TROUBLE in MIND 2021.Indd

Total Page:16

File Type:pdf, Size:1020Kb

TROUBLE in MIND 2021.Indd THETROUBLE DEVIL’S IN DISCIPLE MIND 2021 Ensemble ARTISTIC DIRECTOR Tim Carroll EXECUTIVE DIRECTOR Tim Jennings ASSOCIATE ARTISTIC DIRECTOR Kimberley Rampersad DIRECTORS Philip Akin • Molly Atkinson • Tim Carroll • Craig Hall • Kate Hennig • Eda Holmes • Kimberley Rampersad MUSIC DIRECTORS / COMPOSERS / SOUND DESIGNERS Ryan deSouza • John Gzowski • John Lott • Paul Sportelli • Claudio Vena CHOREOGRAPHY / MOVEMENT / PUPPETRY / FIGHT DIRECTION Julio Fuentes • Alexandra Montagnese • Allison Plamondon • John Stead DIALECT CONSULTANT Alicia Richardson DESIGNERS Judith Bowden • Rachel Forbes • Gillian Gallow • Michael Gianfrancesco • Christine Lohre • Hanne Loosen • Ken MacKenzie • Joyce Padua • Ming Wong LIGHTING DESIGNERS Nick Andison • Louise Guinand • Mikael Kangas • Kevin Lamotte • Michelle Ramsay PROJECTION DESIGNER Cameron Davis STAGE MANAGEMENT Beatrice Campbell • Katie Fitz-Gerald • Ashley Ireland • Amy Jewell • Diane Konkin • Meredith Macdonald • Leigh McClymont • Annie McWhinnie • Théa Pel • Ken James Stewart • Allan Teichman • Dora Tomassi MUSICIANS David Atkinson • Andy Ballantyne • Erica Beston • Sasha Boychouk • Alex Grant • Tom Jestadt • Nancy Kershaw • Jason Logue • Ross MacIntyre • Shawn Moody • Christine Passmore • Anna Redekop • Tom Skublics • Rob Somerville THE ENSEMBLE Kaleb Alexander • David Alan Anderson • Damien GBS, BY MAX BEERBOHM. Atkins • Neil Barclay • Kristopher Bowman • Andrew Broderick • Fiona Byrne • Jason Cadieux • Julia Course • James Daly • Peter Fernandes • Kristi Frank • Patrick Galligan • Katherine Gauthier • Alexis Gordon • Martin Happer • Claire Jullien • Andrew Lawrie • Julie Lumsden • Marie Mahabal • Tom McCamus • Kevin McLachlan • Marla McLean • Peter Millard • Michelle Mohammed • Alexandra Montagnese • Nafeesa Monroe • Mike Nadajewski • Mike Petersen • Drew Plummer • Chick Reid • Ric Reid • Kiera Sangster • Travis Seetoo • Olivia Sinclair-Brisbane • Donna Soares • Graeme Somerville • Johnathan Sousa • Gabriella Sundar Singh • Sanjay Talwar • Jonathan Tan • Jacqueline Thair • Shauna Thompson • Jay Turvey • Kelly Wong • Jenny L. Wright IN MEMORIAM Zoe Caldwell • dawn e. crysler • Richard Farrell • Ann Ferencz • Mary Haney • Martha Mann • Jennifer Phipps • David Schurmann • Bob Vernon • Colin D. Watson welcome to a season unlike any yet seen at The Shaw. That’s not surprising, is it? This year and a bit has been unlike anything any of us have lived through before. The frustration, for anyone who works in the field of live performance, has at times been overwhelming. But if one looks for a silver lining, it isn’t hard to find: I think I will never again hear anyone say that live theatre is dying, or an unnecessary luxury. The sparkling eyes of the audiences who came to our concert series last fall tell a different story. Even with masks on, there could be no mistaking the smiles on their faces. Human connection will never be a luxury. However we gather this year (and of course our priority will be keeping everyone safe), let’s take a moment to look at each other, to smile with our eyes, and to feel grateful for the chance to experience something together. We can’t make it on our own. tim carroll, artistic director FESTIVAL THEATRE SHERLOCK HOLMES AND THE RAVEN’S CURSE NONA MACDONALD STAGE THE DEVIL’S DISCIPLE BMO STAGE OUTDOORS@SHAW HUMENIUK STAGE A SHORT HISTORY OF NIAGARA ROYAL GEORGE THEATRE CHARLEY’S AUNT • FLUSH JACKIE MAXWELL STUDIO THEATRE TROUBLE IN MIND HOLIDAY SEASON DESIRE UNDER THE ELMS • A CHRISTMAS CAROL • HOLIDAY INN The Shaw wishes to acknowledge and honour the land upon SPECIAL THANKS which we gather as