ST. GERMAIN STAGE JUNE 14–30, 2019 PLACE in a Secured Theatrical Venue Near You and Its Backstage Area

Total Page:16

File Type:pdf, Size:1020Kb

ST. GERMAIN STAGE JUNE 14–30, 2019 PLACE in a Secured Theatrical Venue Near You and Its Backstage Area AND Bonnie and Terry Burman PRESENT BY Stacey Rose GRAND PRIZE WINNER OF BSC'S BONNIE & TERRY BURMAN NEW PLAY AWARD FEATURING Ansa Akyea Jordan Barrow Kalyne Coleman Peterson Townsend Peggy Pharr Wilson SCENIC DESIGNER COSTUME DESIGNER LIGHTING DESIGNER SOUND DESIGNER Jack Magaw Ntokozo Fuzunina Kunene Cha See Luqman Brown DRAMATURG PRODUCTION STAGE MANAGER CASTING Otis Cortez Ramsey-Zöe Geoff Boronda Pat McCorkle, Katja Zarolinski, CSA BERKSHIRE PRESS REPRESENTATIVE NATIONAL PRESS REPRESENTATIVE DIGITAL ADVERTISING Charlie Siedenburg Matt Ross Public Relations The Pekoe Group CHOREOGRAPHED BY Kevin Boseman DIRECTED BY Logan Vaughn SPONSORED IN PART BY Audrey and Ralph Friedner & Claudia Perles Community Outreach Tickets and Talk Backs Underwritten by Greylock Federal Credit Union America v. 2.1 was developed in the 2015 The Dramatist Guild Fellows program and the 2018 Sundance Theatre Lab. It had its first public reading in 2017 at The Fire This Time Festival. ST. GERMAIN STAGE JUNE 14–30, 2019 PLACE In a secured theatrical venue near you and its backstage area. TIME The not too distant future. CAST Donavan ..................................................................................................... Ansa Akyea* Grant .....................................................................................................Jordan Barrow* Leigh .................................................................................................. Kalyne Coleman* Jeffery ........................................................................................... Peterson Townsend* The Voice ....................................................................................... Peggy Pharr Wilson* STAFF Production Stage Manager ......................................................................Geoff Boronda* Stage Management Interns ............................................Ashton Pickering, Lindsey Walko Master Electrician/Light Board Operator ................................................. Joey Rainone IV Sound Engineer ..............................................................................................TJ O’Leary Wardrobe Supervisor .............................................................................Gwendolyn Kunz SPECIAL THANKS Douglas Seldin, Alyssa Anderson Kunz, Ken Cerniglia, Natasha Sinha, Mark St. Germain † *Actors and Stage Manager are members of Actors’ Equity Association. CAST ANSA AKYEA (Donavan) BSC Debut. Regional Credits include: Guthrie Theater: Cyrano De Bergerac (Rageneau), Clybourne Park (Albert/Kevin), To Kill a Mockingbird (Tom Robinson), A Christmas Carol (Christmas Present), Harvey (EJ Lofgren); Ten Thousand Things: Othello (Othello), Pericles (Pericles); Children's Theater Company: Shrek (Donkey); Old Globe/CTC: The Lorax (Daddy Onceler); Park Square: Cardboard Piano (Soldier/Paul); Mixed Blood: Elaborate Entrance of Chad Deity (Chad Deity), How to Use a Knife (Steve), Take Me Out (David Battle). Film/TV Credits: House of Tomorrow, Into Temptation, Memorial Day, Kid West, In an Instant (ABC). Merci Dieu, Seena, mes enfants, famille Akyea. @ansaakyea JORDAN BARROW (Grant) BSC debut. Jordan was last seen as Ronny in the west coast premiere of Witness Uganda. Prior to that, he created the role of Themba in the world premiere Maltby & Shire musical, Sousatzka, in Toronto. TV: Pose (FX) and Broad City (Comedy Central). Off Broadway: The Tempest (Public Theater's Shakespeare in the