Catalog 225: Mostly Literary First Editions (With Some Random Additions)
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Directing and Assisting Credits American Theatre
917-854-2086 American and Canadian citizen Member of SSDC www.joelfroomkin.com [email protected] Directing and Assisting Credits American Theatre Artistic Director The New Huntington Theatre, Huntington Indiana. The Supper Club (upscale cabaret venue housing musical revues) Director/Creator Productions include: Welcome to the Sixties, Hooray For Hollywood, That’s Amore, Sounds of the Seventies, Hoosier Sons, Puttin’ On the Ritz, Jekyll and Hyde, Treasure Island, Good Golly Miss Dolly, A Christmas Carol, Singing’ The King, Fly Me to the Moon, One Hit Wonders, I’m a Believer, Totally Awesome Eighties, Blowing in the Wind and six annual Holiday revues. Director (Page on Stage one-man ‘radio drama’ series): Sleepy Hollow, Treasure Island, A Christmas Carol, Jekyll and Hyde, Dracula, Sherlock Holmes, Different Stages (320 seat MainStage) The Sound of Music (Director/Scenic & Projection Design) Moonlight and Magnolias (Director/Scenic Design) Les Misérables (Director/Co-Scenic and Projection Design) Productions Lord of the Flies (Director) Manchester University The Laramie Project (Director) Manchester University The Foreigner (Director) Manchester University Infliction of Cruelty (Director/Dramaturg) Fringe NYC, 2006 *Winner of Fringe 2006 Outstanding Excellence in Direction Award Thumbs, by Rupert Holmes (Director) Cape Playhouse, MA *Cast including Kathie Lee Gifford, Diana Canova (Broadway’s Company, They’re Playing our Song), Sean McCourt (Bat Boy), and Brad Bellamy The Fastest Woman Alive (Director) Theatre Row, NY *NY premiere of recently published play by Outer Critics Circle nominee, Karen Sunde *published Broadway Musicals of 1928 (Director) Town Hall, NYC *Cast including Tony-winner Bob Martin, Nancy Anderson, Max Von Essen, Lari White. -
Me and Orson Welles Press Kit Draft
presents ME AND ORSON WELLES Directed by Richard Linklater Based on the novel by Robert Kaplow Starring: Claire Danes, Zac Efron and Christian McKay www.meandorsonwelles.com.au National release date: July 29, 2010 Running time: 114 minutes Rating: PG PUBLICITY: Philippa Harris NIX Co t: 02 9211 6650 m: 0409 901 809 e: [email protected] (See last page for state publicity and materials contacts) Synopsis Based in real theatrical history, ME AND ORSON WELLES is a romantic coming‐of‐age story about teenage student Richard Samuels (ZAC EFRON) who lucks into a role in “Julius Caesar” as it’s being re‐imagined by a brilliant, impetuous young director named Orson Welles (impressive newcomer CHRISTIAN MCKAY) at his newly founded Mercury Theatre in New York City, 1937. The rollercoaster week leading up to opening night has Richard make his Broadway debut, find romance with an ambitious older woman (CLAIRE DANES) and eXperience the dark side of genius after daring to cross the brilliant and charismatic‐but‐ sometimes‐cruel Welles, all‐the‐while miXing with everyone from starlets to stagehands in behind‐the‐scenes adventures bound to change his life. All’s fair in love and theatre. Directed by Richard Linklater, the Oscar Nominated director of BEFORE SUNRISE and THE SCHOOL OF ROCK. PRODUCTION I NFORMATION Zac Efron, Ben Chaplin, Claire Danes, Zoe Kazan, Eddie Marsan, Christian McKay, Kelly Reilly and James Tupper lead a talented ensemble cast of stage and screen actors in the coming‐of‐age romantic drama ME AND ORSON WELLES. Oscar®‐nominated director Richard Linklater (“School of Rock”, “Before Sunset”) is at the helm of the CinemaNX and Detour Filmproduction, filmed in the Isle of Man, at Pinewood Studios, on various London locations and in New York City. -
Issue of Blake