the historic and traditional territory of Rachel O’Brien’s internship in First Nations peoples. In particular, we recognize and thank Music Direction was made pos- the Neutral Nation, the Mississauga and the Haudenosaunee sible through an investment by the for their stewardship of these lands over millennia. We also George Cedric Metcalf Charitable wish to thank all of the First Nations peoples in Canada, and Foundation and the support of the the Indigenous peoples of the United States, for their ongoing Shaw Guild. Julie Lumsden, Kevin and important roles in the caretaking of the lands beneath McLachlan, Drew Plummer and our feet, wherever we travel on Turtle Island. Shauna Thompson are supported by the RBC Foundation and the RBC Emerging Artists Project. The 2021 Christopher Newton Intern 2021 Boards is Olivia Sinclair-Brisbane, gener- ously supported by Marilyn and Charles Baillie. SHAW FESTIVAL THEATRE, CANADA The Shaw Festival Archives are housed at the University of Guelph BOARD OF DIRECTORS Peter E.S. Jewett, Chair • Ian M.H. and maintained by the staff of the Joseph, Vice Chair • Timothy R. Price, Vice Chair • Kevin J. Pat- L.W. Conolly Theatre Archives. terson, Treasurer • Colleen Johnston, Secretary • Tim Carroll, Artistic Director (ex officio) • Tim Jennings, Executive Director Lobby display materials courtesy of (ex officio) • Philip Akin • Glen Bandiera, m.d. • Sylvia Bennett David Grapes II. • Sheila Brown • Elizabeth S. Dipchand • Vivien Dzau • Lyle ACKNOWLEDGEMENTS Hall • Thomas R. Hyde • Tim Johnson • Eugene J. Lundrigan • Corinne Foster Rice • Robin Ridesic • Nicole R. Tzetzo • Alan The Shaw Festival is a member of J. Walker (President, Shaw Guild) • Jaime Watt the Professional Association of Ca- nadian Theatres, and engages pro- BOARD OF GOVERNORS Timothy R. Price, Chair & Frances fessional artists who are members M. Price • Peter E.S. Jewett, Vice Chair & Robin Campbell of the Canadian Actors’ Equity As- • Tim Carroll, Artistic Director (ex officio) • Tim Jennings, sociation and The Niagara Region Executive Director (ex officio) • Marilyn Baillie & A. Charles Musicians’ Association, American Baillie • Charles E. Balbach • Barbara Besse & Ronald D. Besse Federation of Musicians of the Unit- • James F. Brown & Jean Stevenson, m.d. • Alberta G. Cefis & ed States and Canada, Local 298. Ilio Santilli • Betty Disero (Lord Mayor, Town of Niagara-on- the-Lake) • Wendy Gitelman & Bruce Gitelman • Lyle Hall 828 (Chair, Development Committee) • Nona Macdonald Heaslip • Mary E. Hill • Carolyn Keystone & James D. Meekison • Diane The Shaw Festival engages stage K. King • Elizabeth A. Simmons & Edward D. Simmons, m.d. technicians, audience sales and ser- • Nancy Smith • Marc St-Onge (Chair, Boxing Committee) • vices staff, and facilities staff sup- Elaine G. Triggs & Donald L. Triggs • Alan J. Walker (President, plied by Local 461, and scenic art- Shaw Guild) • Barbara D. Watson ists and properties staff supplied by Local 828, of the International Alli- SHAW FESTIVAL THEATRE ENDOWMENT FOUNDATION ance of Theatrical Stage Employees, Anthony R. Graham, Chair • Lorne R. Barclay, Vice Chair • Moving Picture Technicians, Art- Tim Jennings, Secretary (ex officio) • Roy Reeves, Treasurer (ex ists and Allied Crafts of the United officio) • Richard D. Falconer • Kenneth P. Friedman • Colleen States, its Territories, and Canada. Johnston • Peter E. Nesbitt • Andrew M. Pringle • William J. Saunderson (Chair, Investment Committee) • Bruce Winter Copyright © Shaw Festival 2021. SHAW FESTIVAL FOUNDATION (USA) James M. Wadsworth, The Shaw’s house programmes are President • James F. Brown, Vice President • Victor A. Rice, designed and produced by Scott McKowen