Park) and Held Momentarily (NY Fringe Encore Series). Regional: Peter Pan and The Miracle Worker (Paper Mill Playhouse), Finian's Rainbow (Music Theatre of Wichita), and Hairspray (Charleston Stage). Training: BFA in Musical Theatre from the University of Michigan, The Royal Academy of Dramatic Art. Thanks to family, friends, and the Abrams team. @JordanT_B 2 KALYNE COLEMAN (Leigh) BSC debut. Kalyne is from Richmond, Virginia and is a proud member of the Brown/Trinity MFA in Acting program’s Class of 2020 and University of Pennsylvania alum. Credits include — Trinity Rep: Nella Pea, Black Odyssey. Rites and Reason: Young Fannie Lou/Myrlie Evers, A Seat at the Table. Shakespeare Academy at Stratford: Lady Anne, Richard III & Rosaline, Love’s Labour’s Lost. 4A, UPenn: Beneatha, Raisin in the Sun & Latisha, The Story. Brown Trinity: Brutus, Julius Caesar; Selector, How We Got On; Henrietta, Last Days of Judas Iscariot; and upcoming, Gabriela in References to Salvador Dali: Make Me Hot. She sends gratitude and joy to her family and friends for their love and support. @kalynecoleman PETERSON TOWNSEND (Jeffery) BSC debut. Past credits include: Antigone (Haemon) at Baltimore Center Stage; Ms. Bennett: Christmas at Pemberley (Charles Bingley) at St. Louis Rep; Satchel Paige & the KC Swing (Art Young) at Cincinnati Playhouse/St. Louis Rep; A Raisin in the Sun (George Murchison), Cinderella (Prince Sebastian), History Boys (Crowther), Our Town (George Gibbs) at the Arden Theatre; Twelfth Night (Sebastian) at Chicago Shakespeare Theater; Romeo et Juliet, Samson et Dalila, Adriana Lecouvreur at the Met Opera. TV/Film credits: Twelve, Law & Order SVU/CI/ Prime, The Code, The Good Fight, Elementary, Madame Secretary, FBI, Gossip Girl. PEGGY PHARR WILSON (The Voice) BSC: Gaslight, His Girl Friday, Guys and Dolls, The Crucible, To Kill A Mockingbird, Carousel, Laramie Project: 10 Years Later, 10x10 Festival (all 8 years!); BAT: Doubt; Shakes & Co: Leap Year; New York: Six Women with Brain Death (co-author, and performed it also in Chicago, Dallas & Kansas City). Regional: 10 seasons with Creede Repertory Theatre in Colorado performing over 50 roles, including Mrs. Lovett in Sweeney Todd (Best Actress, Ovation Award Denver Post), Shirley Valentine, Moon for the Misbegotten and 3 Viewings. Many regional including: Dallas Theatre Center, Theatre 3, Kansas City Rep, Unicorn, KC Lyric Opera, White River in Vermont and Rose Theatre in Chicago. CREATIVES STACEY ROSE (Playwright) is a proud Black woman, daughter, sibling and mom. Her work celebrates and explores Blackness, Black identity, Black history, body politics and the dilemma of life as "other." Stacey's work has been presented at: The Fire This Time Festival, The Lark, The Amoralists Theatre Company, Rattlestick Playwrights Theater, National Black Theatre and Pillsbury House Theatre. Stacey has held fellowships/residencies with The Dramatists Guild, The Playwrights' Center, Sundance Theatre Lab and The Goodman Theatre. Stacey's play Legacy Land, developed at The Playwrights' Center, will have a world premiere at KC Rep in February 2020. OTIS CORTEZ RAMSEY-ZÖE (Dramaturg) recently served as Dramaturg for Klytemnestra: An Epic Slam Poem (Theater Alliance), Song For the Genius Child — Young Basquiat (John F. Kennedy Center), Legacy Land (The Playwrights’ Center), In the Southern Breeze (Alabama Shakespeare Festival), America v. 2.1 and All the Natalie Portmans (Sundance Institute Theatre Lab) and 3 Hooded or Being Black for Dummies (Mosaic Theater Company). He is a Series Editor for NoPassport Press’ Dreaming the Americas Series and was a Lecturer of Theatre Arts at Howard University, Associate Artistic Director at banished? productions, and