODUCTION STAGE MANAGER CASTING Anne Ford-Coates Renée Lutz Pat McCorkle, Katja Zarolinski, CSA BERKSHIRE PRESS REPRESENTATIVE DIGITAL MARKETING NATIONAL PRESS REPRESENTATIVE Charlie Siedenburg The Pekoe Group Matt Ross Public Relations DIRECTED BY Louisa Proske SPONSORED IN PART BY Hildi and Walter Black & Esther and Dr. Robert Rosenthal Student matinees sponsored in part by the Dobbins Foundation & Susan and David Lombard STUDENT MATINEE TALKBACKS SPONSORED BY Price Chopper/Market 32 GASLIGHT is presented by special arrangement with SAMUEL FRENCH, INC. BOYD-QUINSON MAINSTAGE OCTOBER 4-22, 2017 SETTING New York, 1880's CAST IN ORDER OF APPEARANCE Mr. Manningham .................................................................................. Mark H. Dold* Mrs. Manningham ................................................................................. Kim Stauffer* Elizabeth .....................................................................................Peggy Pharr Wilson* Nancy ...............................................................................................Ali Rose Dachis* Rough ................................................................................................Kevin O'Rourke* STAFF Production -
SPIDER-MAN: a BUMPY RIDE on BROADWAY the Broadway Production of “Spider-Man: Turn Off the Dark” Suffered from Vast Expenses and Discord
FROM THE NEW YORK TIMES ARCHIVES SPIDER-MAN: A BUMPY RIDE ON BROADWAY The Broadway production of “Spider-Man: Turn Off the Dark” suffered from vast expenses and discord. (Sara Krulwich/The New York Times) TBook Collections Copyright © 2015 The New York Times Company. All rights reserved. Cover photograph by Sara Krulwich/The New York Times This ebook was created using Vook. All of the articles in this work originally appeared in The New York Times. eISBN: The New York Times Company New York, NY www.nytimes.com www.nytimes.com/tbooks Broadway’s ‘Spider-Man’ Spins A Start Date By PATRICK HEALY February 24, 2009 The widely anticipated new musical “Spider-Man, Turn Off the Dark,” with music and lyrics by Bono and the Edge and directed by Julie Taymor (“The Lion King”), took a big swing toward a Broadway debut on Tuesday: the producers announced that the show would begin previews on Jan. 16 at the Hilton Theater. The musical, produced by Hello Entertainment/David Garfinkle, Martin McCallum, Marvel Entertainment and Sony Pictures Entertainment, is to open on Feb. 18. Industry insiders have said its budget would be the largest in Broadway history, about $40 million; a spokesman for the show, Adrian Bryan-Brown, said on Tuesday that the producers would not comment on the dollar amount. ‘Spider-Man’ Musical Names 2 Of Its Stars June 27, 2009 Evan Rachel Wood will be Mary Jane Watson and Alan Cumming will star as Norman Osborn (a k a Green Goblin) in the upcoming Broadway musical “Spider-Man, Turn Off The Dark,” the producers announced on Friday. -
The Dog in the Manger by LOPE DE VEGA TRANSLATION and ADAPTATION by DAVID JOHNSTON DIRECTED by JONATHAN MUNBY
For Immediate Release Media Contact: Annie Hunt January 21, 2009 202.547.3230 ext. 2308 [email protected] SHAKESPEARE THEATRE COMPANY’S 2008-2009 SEASON CONTINUES WITH The Dog in the Manger BY LOPE DE VEGA TRANSLATION AND ADAPTATION BY DAVID JOHNSTON DIRECTED BY JONATHAN MUNBY WASHINGTON, D.C.—The Shakespeare Theatre Company continues its 2008-2009 season with Lope de Vega’s The Dog in the Manger directed by Jonathan Munby at the Lansburgh Theatre (450 7th Street NW) from February 10 to March 29, 2009. A master of Spain’s Golden Age, Lope de Vega explores love, fidelity and class with wry humor in The Dog in the Manger. The haughty countess Diana rejects her many aristocratic suitors only to fall in love with her handsome young secretary, Teodoro. To pursue this forbidden love, Diana must sabotage her suitors, deceive her friends and concoct ever-more elaborate schemes. Lope de Vega balances high tragedy and low comedy, examining the savage whims of the human heart. Munby directs a cast featuring Michelle Hurd as Diana, Michael Hayden as Teodoro, David Turner as Tristan, John Livingstone Rolle as Federico, Jonathan Hammond as Marquis Ricardo and David Sabin as Octavio and Ludovico. This production is part of Loving Lope a collaboration with the GALA Hispanic Theatre who is producing El mejor alcalde, el rey (The Best Judge, the King) also by Lope de Vega . “There is a strong sense that this play comes from the heart of Lope’s own experiences; he feels very close to this,” says Jonathan Munby. “What is clear is that his planets were in alignment, as it were, when he wrote The Dog in the Manger. -