at Punch & Judy Inc. They Vice President • Kenneth P. Friedman, Treasurer • Ronald H. are compiled and edited by Jean Luczak, Secretary • Sylvia Bennett • Nicole R. Tzetzo (Legal German, with assistance, editorial Counsel) writing and research by Leonard FOUNDERS Conolly. Additional assistance by Brian Doherty, C.M. 1906-1974( ) Elaine Calder. Artists’ portraits by Calvin G. Rand (1929-2016) David Cooper. Production photog- raphy by Lauren Garbutt. Printed HONORARY PATRONS by Sportswood Printing, Stafford- The Right Honourable Justin Trudeau ville. The Honourable Doug Ford A ROUND OF APPLAUSE FOR OUR PARTNERS MAJOR SUPPORTERS The Slaight Family Academy THEATRE AND PRODUCTION AND STAGE SPONSORS Wendy & Bruce James F. Brown Gitelman William and Nona Mary E. Hill James & Macdonald Heaslip Diane King Foundation Gabriel Pascal Tim & Frances Corinne & Memorial Fund Price Victor Rice PROGRAM AND PROJECT SUPPORTERS Children and Family Education Partner Bridging Borders Partner A Short History of Niagara Program Supporter Humeniuk Christopher & Foundation Jeanne Jennings LLP ATT ORNEYS Accessibility Partner Education Partner Emerging Artists Program Stage Door Program B&B Theatre for All Program Hotel Partner Partner MEDIA AND PRODUCT SPONSORS GOVERNMENT SUPPORT We acknowledge the support of the Government of Canada through the Federal Economic Development Agency for Southern Ontario. Nous reconnaissons l'appui du gouvernement du Canada à travers l’Agence fédérale de développementéconomique pour le Sud de l’Ontario. An agency of the Government of Ontario Un organisme du gouvernement de l’Ontario For information on corporate partnerships please contact Cindy Mewhinney, Director of Advancement, at 1-800-657-1106 ext 2339, or [email protected] In the Interest of AllAll PatronsPatrons PHYSICAL DISTANCING shouldshould bebe observedobserved byby allall patronspatrons asas wellwell asas possible,possible, andand asas directeddirected byby ourour Front-Front- of-House team. FACE COVERINGS areare requiredrequired byby allall patrons,patrons, inin conjunctionconjunction withwith regionalregional requirementsrequirements andand internalinternal safety protocols. CELLULAR PHONES, CAMERAS ANDAND RECORDINGRECORDING DEVICESDEVICES DuringDuring
Recommended publications
  • Translation and Intercultural Education Isabel Pascua
    Document generated on 10/01/2021 8:19 a.m. Meta Journal des traducteurs Translators' Journal Translation and Intercultural Education Isabel Pascua Traduction pour les enfants Article abstract Translation for children This paper deals with translated Canadian multicultural literature written for Volume 48, Number 1-2, May 2003 children and its reception in an intercultural education context in Spanish schools. In the first part of the paper I will introduce intercultural education. In URI: https://id.erudit.org/iderudit/006974ar the second part, I will examine the role of the translator working in a DOI: https://doi.org/10.7202/006974ar multicultural environment where texts are written in one language (English) in one country (Canada), then translated into another language (Spanish) and published in Spain. I will also look at the reception of these translations as well See table of contents as the strategies translators should use to maintain the otherness of the original texts. Publisher(s) Les Presses de l'Université de Montréal ISSN 0026-0452 (print) 1492-1421 (digital) Explore this journal Cite this article Pascua, I. (2003). Translation and Intercultural Education. Meta, 48(1-2), 276–284. https://doi.org/10.7202/006974ar Tous droits réservés © Les Presses de l'Université de Montréal, 2003 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal.