Future Classics Program Coordinator at The Classical Theatre of Harlem. KEVIN BOSEMAN (Choreographer) is a former principal dancer with the Alvin Ailey American Dance Theater and member of the Martha Graham Dance Company. Theatrical credits include Broadway: Equus; Broadway National Tours: The Lion King, The Color Purple and Shrek the Musical; Off Broadway: Accidentally, Like a Martyr; Regional: Ragtime (Kennedy Center) and A Chorus Line (Paper Mill Playhouse); Concerts: Once On This Island and The Music Man. He most recently choreographed a concert presentation of Tony Award winner Jason Michael Webb and Lelund Durond Thompson’s new musical WiLDFLOWER, a co-production between National Black Theatre and The Apollo, directed by Logan Vaughn. LOGAN VAUGHN† (Director) is a New York-based Artist and Director. Logan was Playwrights Horizon's Director in Residence 2012–2013. In 2012 Logan was also named a Member of the Director's Lab, Lincoln Center. As a Director, she has worked with The Public Theater, MCC Theater, Kansas City Rep Theatre, Geva Theatre, Playwright's Center, Playwrights Realm, Mosaic Theatre, 59E59, National Black Theatre and NYU Tisch School of the Arts. Her work in film includes assisting the Academy Award-winning producing team behind Precious and Monster's Ball as well as serving as head of casting for several award-winning independents. Logan most recently directed the New York premiere of Loy Webb's The Light at MCC Theater, for which she received an Outer Critics Circle nomination for Best Direction of a Play. This production is dedicated to all the black and brown bodies throughout American history that have been misplaced, silenced or forgotten. "This was a war for the possession of his body and that would be the war of his whole life." Ta-Nehisi Coates LUQMAN BROWN (Sound Designer) designed What Are You (Globe Theater), The Corpse Washer, How to Defend Yourself and We’ve Come to Believe and created original music for Everybody Black, all for the 2019 Humana Festival. His regional theatre credits include: Detroit ’67 (The Juilliard School), Skeleton Crew (TheatreSquared), The Three Musketeers (Classical Theatre of Harlem), The Elaborate Entrance of Chad Deity (Asolo Repertory Theatre), Sense & Sensibility (Cape Fear Regional Theatre), The Parchman Hour (Guthrie Theater) and Adoration of the Old Woman (INTAR Theatre).
Recommended publications
  • Masterarbeit / Master's Thesis
    MASTERARBEIT / MASTER’S THESIS Titel der Masterarbeit / Title of the Master’s Thesis “Paranoia in Tony Kushner’s Angels in America and ​ ​ Arthur Miller’s The Crucible” ​ ​ verfasst von / submitted by Dott. Marta Palandri angestrebter akademischer Grad / in partial fulfilment of the requirements for the degree of Master of Arts (MA) Wien 2018 / Vienna 2018 Studienkennzahl lt. Studienblatt / A 066 844 degree programme code as it appears on the student record sheet: Studienrichtung lt. Studienblatt / Anglophone Literatures and Cultures degree programme as it appears on the student record sheet: Betreut von / Supervisor: Univ.-Prof. Mag. Dr. Alexandra GANSER Table of Contents Introduction 3 Methodology 5 The Plays: Angels in America and The Crucible 6 ​ ​ ​ Arthur Miller’s The Crucible in Context 6 ​ ​ Tony Kushner’s Angels in America in Context 9 ​ ​ Theory 11 New Historicism 11 The Fear of the Other 12 Binary Oppositions 13 Analysis and Theory Application 14 How Does Paranoia Affect Culture? 14 Paranoia and Identity 14 Paranoia and Fear 15 Paranoia in Postwar America 16 Mass Hysteria, Witch Hunts, and Scapegoating in The Crucible 18 ​ A Dual Historical Context 18 Scapegoating 25 Monsters 30 The Role of Guilt 32 The Myth of Witchcraft 34 Conclusion 35 Psychosis, Symbolism, and Apocalypse in Angels in America 36 ​ Historical Context through the Eyes of the Other 36 The Approach of the Millennium 37 Apocalyptic Narratives 41 Binary Oppositions 42 Symbolism and Apocalyptic Visions 44 Psychosis 46 Apocalyptic Otherness 47 Change and Stasis