Othello by WILLIAM SHAKESPEARE Directed by Michael Kahn Featuring Avery Brooks and Patrick Page
For Immediate Release: Press Contact: Liza Holtmeier August 1, 2005 202.608.6302 [email protected] SHAKESPEARE THEATRE COMPANY’S 2005-2006 SEASON OPENS WITH Othello BY WILLIAM SHAKESPEARE Directed by Michael Kahn Featuring Avery Brooks and Patrick Page WASHINGTON, D.C. – The Shakespeare Theatre Company opens its 2005-2006 season with Artistic Director Michael Kahn directing a production of Othello from August 30 to October 30, 2005. With poetry rivaling King Lear and with the psychological depth of Hamlet, Shakespeare’s Othello is a highly charged tale of jealousy, prejudice, revenge and the destruction of innocence. For the production, Kahn directs a cast that includes Avery Brooks as Othello, Patrick Page as Iago, Colleen Delany as Desdemona, Lise Bruneau as Emilia and Company Member David Sabin as Brabantio. Media partner The Washingtonian magazine provides promotional support throughout the run. Passed over for the position of Othello’s lieutenant, Iago begins to plot his revenge against the Moor. Believing his wife, Emilia, has been unfaithful with Othello, Iago plans to poison Othello’s marriage with jealousy. As Iago’s lies begin to take hold, Othello questions more and more the fidelity of his new bride, eventually destroying his once-happy marriage. “Othello is extraordinary in its psychological complexities, and I think it is a reduction of the play to say it is simply a study of jealousy,” says Michael Kahn. “It’s a study of a great man, the world around him and his destruction. And although the play deals with jealousy – and, to an even greater extent, obsession – it doesn’t start out as a play about jealousy. -
M4mprogram.Pdf
STC Board of Trustees Board of Trustees W. Mike House Emeritus Trustees Michael R. Klein, Chair Jerry J. Jasinowski R. Robert Linowes*, Robert E. Falb, Vice Chair Norman D. Jemal Founding Chairman John Hill, Treasurer Scott Kaufmann James B. Adler Pauline Schneider, Secretary Abbe D. Lowell Heidi L. Berry* Michael Kahn, Artistic Director Eleanor Merrill David A. Brody* Melissa A. Moss Melvin S. Cohen* Trustees Robert S. Osborne Ralph P. Davidson Nicholas W. Allard Stephen M. Ryan James F. Fitzpatrick Ashley M. Allen George P. Stamas Dr. Sidney Harman* Stephen E. Allis Bill Walton Lady Manning Anita M. Antenucci Lady Westmacott Kathleen Matthews Jeffrey D. Bauman Rob Wilder William F. McSweeny Afsaneh Beschloss Suzanne S. Youngkin V. Sue Molina Landon Butler Walter Pincus Dr. Paul Carter Ex-Officio Eden Rafshoon Chelsea Clinton Chris Jennings, Emily Malino Scheuer* Dr. Mark Epstein Managing Director Lady Sheinwald Andrew C. Florance Mrs. Louis Sullivan Miles Gilburne Daniel W. Toohey Barbara Harman Sarah Valente John R. Hauge Lady Wright Stephen A. Hopkins Lawrence A. Hough * Deceased 2 Dear Friend, Table of Contents Welcome to the first mainstage show of our 2013-2014 The Invention of Sex season, Measure for Measure. by Drew Lichtenberg 6 I am thrilled that Jonathan Title Page 9 Munby has returned to direct William Shakespeare’s About the Playwright 10 bracingly modern and human Synopsis 11 play after his excellent work on The Dog in the Manger here in 2009. By placing this story in a Cast 13 decadent 1930s Vienna, in an Austria on the brink Cast Biographies 14 of Fascist annexation, Jonathan brings enduring Direction and questions to the forefront of his production: Design Biographies 18 How do you reign in a society of excess while preserving justice? How far does the responsibility About STC 20 of our leadership extend into social life? What is Support 22 the role of government and religion in policing sexuality? All of these debates are very much alive For STC 30 in Washington, D.C. -
Theater Reviews
