2019 Sarasota Program a Message from the President
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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..................................................................................................... -
Guide2019-20 20 Sea
MEMBERGUIDE 2019-2020 SEASON WELCOME TO OUR 2019-2020 SEASON AT CSC! The 2019-2020 Season is fast approaching and we're so thrilled to have you join us! We want you to take advantage of all your membership benefits, so please read through this membership guide to learn more about your Ticket Benefits, our Production Season, the exapanded Classic Rewards program, and how to book your tickets. This season we will be expanding our Talkback Series, continuing our Classic Conversations and rolling out new perks, so make sure to check your inbox for our exclusive member e-newsletter, to be the first to know! Please note this season we will booking member tickets on a show by show basis. One of our newest perks, and to enhance your experience, is the new Member Show Guide, which you will receive prior to each booking period. If you have any questions, please call us at 212-677-4210 ext 11 or [email protected]. We look forward to seeing you at the theater this season! Graham Shelton Audience Services Manager YOUR BENEFITS ALL MEMBERSHIPS INCLUDE*: · Priority seating and booking period · No-fee exchange privileges (72 hour notice preferred) · Access to our Classic Rewards Program · An exclusive monthly member e-newsletter · Direct Members Services hotline - 212.677.4210 x11 MEMBERSHIP TICKETING DETAILS: CSC 4-PLAY MEMBERSHIP includes one ticket to each production, per membership, for a total of four (4) tickets CSC PAY-AS-YOU-GO MEMBERSHIP includes access to purchase up to one (1) $52 ticket to each production, per membership CSC FUTURE CLASSIC MEMBERSHIP includes access to purchase up to two (2) $35 tickets per production, per membership (second ticket may be used by a patron of any age), valid ID required at member ticket pickup. -
Michael John Lachiusa's STORIES of AMERICA
LARGE PRINT PROGRAM ThE ALLEN ROOM JAZZ AT LINCOLN CENTER’S fREdERICk P. ROSE hALL LincoLn center presents AmericAn songbook JAnuAry 22 – June 12, 2014 sponsored by prudential investment management Saturday Evening, February 1, 2014, at 8:30 hEARTbREAk COuNTRy: MIChAEL JOhN LAChIuSA’S STORIES Of AMERICA with kate baldwin, Sherry d. boone, Marc kudisch, bryce Ryness, Andrew Samonsky, Emily Skinner, and Mary Testa mary-mitchell campbell, Musical Director and Piano David gardos, Piano PLEASE TuRN PAGES quIETLy (program continued) 2 steven Lyon, Reeds Laura bontrager, Cello marc schmied, Bass Damien bassman, Drums Jack cummings iii, Conception and Director This evening’s program is approximately 75 minutes long and will be performed without intermission. major support for Lincoln center’s American songbook is provided by Fisher brothers, in memory of richard L. Fisher; and Amy & Joseph perella. Wine generously donated by William Hill estate Winery, official Wine of Lincoln center. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. steinway piano please make certain your cellular phone, pager, or watch alarm is switched off. 3 Lincoln Center’s Large Print and braille programs are made possible thanks to a generous endowment established by frederick P. Rose, daniel Rose, and Elihu Rose in honor of their mother, belle b. Rose. Additional support for Lincoln center’s American songbook is provided by the brown Foundation, inc., of Houston, the Dubose and Dorothy Heyward memorial Fund, the shubert Foundation, Jill and irwin cohen, the g & A Foundation, inc., great performers circle, chairman’s council, and Friends of Lincoln center. -
Experiments in Sound and Electronic Music in Koenig Books Isbn 978-3-86560-706-5 Early 20Th Century Russia · Andrey Smirnov
SOUND IN Z Russia, 1917 — a time of complex political upheaval that resulted in the demise of the Russian monarchy and seemingly offered great prospects for a new dawn of art and science. Inspired by revolutionary ideas, artists and enthusiasts developed innumerable musical and audio inventions, instruments and ideas often long ahead of their time – a culture that was to be SOUND IN Z cut off in its prime as it collided with the totalitarian state of the 1930s. Smirnov’s account of the period offers an engaging introduction to some of the key figures and their work, including Arseny Avraamov’s open-air performance of 1922 featuring the Caspian flotilla, artillery guns, hydroplanes and all the town’s factory sirens; Solomon Nikritin’s Projection Theatre; Alexei Gastev, the polymath who coined the term ‘bio-mechanics’; pioneering film maker Dziga Vertov, director of