BLAKE AN ILLUSTRATED QUARTERLY PBOCJLAllATION TIRED OF THE SPECTACLE OF SHORT STORIES, NOVELS, POEMS AND PLAYS STILL UNDER THE HEGEMONY OF THE BANAL WORD, MONO TONOUS SYNTAX, STATIC PSYCHOLOGY, DESCRIPTIVE NATURALISM, AND DESIROUS OF CRYSTALLIZING A VIEWPOINT ••• WE HEREBY DECLARE THAT : 1. THE REVOLUTION IN THE ENGLISH LANGUAGE IS AN AC COl\IPLISHED FA CT. 2. THE lllAGINATION IN SEARCH OF A FABULOUS WORLD IS AUTONOMOUS AND UNCONFINED. (Prudence is a rich, ugly old maid courted by Incapacity ... Blake) 3. PURE POETRY IS A LYRICAL ABSOLUTE THAT SEEKS AN A PRIORI BEAUTY WITHIN OURSELVES ALONE. (Bring oul number, weight and measure in a year of dearth ... ~lake) 4. NARRATIVE IS NOT .llERE ANECDOTE, BUT THE PROJEC TION OF A METAMORPHOSIS OF REALITY. (Enough I Or Too Much !... Blake) 6. THE EXPRESSION OF THESE CONCEPTS CL\lV BE ACHIEVED ONLY THROUGH THE RHYTHMIC " HALLUCINATION OF THE WORD ". (Rimbaud). 6. THE LITERARY CREATOR HAS THE RIGHT TO DISINTE GRATE THE PRIMAL llA'ITER OF WORDS IMPOSED ON HDI BY TEXT-BOOKS A.~D DICTIONARIES. (The road of excess leads to the palace of Wisdom ... Blake) 7. HE HAS THE RIGHT TO USE WORDS OF HIS OWN FASH IO~NG AND TO DISREGARD EXISTJNG GRAMMATICAL AND SYNTACTICAL LAWS. (The tigers of wrath are wiser lhan the horses of inslruclion ... Blake) 8. THE" LITANY OF WORDS" IS ADMI'ITED AS AN INDEPEN DE~T lJ-:\TIT. 9. WE ARE NOT CONCERNED WITH THE PROPAGATION OF SOCIOLOGICAL IDEAS, EXCEPT TO Ei\IANCJPATE THE CREATIVE El,E..\lEi"VTS FROl\I THE PRESENT IDEOLOGY. 10. TL\IE IS A TYRANNY TO BE ABOLISHED. -
The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters
04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBORAH F. RUTTER , President CONCERT HALL Monday Evening, April 4, 2016, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters GARY BURTON WENDY OXENHORN PHAROAH SANDERS ARCHIE SHEPP Jason Moran is the Kennedy Center’s Artistic Director for Jazz. WPFW 89.3 FM is a media partner of Kennedy Center Jazz. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 2 2016 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, pianist and Kennedy Center artistic director for jazz With remarks from JANE CHU, chairman of the NEA DEBORAH F. RUTTER, president of the Kennedy Center THE 2016 NEA JAZZ MASTERS Performances by NEA JAZZ MASTERS: CHICK COREA, piano JIMMY HEATH, saxophone RANDY WESTON, piano SPECIAL GUESTS AMBROSE AKINMUSIRE, trumpeter LAKECIA BENJAMIN, saxophonist BILLY HARPER, saxophonist STEFON HARRIS, vibraphonist JUSTIN KAUFLIN, pianist RUDRESH MAHANTHAPPA, saxophonist PEDRITO MARTINEZ, percussionist JASON MORAN, pianist DAVID MURRAY, saxophonist LINDA OH, bassist KARRIEM RIGGINS, drummer and DJ ROSWELL RUDD, trombonist CATHERINE RUSSELL, vocalist 04-04 NEA Jazz Master Tribute_WPAS -
JUKEBOX JAZZ by Ian Muldoon* ______
JUKEBOX JAZZ by Ian Muldoon* ____________________________________________________ n 1955 Bill Haley’s Rock Around the Clock was the first rock and roll record to become number one on the hit parade. It had made a stunning introduction in I the opening moments to a film called Blackboard Jungle. But at that time my favourite record was one by Lionel Hampton. I was not alone. Me and my three jazz loving friends couldn’t be bothered spending hard-earned cash on rock and roll records. Our quartet consisted of clarinet, drums, bass and vocal. Robert (nickname Orgy) was learning clarinet; Malcolm (Slim) was going to learn drums (which in due course he did under the guidance of Gordon LeCornu, a percussionist and drummer in the days when Sydney still had a thriving show scene); Dave (Bebop) loved the bass; and I was the vocalist a la Joe (Bebop) Lane. We were four of 120 RAAF apprentices undergoing three years boarding school training at Wagga Wagga RAAF Base from 1955-1957. Of course, we never performed together but we dreamt of doing so and luckily, dreaming was not contrary to RAAF regulations. Wearing an official RAAF beret in the style of Thelonious Monk or Dizzy Gillespie, however, was. Thelonious Monk wearing his beret the way Dave (Bebop) wore his… PHOTO CREDIT WILLIAM P GOTTLIEB _________________________________________________________ *Ian Muldoon has been a jazz enthusiast since, as a child, he heard his aunt play Fats Waller and Duke Ellington on the household piano. At around ten years of age he was given a windup record player and a modest supply of steel needles, on which he played his record collection, consisting of two 78s, one featuring Dizzy Gillespie and the other Fats Waller. -