    [Show full text]
  • The Cutting Edge, March/April 2010, Vol. 21 Issue 2
    Marshall University Marshall Digital Scholar The Cutting Edge The Society of American Fight Directors 4-2010 The Cutting Edge, March/April 2010, Vol. 21 Issue 2 The Society of American Fight Directors Follow this and additional works at: https://mds.marshall.edu/cutting Part of the Acting Commons, Other Theatre and Performance Studies Commons, Performance Studies Commons, and the Theatre History Commons Recommended Citation The Society of American Fight Directors, "The Cutting Edge, March/April 2010, Vol. 21 Issue 2" (2010). The Cutting Edge. 89. https://mds.marshall.edu/cutting/89 This Newsletter is brought to you for free and open access by the The Society of American Fight Directors at Marshall Digital Scholar. It has been accepted for inclusion in The Cutting Edge by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. March/April 2010, Volume XXI, Issue 2 Introducing Our New Regional Representatives The staff of The Cutting Edge would like to welcome three new regional HEY, YOU! representatives to the SAFD. Danette GO TO MY WORKSHOP! Baker will be taking over for Mike Speck in the Middle America region, Travis Sims will be taking over for Robert Hamilton in the THEN GO TO THIS OTHER WORK­ Pacific West region, and Matthew Ellis will SHOP! be taking over for Ann Chandler Harlan in the South West region. A D THE BUY SOME RAFFLE TICKETS! Thanks to Ann, Mike and Robert for their years of service! Your commitment to the betterment of the SAFD and this publication is appreciated and valued beyond words.
    [Show full text]
  • The Theory of Relativity
    Theory of Relativity | 11 Cast | 12 Songs and Scenes | 12 Who’s Who | 13 Authors’ Notes | 19 About Goodspeed Musicals | 25 History of The Norma Terris Theatre | 27 The Goodspeed Opera House Foundation | 29 Corporate Support | 30 Foundation & Government Support | 30 Looking to the Future | 31 Goodspeed Musicals Staff | 34 For Your Information | 44 Audio and video recording and photography are prohibited in the theatre. Please turn off your cell phone, beeper, watch alarm or anything else that might make a distracting noise during the GMS2 performance. Unwrap any candies, cough drops, or mints before the performance begins to avoid disturbing your fellow audience members or the actors on stage. We appreciate your cooperation. Editor Lori A. Cartwright ADVERTISING OnStage Publications 937-424-0529 | 866-503-1966 e-mail: [email protected] www.onstagepublications.com This program is published in association with OnStage Publications, 1612 Prosser Avenue, Kettering, OH 45409. This program may not be reproduced in whole or in part without written permission from the publisher. JBI Publishing is a division of OnStage Publications, Inc. Contents © 2015. All rights reserved. Printed in the U.S.A. 2 GOODSPEED MUSICALS | 2015 SEASON Theory of Relativity | 11 Cast | 12 Songs and Scenes | 12 Who’s Who | 13 Authors’ Notes | 19 About Goodspeed Musicals | 25 History of The Norma Terris Theatre | 27 The Goodspeed Opera House Foundation | 29 Corporate Support | 30 Foundation & Government Support | 30 Looking to the Future | 31 Goodspeed Musicals Staff | 34 For Your Information | 44 Audio and video recording and photography are prohibited in the theatre. Please turn off your cell phone, beeper, watch alarm or anything else that might make a distracting noise during the GMS2 performance.