the Laboratory of Hearing and the Symphony of Noises; and Vladimir Popov, ANDREY SMIRNO the pioneer of Noise and inventor of Sound Machines. Shedding new light on better-known figures such as Leon Theremin (inventor of the world’s first electronic musical instrument, the Theremin), the publication also investigates the work of a number of pioneers of electronic sound tracks using ‘graphical sound’ techniques, such as Mikhail Tsekhanovsky, Nikolai Voinov, Evgeny Sholpo and Boris Yankovsky. From V eavesdropping on pianists to the 23-string electric guitar, microtonal music to the story of the man imprisoned for pentatonic research, Noise Orchestras to Machine Worshippers, Sound in Z documents an extraordinary and largely forgotten chapter in the history of music and audio technology. -
Education & Resource Guide
Education & Resource Guide Journey to the past THE NEW BROADWAY MUSICAL Journey to the past THE NEW BROADWAY MUSICAL ABOUT THE MUSICAL SECTION • Synopsis 3 1 • Meet the Characters 4 THE CREATIVE PROCESS • About the Creators 5 • Activity: Lyric Writing 7 • A Backstage Look: SECTION • The Life of a Costume 9 2 • Activity: Costume Creation 14 • The Opera Drop 15 THE ROMANOVS • The Romanov Family Tree 16 • The Romanov Family 17 • Grand Palace Balls 19 • Activity: Choreograph the Ball 20 SECTION • Activity: Create Your Own Family Tree 21 3 • Activity: Adapting a Legend 22 • Activity: Home Memory Collage 23 ABOUT RUSSIA • Russsia and World War I 24 • The Russian Revolution of 1917 25 SECTION • Russian Protests – February 1917 26 • Activity: Gleb Character Analysis 28 4 • Activity: Missing Scene 29 30 • Activity: Social Status Walk 1920S CULTURE 31 SECTION • Cultural Figures in the 1920s 34 5 • Activity: A Parisian Salon ANASTASIABROADWAY.COM 2 Section 1: About the Musical Synopsis NICOLE SCIMECA AND MARY BETH PEIL, ANASTASIA, Hartford Stage SAINT When the Dowager Empress Maria Fyodorovna Romanov gives her beloved granddaughter Anastasia a music box, she has no idea it is the last time she will see PETERSBURG, her. As the musical ANASTASIA begins, Russia is on the verge of revolution. Time jumps from 1907 to 1927, and Anastasia’s family, the imperial Romanovs, fall victim to the tide of history. When the Dowager Empress receives the news that they have 1907 been put to death, she believes she has lost her entire family. Russia is now frmly under the Bolshevik Communists’ rule, but the winters are still SAINT cold, the people are still hungry, and rumors have begun to surface that one Romanov PETERSBURG, daughter might have survived. -
Michael John Lachiusa's Stories of America
02-01 La Chiusa_GP 1/24/14 11:23 AM Page 1 Sponsored by Prudential Investment Management Saturday Evening, February 1, 2014, at 8:30 Heartbreak Country: Michael John LaChiusa’s Stories of America with Kate Baldwin, Sherry D. Boone, Marc Kudisch, Bryce Ryness, Andrew Samonsky, Emily Skinner, and Mary Testa Mary-Mitchell Campbell , Musical Director and Piano David Gardos , Piano Steven Lyon , Reeds Laura Bontrager , Cello Marc Schmied , Bass Damien Bassman , Drums Jack Cummings III , Conception and Director This evening’s program is approximately 75 minutes long and will be performed without intermission. Major support for Lincoln Center’s American Songbook is provided by Fisher Brothers, In Memory of Richard L. Fisher; and Amy & Joseph Perella. Wine generously donated by William Hill Estate Winery, Official Wine of Lincoln Center. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Steinway Piano Please make certain your cellular phone, The Allen Room pager, or watch alarm is switched off. Jazz at Lincoln Center’s Frederick P. Rose Hall 02-01 La Chiusa_GP 1/24/14 11:23 AM Page 2 Lincoln Center Additional support for Lincoln Center’s American Upcoming American Songbook Events Songbook is provided by The Brown Foundation, Inc., in The Allen Room : of Houston, The DuBose and Dorothy Heyward Memorial Fund, The Shubert Foundation, Jill and Wednesday Evening, February 12, at 8:30 Irwin Cohen, The G & A Foundation, Inc., Great Sarah Jarosz & The Milk Carton Kids Performers Circle, Chairman’s Council, and Friends (limited availability) of Lincoln Center. Thursday Evening, February 13, at 8:30 Endowment support is provided by Bank of America. -
Theremin and Matryomin