The Relevance of Tennessee Williams for the 21St- Century Actress
Ouachita Baptist University Scholarly Commons @ Ouachita Honors Theses Carl Goodson Honors Program 2009 Then & Now: The Relevance of Tennessee Williams for the 21st- Century Actress Marcie Danae Bealer Ouachita Baptist University Follow this and additional works at: https://scholarlycommons.obu.edu/honors_theses Part of the American Film Studies Commons, and the Theatre and Performance Studies Commons Recommended Citation Bealer, Marcie Danae, "Then & Now: The Relevance of Tennessee Williams for the 21st- Century Actress" (2009). Honors Theses. 24. https://scholarlycommons.obu.edu/honors_theses/24 This Thesis is brought to you for free and open access by the Carl Goodson Honors Program at Scholarly Commons @ Ouachita. It has been accepted for inclusion in Honors Theses by an authorized administrator of Scholarly Commons @ Ouachita. For more information, please contact [email protected]. Then & Now: The Relevance of Tennessee Williams for the 21st- Century Actress Marcie Danae Bealer Honors Thesis Ouachita Baptist University Spring 2009 Bealer 2 Finding a place to begin, discussing the role Tennessee Williams has played in the American Theatre is a daunting task. As a playwright Williams has "sustained dramatic power," which allow him to continue to be a large part of American Theatre, from small theatre groups to actor's workshops across the country. Williams holds a central location in the history of American Theatre (Roudane 1). Williams's impact is evidenced in that "there is no actress on earth who will not testify that Williams created the best women characters in the modem theatre" (Benedict, par 1). According to Gore Vidal, "it is widely believed that since Tennessee Williams liked to have sex with men (true), he hated women (untrue); as a result his women characters are thought to be malicious creatures, designed to subvert and destroy godly straightness" (Benedict, par. -
The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters
4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBoRAh F. RUTTER, President CONCERT HALL Monday Evening, April 16, 2018, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters TODD BARKAN JOANNE BRACKEEN PAT METHENY DIANNE REEVES Jason Moran is the Kennedy Center Artistic Director for Jazz. This performance will be livestreamed online, and will be broadcast on Sirius XM Satellite Radio and WPFW 89.3 FM. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 AM Page 2 THE 2018 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, Kennedy Center Artistic Director for Jazz With remarks from JANE CHU, Chairman of the National Endowment for the Arts DEBORAH F. RUTTER, President of the John F. Kennedy Center for the Performing Arts The 2018 NEA JAzz MASTERS Performances by NEA Jazz Master Eddie Palmieri and the Eddie Palmieri Sextet John Benitez Camilo Molina-Gaetán Jonathan Powell Ivan Renta Vicente “Little Johnny” Rivero Terri Lyne Carrington Nir Felder Sullivan Fortner James Francies Pasquale Grasso Gilad Hekselman Angélique Kidjo Christian McBride Camila Meza Cécile McLorin Salvant Antonio Sanchez Helen Sung Dan Wilson 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 -
Christopher Plummer