NYC’s #1 FREE DAILY www.metro.us 18 theater WEEKEND, JUNE 24-26, 2011 live on broadway Also playing RETROSPECTIVE: Fast on 44th St. ‘Phantom’ facts: ‘Baby ‘Phantom Opened in London in It’s You!’ 1986; came to N.Y. in 1988 Won 7 Tony Awards that A Jersey housewife dis- year, including Best covers girl group, the Musical Shirelles, in this Became the longest- female-empowerment running show in 2006, story of the ’60s. of the Opera’ surpassing ‘Cats’ Broadhurst Theatre Played more than 9,700 $49-$177 performances on www.babyits Broadway; 65,000 total youonbroadway.com How does Broadway’s longest-running musical hold up after 23 years? Grossed more than $5 ‘Memphis’ Moving love story and powerful music balance dated elements billion worldwide JOAN MARCUS In 1950s Memphis, he challenge of a while scenes change; sim- finding love in a show that’s been on- ple aural tricks and flicker- dance club is anything Tstage for nearly a ing lights are as spooky as but safe; this musical quarter-century is to high-tech craft. However, a is inspired by a remain relevant to audi- rejuvenation of energy and true story. ences who might have ac- vision wouldn’t hurt the Shubert Theatre tually first seen it as chil- play, lest it rest on its lau- $42-$252 dren and can now bring rels and retire before your www.memphis their own. “Phantom of the grandkids can attend. themusical.com Opera,” which debuted on the Great White Way in he crystal-clear, mas- ‘Rock of 1988, is now at the Majestic terfully commanded Theatre showing the same Tvocals required by Ages’ songs you may know from the leads (currently a time when the B-side of Sara Jean Ford as Christine Set on the Sunset your Michael Crawford and Hugh Panaro as the Strip in 1987, this mixtape played George Phantom), held against rock musical features Michael. -
Program from the Production
SHAKESPEARE THEATRE COMPANY Dear Friend, Table of Contents Welcome to STC’s Hero/ STC Board of Trustees Traitor Repertory, the first Coriolanus Title Page 5 installment in the Clarice Board of Trustees W. Mike House Emeritus Trustees Smith Repertory Series. Michael R. Klein, Chair Jerry J. Jasinowski R. Robert Linowes*, About the Playwright: Shakespeare 6 Robert E. Falb, Vice Chair Norman D. Jemal Founding Chairman William Shakespeare’s John Hill, Treasurer Jeffrey M. Kaplan James B. Adler Synopsis: Coriolanus 7 Coriolanus and Friedrich Pauline Schneider, Secretary Scott Kaufmann Heidi L. Berry* Michael Kahn, Artistic Director Abbe D. Lowell David A. Brody* Coriolanus Cast 9 Schiller’s Wallenstein Eleanor Merrill Melvin S. Cohen* share a stage because the title characters The Body Politic Trustees Melissa A. Moss Ralph P. Davidson share a dilemma: their power as charismatic Nicholas W. Allard Robert S. Osborne James F. Fitzpatrick by Drew Lichtenberg 10 Ashley M. Allen Stephen M. Ryan Dr. Sidney Harman* military leaders brings them into conflict with Stephen E. Allis George P. Stamas Lady Manning Wallenstein Title Page 11 the political world. In this North American Anita M. Antenucci Bill Walton Kathleen Matthews Jeffrey D. Bauman Lady Westmacott William F. McSweeny About the Playwright: Schiller 14 premiere of Schiller’s work, translated and Afsaneh Beschloss Rob Wilder V. Sue Molina freely adapted by former Poet Laureate Robert Landon Butler Suzanne S. Youngkin Walter Pincus Synopsis: Wallenstein 15 Pinsky, Wallenstein muses, “Once men have Dr. Paul Carter Eden Rafshoon Chelsea Clinton Ex-Officio Emily Malino Scheuer* Wallenstein Cast 17 climbed the heights of greatness…the world Dr. -
Program in Classical Acting
FEBRUARY 2014 WELCOME Welcome to a new year and a new lineup of plays at The Old Globe! As we look ahead to 2014, we also celebrate the end of a successful and groundbreaking year. In 2013, the Globe produced 14 shows, which earned a to- tal of 33 Craig Noel Award nominations. Two of those productions—Pygmalion, directed by Nicholas Martin, and Other Desert Cities, directed by Richard Seer— DOUG GATES had second lives at other regional theatres across the Managing Director Michael G. Murphy and Artistic Director Barry Edelstein. country, and another—A Gentleman’s Guide to Love and Murder, directed by Darko Tresnjak—is now running on Broadway. In 2013, we also marked the beginning of Artistic Director Barry Edelstein’s tenure at The Old Globe, and we are delighted to start 2014 with his Globe directorial debut. The Winter’s Tale brings together a mix of artists both new and familiar to the Globe. We’re pleased to have in the cast seven current students from The Old Globe/Uni- versity of San Diego M.F.A. Program in classical acting. Also among the actors, Globe audiences may recognize Billy Campbell (The Comedy of Errors, Much Ado About Nothing), Angel Desai (Double Indemnity), Paul Michael Valley (Beyond Thera- py), and Jordi Bertran (Dr. Seuss’ How the Grinch Stole Christmas!). We welcome the rest to the Globe for the first time. It’s a special honor to have renowned composer Michael Torke, a major name in contemporary classical music, making his Globe debut with this production. Along with an A-list design team, these gifted artists stylishly shepherd Shakespeare back onto the Globe stage after a dozen-year gap.