City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Fall 1-5-2018 Electronic Rhapsody: Theremin and Matryomin Kayoko Nakamura CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/261 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Electronic Rhapsody: Theremin and Matryomin by Kayoko Nakamura Submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts, Integrated Media Arts, Hunter College The City University of New York 2017 Thesis Sponsor: December 16, 2017 Michael Gitlin Date Signature December 16, 2017 Andrew Demirjian Date Signature of Second Reader Abstract Electronic Rhapsody: Theremin and Matryomin is a short length documentary film, which explores two magical musical instruments: the Theremin and the Matryomin. Both instruments represent innovations in the history of electronic music since they are played without physical touch. Players wave their hand or fingers in the air and, as a result, a characteristic sound is produced. The unusual, haunting sounds produced by the Theremin and the Matryomin attracted players and audiences, gradually creating a musical community around the world. The film depicts the world of these unique musical instruments, their inventors and performers who make up this community. The Theremin was first invented in St. Petersburg, Russia, in 1920, by a Russian physicist, Lev Sergeyevich Teremin (1896-1993), known as Leon Theremin in the West. -
Caging the Animal 1
Caging the Animal 1 Caging the Animal: An Unfortunate History of the Theremin Jason MacKinnon University of Saskatchewan [email protected] Presented at the International Conference on the Liberal Arts September 30th – October 1st, 2010 at St. Thomas University, Fredericton, New Brunswick. MacKinnon, 2010 Caging the Animal 2 Abstract: The Theremin was an electronic instrument invented by Leo Theremin in 1920. It was a genuinely unique instrument, built without consideration to contemporary musical standards. Its innovative potential was quickly ended, however, as the Theremin was contorted to fit within conventional western musical practice. Using the Theremin, this case study will demonstrate how western musical conventions arise from habitual consumption. Biography: Jason Lee MacKinnon is currently enrolled in the combined B. Mus/B. Ed program at the University of Saskatchewan, studying Tuba under Donald Schmidt. He has performed with the Saskatchewan Symphony Orchestra and is currently the principal Tubist of the University of Saskatchewan Wind Orchestra. He has performed internationally at the University of North Texas and as a guest of the Texas Music Educators Association in 2005. He has also been involved with an inter-disciplinary presentation for “The Visions of Murray Adaskin” Conference that was held at the University of Saskatchewan in 2007. MacKinnon, 2010 Caging the Animal 3 Caging the Animal: An Unfortunate History of the Theremin Music is a concept that exists within the phenomenon of sound. This concept is constructed through various cultural means that reproduce selected aural phenomena; these selected phenomena being labelled Music. As cultures and the means to produce sound change, so does the concept of Music. -
Instrumental Vibrato: an Annotated Bibliography Of
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ASU Digital Repository Instrumental Vibrato: An Annotated Bibliography of Historical Writings Before 1940 by Timothy Verville A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved March 2012 by the Graduate Supervisory Committee: Timothy Russell, Chair Jere T. Humphreys Robert Oldani William Reber Catalin Rotaru ARIZONA STATE UNIVERSITY MAY 2012 ©2012 Timothy David Verville All Rights Reserved ABSTRACT The use of instrumental vibrato in certain periods of classical music performances has become a highly debated and often fiery topic. The scholars of yesterday had only a few sources with which to gain a better understanding of the definition, mechanics, employment, and prevalent attitudes of those coming before them. This project aims to develop the foundation to a better understanding of instrumental vibrato by compiling primary source material written before 1940 and secondary source material relevant to that period into an annotated bibliography. The source materials in this study were mainly comprised of treatises, tutors, method books, newspaper articles, and dictionaries. The instruments covered in this study included the violin family and relatives (viols, etc…), woodwinds (including recorder), members of the brass family, organ, other keyboard instruments, guitar/banjo/lute, theremin, and prototype/niche instruments (such as player pianos). This project investigated 309 historical documents, finding 258 contained writings about instrumental vibrato. Of those, 157 were presented as bibliographic annotations. The author found no consensus at any time in the history of Western art music between 1550-1940 that vibrato is wholly acceptable or wholly unacceptable. -
Read the Road Show Program