    [Show full text]
  • A National Tradition
    Baseball A National Tradition. by Phyllis McIntosh. “As American as baseball and apple pie” is a phrase Americans use to describe any ultimate symbol of life and culture in the United States. Baseball, long dubbed the national pastime, is such a symbol. It is first and foremost a beloved game played at some level in virtually every American town, on dusty sandlots and in gleaming billion-dollar stadiums. But it is also a cultural phenom- enon that has provided a host of colorful characters and cherished traditions. Most Americans can sing at least a few lines of the song “Take Me Out to the Ball Game.” Generations of children have collected baseball cards with players’ pictures and statistics, the most valuable of which are now worth several million dollars. More than any other sport, baseball has reflected the best and worst of American society. Today, it also mirrors the nation’s increasing diversity, as countries that have embraced America’s favorite sport now send some of their best players to compete in the “big leagues” in the United States. Baseball is played on a Baseball’s Origins: after hitting a ball with a stick. Imported diamond-shaped field, a to the New World, these games evolved configuration set by the rules Truth and Tall Tale. for the game that were into American baseball. established in 1845. In the early days of baseball, it seemed Just a few years ago, a researcher dis- fitting that the national pastime had origi- covered what is believed to be the first nated on home soil.
    [Show full text]
  • EMILIE La Marquise Du Châtelet Defends Her Life at the Petit Théâtre at Cirey Tonight
    45th Season • 435th Production JULIANNE ARGYROS STAGE / APRIL 19 - MAY 10, 2009 David Emmes Martin Benson PRODUCING ARTISTIC DIRECTOR ARTISTIC DIRECTOR presents the World Premiere of EMILIE La Marquise Du Châtelet Defends Her Life at the Petit Théâtre at Cirey Tonight BY Lauren Gunderson Cameron Anderson Nephelie Andonyadis Lonnie Rafael Alcaraz Vincent Olivieri ScENIc DESIGN cOSTUME DESIGN LIGhTING DESIGN ORIGINAL MUSIc & SOUND DESIGN Gabriela Estrada Kelly L. Miller Joshua Marchesi Jennifer Ellen Butler* MOVEMENT DIREcTOR DRAMATURG PRODUcTION MANAGER STAGE MANAGER DIRECTED BY David Emmes Bette & Wylie Aitken, hONORARY PRODUcERS EMILIE—LA MARQUISE DU CHÂTELET DEFENDS HER LIFE AT THE PETIT THÉÂTRE AT CIREY TONIGHT was commissioned by South Coast Repertory with a grant from the Elizabeth George Foundation and workshopped in the 2008 Pacific Playwrights Festival. Emilie • So u t h Co a S t Re p e R t o R y CAST OF CHARACTERS (In order of appearance) Emilie ................................................................................................... Natacha Roi* Voltaire .................................................................................................... Don Reilly* Soubrette ......................................................................................... Rebecca Mozo* Madam ............................................................................................. Susan Denaker* Gentleman ............................................................................. Matthew Humphreys* LENGTH Approximately
    [Show full text]
  • Annual Report Fiscal Year 2021
    Annual Report Fiscal Year 2021 Sara Porkalob in Dragon Mama. Produced by American Repertory Theater in 2019, virtually released in 2020. Photo by Gretjen Helene. Founded over forty years ago, Theatre Forward fosters collaboration between America’s prominent regional theatres, connects them to funding and resources on a national level, and advocates for the arts in America. The Theatre Forward cohort comprises a network of 19 leading theatres in as many separate cities, providing an efficient conduit for funders to support important cultural institutions and their communities on a national level. 505 Eighth Avenue, Suite 2504 | New York, NY 10018 | T. 212 750 6895 | www.theatreforward.org TO THEATRE FORWARD FUNDERS At this writing it has been fifteen months since the COVID-19 pandemic forced theatres across the country to close. We imagined it would be a period of weeks, or perhaps a few months, before normal operations would resume. As time passed and the severity of the pandemic became more apparent, theatre executives courageously faced the unavoidable and made difficult but necessary decisions to downsize and, in many cases, to cut salaries for remaining staff, and take programs and fundraising events online. During this dark period, Theatre Forward and its valued partner-donors remained committed to providing funds for general operating support, workforce stabilization, education programs, and the advancement of equity, diversity and inclusion (EDI) within the theatres and their communities. In May of 2020, Theatre Forward was proud to administer a $1 million COVID-19 relief grant program on behalf of the Hearst Foundations. And in the fiscal year ending June 30, 2021, grants and donations from individuals, corporations and foundations made it possible for Theatre Forward to distribute $870,000 to its member theatres.