Christopher Plummer "An actor should be a mystery," Christopher Plummer Introduction ........................................................................................ 3 Biography ................................................................................................................................. 4 Christopher Plummer and Elaine Taylor ............................................................................. 18 Christopher Plummer quotes ............................................................................................... 20 Filmography ........................................................................................................................... 32 Theatre .................................................................................................................................... 72 Christopher Plummer playing Shakespeare ....................................................................... 84 Awards and Honors ............................................................................................................... 95 Christopher Plummer Introduction Christopher Plummer, CC (born December 13, 1929) is a Canadian theatre, film and television actor and writer of his memoir In "Spite of Myself" (2008) In a career that spans over five decades and includes substantial roles in film, television, and theatre, Plummer is perhaps best known for the role of Captain Georg von Trapp in The Sound of Music. His most recent film roles include the Disney–Pixar 2009 film Up as Charles Muntz, -
Productions in Ontario 2013
SHOT IN ONTARIO 2013 Feature Films – Theatrical A DAUGHTER’S REVENGE Company Name: NB Thrilling Films 5 Inc. Producer: Don Osborne Exec. Producers: Pierre David, Tom Berry, Neil Bregman Director: Curtis Crawford Production Manager: Don Osborne D.O.P.: Bill St. John Key Cast: Elizabeth Gillies, Cynthia Stephenson, William Moses Shooting Dates: Nov 30 – Dec 12/13 A FIGHTING MAN Company: Rollercoaster Entertainment Producers: Gary Howsam, Bill Marks Exec. Producer: Jeff Sackman Line Producer: Maribeth Daley Director: Damian Lee Production Manager: Anthony Pangalos D.O.P.: Bobby Shore Key Cast: Famke Janssen, Dominic Purcell, James Caan, Kim Coates, Michael Ironside, Adam Beach, Louis Gossett Jr., Sheila McCarthy Shooting Dates: Apr 15 – May 15/13 A MASKED SAINT Company: P23 Entertainment Producers: Cliff McDowell, David Anselmo Director: Warren Sonoda Line Producer/Production Manager: Justin Kelly D.O.P.: James Griffith Key Cast: Brett Granstaff, Lara Jean Chorostecki, Diahann Carroll Shooting Dates: Nov 4 – Nov 22/13 BEST MAN HOLIDAY Company: Blackmailed Productions / Universal Pictures Producer: Sean Daniel Exec. Producer: Preston L. Holmes Director: Malcolm Lee Production Manager: Dennis Chapman D.O.P.: Greg Gardiner Key Cast: Terrence Howard, Morris Chestnut, Sanaa Lathan, Nia Long, Taye Diggs Shooting Dates: Apr 8 - May 22/13 BERKSHIRE COUNTY Company: Narrow Edge Productions Producer: Bruno Marino Exec. Producers: Tony Wosk, David Miller Director: Audrey Cummings Production Manager: Paul Roberts D.O.P.: Michael Jari Davidson Key Cast: Alysa King, Madison Ferguson, Cristophe Gallander, Samora Smallwood, Bart Rochon, Aaron Chartrand Shooting Dates: Apr 4 - May 16/13 December 2013 1 SHOT IN ONTARIO 2013 BIG NEWS FROM GRAND ROCK Company: Markham Street Films Producer: Judy Holm, Michael McNamara Director: Daniel Perlmutter Production Manager: Sarah Jackson D.O.P.: Samy Inayeh Key Cast: Aaron Ashmore, Kristin Booth, Art Hindle, Ennis Esmer Shooting Dates: Sep 30 – Oct 24/13 BLUR Company: Black Cat Entertainment Producer: Bruno Marino Exec. -
Green Panels in the Ivory Towers
Panels in the Ivory Towers By Karen Green Friday November 6, 2009 09:00:00 am Our columnists are independent writers who choose subjects and write without editorial input from comiXology. The opinions expressed are the columnist's, and do not represent the opinion of comiXology. Last month, the eye, the arts magazine section of the Columbia Spectator (Columbia University's student paper since 1877), published an article on the graphic novels collection in Butler Library. The reporter—a tall, lanky, and enthusiastic fellow named Tommy Hill— interviewed Ben Katchor, Columbia professor Richard Bulliet, and me. It's a terrific piece of writing, engaging and thoughtful; you can read ithere. I was pretty chuffed when the piece came out, not least because it was so much better written even than I'd hoped (despite a sporadic use of "illustrator" for "artist" that may irk some). The true source of my delight, however, was in the approach the article