NEW YORK CITY CENTER AT THE CENTER OF THE ARTS FOR 75 YEARS Arlene Shuler, President & CEO Anne Kauffman Jeanine Tesori Chris Fenwick Encores! Off-Center Artistic Director Encores! Off-Center Creative Advisor Encores! Off-Center Music Director NEW YORK CITY CENTER Encores! Off-Center Music and Lyrics by Stephen Sondheim Book by John Weidman Orchestrations by Jonathan Tunick Featuring Chuck Cooper Raúl Esparza Jin Ha Mary Beth Peil Brandon Uranowitz Brandon Contreras Rheaume Crenshaw Daniel J. Edwards Marina Kondo Jay Lusteck Liz McCartney Matt Moisey Shereen Pimentel Sharone Sayegh Vishal Vaidya Scenic Designer Costume Designer Lighting Designer Sound Designer Donyale Werle Clint Ramos Mark Barton Leon Rothenberg Music Coordinator Production Stage Manager Seymour Red Press Cynthia Cahill Casting by Laura Stanczyk, CSA Music Director James Moore Directed and Choreographed by Will Davis Originally commissioned by the John F. Kennedy Center for the Performing Arts. Bounce, an earlier version of this play, was originally produced by the Goodman Theatre, Chicago, Illinois on June 30, 2003 (Robert Falls, Artistic Director; Roche Schulfer, Executive Director). Off-Broadway premiere of Road Show by the Public Theater in 2008 (Oskar Eustis, Artistic Director; Andrew D. Hamingson, Executive Director). Leadership Support for Encores! Off-Center is provided by Stacey and Eric Mindich Fund for Musical Theater Major Support is provided by Ford Foundation Series Sponsors Stacy Bash-Polley • Luigi Caiola and Sean McGill • Elizabeth and Dean Kehler • -
Announcing the 2020 Lotte Lenya Competition Semi-Finalists
FOR IMMEDIATE RELEASE Media contact: Brady Sansone ([email protected]) Announcing the 2020 Lotte Lenya Competition Semi-Finalists Twenty-eight performers selected to compete for a chance to win top prizes of $20,000, $15,000, and $10,000; total prizes to exceed $75,000; a star-studded panel of musical theatre, opera, and Kurt Weill experts to adjudicate the semi-finals and finals. NEW YORK (February 11, 2020) — Kim H. Kowalke, President and CEO of the Kurt Weill Foundation, is pleased to announce the semi-finalists for the 2020 Lotte Lenya Competition. Michael Aiello (USA, 32) Elena Howard-Scott (Canada, 23) Gan-ya Ben-gur Akselrod (Israel, 32) Stephanie Jabre (USA, 30) David Anderson (USA, 24) Gemma Nha (Australia, 19) Zarah Brock (USA, 26) Marie Oppert (France, 22) Anighya Crocker (USA, 20) Teresa Perrotta (USA, 24) Michael Day (USA, 28) Christine Price (USA, 28) Darren Drone (USA, 30) Lauren Senden (USA, 19) Kaden Forsberg (Canada, 28) Emma Sorenson (USA, 28) Crystal Glenn (USA, 27) Meg Supina (USA, 30) Dylan Glenn (USA, 26) Tabea Tatan (Germany, 32) Rivers Hawkins (USA, 30) Sophie Thompson (USA, 24) Jonathan Heller (USA, 25) Jeremy Weiss (USA, 27) Michael Hewitt (USA, 29) Ronald Wilbur (USA, 29) Jonah Hoskins (USA, 23) Andy Zimmermann (USA, 30) In addition to the semi-finalists, seven applicants received Emerging Talent Awards with a cash prize of $500 each: Melanie Dubil (USA, 22), Emily Holguin (USA, 22), Kassondra Kardos (Canada, 22), Nicole Maridan (USA, 21), Sophia Spivey (USA, 22), Kodiak Thompson (USA, 20), and Katie Yeomans (USA, 19). The recipient of the Grace Keagy Award for Outstanding Vocal Promise in the amount of $500 is Sydney Clarke (Canada, 26). -
Kurt Weill Newsletter 32.1
REVIEWS Performances explain her feelings for Macheath to his henchmen doesn’t pack The Threepenny Opera nearly as much wallop as when she sings the number to her par- ents, no matter how expert the performance. Sally Murphy scored in “Pirate Jenny” and literally backed Atlantic Theater Company herself into a corner for “Solomon Song” (whose last stanza was sung first, for no apparent reason). New York To make Lucy Brown more notice- able, Clarke gave her “Ballad of the Premiere: 7 April 2014 Drowned Girl,” from Berliner Requi- em, which Lilli Cooper delivered sol- Just because a show has a half-cur- idly. Yes, it was irrelevant both to Lucy tain doesn’t mean it has to be half- and the plot, but it granted her some hearted. emotional depth and introduced her to Martha Clarke’s production the audience before her jail scene with of the Blitzstein adaptation of The Macheath and Polly. (While many Lu- Threepenny Opera at Atlantic The- cys have implied that they’re pregnant, ater Company delivered some of the Clarke had her well into her second sexual goods while avoiding the far trimester.) more important aspects of crime, What? Beautiful voices in Three- poverty, and the underworld. Clarke penny? Weill and Brecht cast good ac- turned out to be more interested in The Street Singer (John Kelly), Mrs. Peachum (Mary Beth Peil), Mac heath tors who could also sing; they would (Michael Park) and Polly (Laura Osnes) in the opening sequence. sex than danger. GARCIA THOMAS KEVIN PHOTO: have been pleased with F.