    [Show full text]
  • The Little Foxes Program
    THE LITTLE FOXES 2016/17 SEASON We are deeply saddened by the recent passing of Zelda Fichandler, Arena Stage’s co-founder and first Artistic Director. She was 91. Zelda was an extraordinary woman and brilliant theater professional who transformed American theater with her vision and artistry. From Artistic Director Molly Smith: Zelda is the mother of us all in the American theater. It was her thinking as a seminal artist and architect of the not-for-profit resident theater that imagined resident theaters creating brilliant theater in our own communities. A revolutionary idea. Her thinking and her writing have forged the way we were created and the resident nature of our movement. She is irreplaceable but lives on in every single not-for-profit theater in America — now over 1,500 strong. Her legacy stretches from coast to coast. Arthur Miller wrote in the preface to Arena’s 40th anniversary keepsake book (The Arena Adventure) that Arena had the makings of a national theater for the U.S. Without Zelda and Margo Jones and Nina Vance there would not be this robust American theater landscape. So, it was a vision like Zelda’s that could lead to a time where our vision at Arena for American work can thrive. She had a remarkable openness to new ideas and most of all, to always, always support the artist. Our thoughts and prayers go out to her family and friends who knew her best. The Lillian Hellman Festival is dedicated to the memory of Zelda Fichandler. 2 2016/17 SEASON Remembering Zelda Fichandler1924 - 2016 Celebrate the Life of Zelda Fichandler The Words of a Visionary The Molly Smith Study Sunday, October 23 2:00 PM - 7:00 PM Public Memorial Service The Fichandler Monday, October 24 2:00 PM - 4:00 PM VISIT ARENASTAGE.ORG/ZELDA FOR MORE INFORMATION.
    [Show full text]
  • IN the NEXT ROOM Or the Vibrator Play
    47th Season • 447th Production JULIANNE ARGYROS STAGE / SEPTEMBER 26 - OCTOBER 17, 2010 David Emmes Martin Benson PRODUCING aRTISTIC DIRECTOR aRTISTIC DIRECTOR presents IN THE NEXT ROOM or the vibrator play BY Sarah Ruhl John Arnone David Kay Mickelsen Daniel Ionazzi Jim Ragland SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN ORIGINaL MUSIC/SOUND DESIGN Philip D. Thompson Jackie S. Hill Kathryn Davies* DIaLECT COaCH PRODUCTION MaNaGER STaGE MaNaGER DIRECTED BY Casey Stangl Jean and Tim Weiss HONORaRY PRODUCERS Original Broadway Production by Lincoln Center Theater, New York City, 2009. IN THE NEXT ROOM or the vibrator play was originally commissioned and produced by Berkeley Repertory Theatre, Berkeley, CA, Tony Taccone, Artistic Director/Susan Medak, Managing Director. IN THE NEXT ROOM or the vibrator play was developed at New Dramatists. IN THE NEXT ROOM or the vibrator play is presented by special arrangement with SAMUEL FRENCH, INC. In the Next Room • SOUTH COAST REPERTORY P1 CAST OF CHARACTERS (In order of appearance) Catherine Givings .......................................................................... Kathleen Early* Dr. Givings ...................................................................................... Andrew Borba* Annie ...................................................................................................... Libby West* Sabrina Daldry ................................................................................. Rebecca Mozo* Mr. Daldry ..........................................................................................