had taken. When the article appeared in the eye, I had sent the link to a variety of family, friends and acquaintances, some in the comics biz, and one industry professional had replied, "Pow sock comics aren't for kids anymore!" At first I thought this was a gently humorous jab, but I eventually realized that this person had dismissed the article as yet another mainstream- press piece that marveled, "Golly gosh, look what's happened to comics; they're all grown 1 up!" Lord knows there are a lot of these CAFKA articles out there (hat tip for the acronym coinage to The Beat and its commenters), mostly written by people who are still stuck in some kind of Frederic Wertham mindlock, assuming that all comics are read by budding juvenile delinquents, even comics that win National Book Awards or special Pulitzer Prizes. -
RCA Victor VDM 100 Series Spoken Word Series
RCA Discography Part 52 - By David Edwards, Mike Callahan, and Patrice Eyries. © 2018 by Mike Callahan RCA Victor VDM 100 Series Spoken Word Series VDM 100 – Othello – Laurence Olivier [1964] Four record set. VDM 101 – The Kennedy Wit – John F. Kennedy [1964] Introduction/The 1960 Campaign/The Press Conferences/The Presidency/The Family VDM 102 – Alec Guinness, A Personal Choice – Alec Guinness [1965] Sweet Spring Is Your, When Faces Called Flowers Float Out The Ground, O The Sun Comes, The Moon Looked Into My Window (E.E. Cummings)/Façade: I Do Like To Be Beside The Seaside, Polka (E. Sitwell)/Tarantella (H. Belloc)/Romance (W.J. Turner)/Through Nightmare (R. Graves)/Strange Meeting (Wilfred Owen)/Hearing Of Harvest, Rotting In The Valley (W.H. Auden)/Clerk Saunders (Anonymous)/King John And The Abbot Of Canterbury (Anonymous)/Henry VI, Part 3, Act II, Scene 5: Soliloquy (Shakespeare)/A Toccata Of Galuppi's (R. Browning)/Serviette In A Lovely Home (O. Nash)/Spectator Ab Extra (A.H. Clough)/Night (W. Blake)/The Leaden Echo And The Golden Echo (G.M. Hopkins) VDM 103 – Profiles in Courage – Edward M. Kennedy [1965] VDM/VDS 104 - Much Ado About Nothing (Original London Cast) – National Theatre of Great Britain [1965] VDM/VDS 105 – That Day with God, Nov. 24, 1963 – Henry Fonda [1964] VDM/VDS 106 – Program of Poems by Edith Sitwell – John Gielgud and Irene Worth [1966] Colonel Fantock/On The Vanity Of Human Aspirations/The Sleeping Beauty: No.8/Eurydice/Still Falls In The Rain/Dirge For The New Sunrise/Heart And Mind/Poems From "Facade"/I -
Descargar Documento Asociado
Filmoteca de Andalucía Sala Val Del Omar Programación JUN 2019 ciclo MIÉ VIE RObERT ALDRICH 05 20:30 07 18:00 El gran cuchillo Robert Aldrich. EEUU. 1955. 111 min. byN. v.o.s.e. El beso mortal (Kiss Me Deadly, 1955), el film-noir definitivo de la paranoia atómica y de la era McCarthy. Cineasta de «una disciplina y una autoridad extraordinarias» y con una fuerte vocación independiente, su sexto largome - traje significó la primera producción de su compañía, Associates & Aldrich — Attack! (1956), ¿Qué fue de Baby Jane? (What Ever Happened to Baby Jane, 1962), Canción de cuna para un cadáver (Hush, Hush, Sweet Charlotte, 1964), La banda de los Grissom (The Grissom Gang, 1971)…—. Para ello el realizador no pudo elegir un material más comprometido: The Big Knife, una obra escrita en 1949 por el dramaturgo Clifford Odets, que le había servido a su autor para reponerse comercialmente de los fracasos de sus dos piezas anteriores: Night Music (1940) y Clash by Night (1941), por un lado, y, por el otro, para saldar cuentas con la industria del cine tras una experiencia traumática como guionista.[2] No resulta difícil imaginar los motivos por los que el cineasta, alguien al que «le son hasta tal punto propios tanto sus temas como su puesta en escena FICHA TÉCNICA pasional»[3], eligió adaptar la obra de Odets. Su afán discursivo, su mirada Título original: The Big Knife. crítica sobre la sociedad y las instituciones norteamericanas, entroncan a la Título español: El gran cuchillo. perfección con la dramaturgia del autor de Waiting for Lefty (1935) y Awake Nacionalidad: EEUU.