    [Show full text]
  • Sophocles' Elektra
    DATE: August 12, 2010 FOR IMMEDIATE RELEASE ABOUT THE COMPANY Sophocles' Elektra Thursdays, Fridays, Saturdays, September 9—October 2, 2010 Carey Perloff (Director) Carey Perloff is celebrating her nineteenth season as artistic director of Tony Award-winning American Conservatory Theater (A.C.T.) in San Francisco, where she is known for directing innovative productions of classics, championing new writing for the theater, and creating international collaborations with such artists as Robert Wilson and Tom Stoppard. Before joining A.C.T., Perloff was artistic director of Classic Stage Company (CSC) in New York. She is a recipient of France’s Chevalier de l’Ordre des Arts et des Lettres and the National Corporate Theatre Fund’s 2007 Artistic Achievement Award. Perloff received a B.A. Phi Beta Kappa in classics and comparative literature from Stanford University and was a Fulbright fellow at the University of Oxford. She has taught at the Tisch School of the Arts at New York University and in the Master of Fine Arts Program in Acting at A.C.T., in addition to authoring numerous plays. This is Perloff’s second encounter with Sophocles’ Elektra, having directed the world premiere of Ezra Pound’s version of the play at CSC in 1988. Timberlake Wertenbaker (Translator/Adaptor) Timberlake Wertenbaker is an acclaimed playwright who grew up in the Basque Country in southwest France. Plays include The Grace of Mary Traverse (Royal Court Theatre); Our Country's Good (Royal Court Theatre and Broadway), which won the Laurence Olivier Play of the Year
    [Show full text]
  • HELENA from the WEDDING Directed by Joseph Infantolino
    HELENA FROM THE WEDDING Directed by Joseph Infantolino “Absorbing...deftly written and acted!” -- Jonathan Rosenbaum USA | 2010 | Comedy-Drama | In English | 89 min. | 16x9 | Dolby Digital Film Movement Press Contact: Claire Weingarten | 109 W. 27th Street, Suite 9B | New York, NY 10001 tel: (212) 941-7744 x 208 | fax: (212) 941-7812 | [email protected] Film Movement Theatrical Contact: Rebeca Conget | 109 W. 27th Street, Suite 9B | New York, NY 10001 tel: (212) 941-7744 x 213 | fax: (212) 941-7812 | [email protected] 1 SYNOPSIS Newlyweds Alex (Lee Tergesen) and Alice (Melanie Lynskey) Javal are hosting a weekend-long New Year’s Eve party for their closest friends at a remote cabin in the mountains. They expect Alex’s best friend Nick (Paul Fitzgerald), newly separated from his wife, to show up at the cabin with his girlfriend Lola. Alex and Nick’s childhood friend Don (Dominic Fumasa) is also set to arrive with his wife-of-many-years Lynn (Jessica Hecht), as are Alice’s pregnant friend Eve (Dagmara Dominczyk) and her husband Steven (Corey Stoll) Any thoughts of a perfect weekend are quickly thrown out the window as Nick arrives with only a cooler of meat and the news that he and Lola have recently called it quits. Don and Lynn show up a few minutes later deep in an argument. Finally, Eve and Steven make it to the cabin with a surprise guest in tow—Eve’s friend Helena, who was a bridesmaid with Alice at Eve’s wedding. With tensions running high at the cabin, Alex tries to approach the young and beautiful Helena.
    [Show full text]
  • Ritual in the “Church of Baseball”: Suppressing the Discourse of Democracy After 9/11 Michael L
    Communication and Critical/Cultural Studies Vol. 2, No. 2, June 2005, pp. 107–129 Ritual in the “Church of Baseball”: Suppressing the Discourse of Democracy after 9/11 Michael L. Butterworth Baseball was among the most prominent American institutions to respond to the terrorist attacks of September 11, 2001. Tributes at ballparks across the country promised comfort to millions in shock but soon developed into rituals of victimization that affirmed the Bush administration’s politics of war, discouraged the expression of dissenting opinions, and burdened the nation with yet another disincentive to reflect constructively on its response to terrorism. This essay views the aftermath of 9/11 as a quasi-religious social drama in which ballpark tributes became a ritualized vehicle for a belligerent patriotism that sought unity at the expense of democratic discourse. Keywords: Baseball; Democracy; Patriotism; War on Terrorism; Rituals of Victimization On October 12, 2003, the Chicago Cubs and Florida Marlins played in the fifth game of baseball’s National League Championship Series. Thousands of Chicago fans, hoping to see their team end a 58-year World Series drought, made their way to Miami’s Pro Player Stadium and provided loyal and raucous support for the visiting Cubs. When the game reached the seventh-inning stretch, Cubs fans enthusiastically began singing “Take Me Out to the Ballgame,” but they were quickly silenced by the stadium’s public address system and the remaining fans who belted out “God Bless America” instead. One fan in a Cubs hat and jersey lamented, “Come on, it’s a baseball game!” Only after the public display of patriotism had subsided were Cubs fans able to perform their song.1 Michael L.
    [Show full text]
  • Olympus on My Mind
    Artistic Director Bruce Miller Managing Director Phil Whiteway in association with “MURRAY THE FURRIER” OLYMPUS ON MY MIND Originial Production Book and Lyrics by Music by Directed by BARRY GRANT BARRY HARMAN STURIALE HARMAN Originially presented by Harve Brosten and Mainstage Productions, Ltd. STAGE MANAGEMENT Kristy Bell COSTUME DESIGN LIGHT DESIGN SET COORDINATION Sarah Grady K. Jenna Ferree Chase Kniffen MUSIC DIRECTION Jason Marks DIRECTION & CHOREOGRAPHY K Strong SPONSORS CAST The Chorus Tom Tyler D. Wilson Dick Paul S. Major Horace Dan Cimo Delores Maggie Roop JupiterRichardTravis MercuryMoscatiArden Charis Mary Anne Furey S ara SommersAlcmeneSara Sosia Scott Wichmann* Amphitryon George Spelvin FOR THIS PRODUCTION Cover Art Illustration Robert Meganck Accompaniment Creation Jason Marks Deck Crew Maggie Peterson Light Board Operator Kristy Bell Sound Engineer Zach Baumann SETTING The ancient Greek city of Thebes during the course of a 41-hour day. There will be one 15-minute intermission between acts. * Member of Actors’ Equity Association, the union of professional actors and stage managers in the U.S.A. SONGS ACT ONE Welcome to Greece Chorus Heaven on Earth Jupiter, Alcmene, and Chorus The Gods on Tap Delores, Jupiter, Mercury, and Chorus Surprise! Sosia Love--What a Concept Jupiter and Mercury Wait ‘Til It Dawns Mercury, Chorus I Know My Wife Amphitryon It Was Me Sosia Back So Soon? Amphitryon, Sosia, and Chorus Wonderful Alcmene At Liberty in Thebes Charis and Chorus Jupiter Slept Here Entire Company ACT TWO Back to the Play Chorus Something of Yourself Mercury General’s Pandemonium Amphitryon, Jupiter, Sosia, and Chorus Heaven on Earth (Reprise) Sosia and Charis Olympus is a Lonely Town Jupiter A Star is Born Delores and Company Final Sequence Entire Company Heaven on Earth (Reprise) Jupiter and Alcmene ABOUT THE MYTHOLOGY The legend of Amphitryon, which chronicles the birth of Hercules, has been used as source material by dramatists down through the ages.
    [Show full text]