    [Show full text]
  • Black Soldiers in Liberal Hollywood
    Katherine Kinney Cold Wars: Black Soldiers in Liberal Hollywood n 1982 Louis Gossett, Jr was awarded the Academy Award for Best Supporting Actor for his portrayal of Gunnery Sergeant Foley in An Officer and a Gentleman, becoming theI first African American actor to win an Oscar since Sidney Poitier. In 1989, Denzel Washington became the second to win, again in a supporting role, for Glory. It is perhaps more than coincidental that both award winning roles were soldiers. At once assimilationist and militant, the black soldier apparently escapes the Hollywood history Donald Bogle has named, “Coons, Toms, Bucks, and Mammies” or the more recent litany of cops and criminals. From the liberal consensus of WWII, to the ideological ruptures of Vietnam, and the reconstruction of the image of the military in the Reagan-Bush era, the black soldier has assumed an increasingly prominent role, ironically maintaining Hollywood’s liberal credentials and its preeminence in producing a national mythos. This largely static evolution can be traced from landmark films of WWII and post-War liberal Hollywood: Bataan (1943) and Home of the Brave (1949), through the career of actor James Edwards in the 1950’s, and to the more politically contested Vietnam War films of the 1980’s. Since WWII, the black soldier has held a crucial, but little noted, position in the battles over Hollywood representations of African American men.1 The soldier’s role is conspicuous in the way it places African American men explicitly within a nationalist and a nationaliz- ing context: U.S. history and Hollywood’s narrative of assimilation, the combat film.
    [Show full text]
  • Re-Mixing Old Character Tropes on Screen: Kerry Washington, Viola Davis, and the New Femininity by Melina Kristine Dabney A
    Re-mixing Old Character Tropes on Screen: Kerry Washington, Viola Davis, and the New Femininity By Melina Kristine Dabney A thesis submitted to the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master of Arts Department of Film Studies 2017 This thesis entitled: Re-mixing Old Character Tropes on Screen: Kerry Washington, Viola Davis, and the new Femininity written by Melina Kristine Dabney has been approved for the Department of Film Studies ________________________________________________ (Melinda Barlow, Ph.D., Committee Chair) ________________________________________________ (Suranjan Ganguly, Ph.D., Committee Member) ________________________________________________ (Reiland Rabaka, Ph.D., Committee Member) Date: The final copy of this thesis has been examined by the signatories, and we Find that both the content and the form meet acceptable presentation standards Of scholarly work in the above mentioned discipline. Dabney, Melina Kristine (BA/MA Film Studies) Re-mixing Old Character Tropes on Screen: Kerry Washington, Viola Davis, and the New Femininity Thesis directed by Professor Melinda Barlow While there is a substantial amount of scholarship on the depiction of African American women in film and television, this thesis exposes the new formations of African American femininity on screen. African American women have consistently resisted, challenged, submitted to, and remixed racial myths and sexual stereotypes existing in American cinema and television programming. Mainstream film and television practices significantly contribute to the reinforcement of old stereotypes in contemporary black women characters. However, based on the efforts of African American producers like Shonda Rhimes, who has attempted to insert more realistic renderings of African American women in her recent television shows, black women’s representation is undergoing yet another shift in contemporary media.
    [Show full text]
  • Viewers Recognize the Youth and Wholesomeness of Her Son Unsettle These
    © 2010 KATE L. FLACH ALL RIGHTS RESERVED MAMIE TILL AND JULIA: BLACK WOMEN’S JOURNEY FROM REAL TO REALISTIC IN 1950S AND 60S TV A Thesis Presented to The Graduate Faculty of the University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Arts, History Kate L. Flach December, 2010 MAMIE TILL AND JULIA: BLACK WOMEN’S JOURNEY FROM REAL TO REALISTIC IN 1950S AND 60S Kate L. Flach Thesis Approved: Accepted: ________________________________ _________________________________ Advisor Dean of the College Dr. Tracey Jean Boisseau Dr. Chand Midha ________________________________ _________________________________ Co-Advisor Dean of the Graduate School Dr. Zachary Williams Dr. George R. Newkome ________________________________ _________________________________ Department Chair Date Dr. Michael Sheng ii TABLE OF CONTENTS Page CHAPTER I. INTRODUCTION ......................................................................................................1 II. FROM REAL IMAGES TO REEL EXPOSURE ......................................................5 III. WATCH AND LEARN: ESTABLISHING BLACK MIDDLE CLASS-NESS THROUGH MEDIA ................................................................................................17 IV. COVERING POST-WAR MOTHERHOOD ON TELEVISION ...........................26 V. INTERUPTING I LOVE LUCY FOR THIS? The Televised Emmett Till Trial ..............34 VI. CROSSING ALL Ts AND DOTTING LOWER CASE Js ......................................41 VII. CONCLUSION:“Okay, she can be the mother…” julia, November 26,
    [Show full text]
  • Celebrity and Race in Obama's America. London
    Cashmore, Ellis. "To be spoken for, rather than with." Beyond Black: Celebrity and Race in Obama’s America. London: Bloomsbury Academic, 2012. 125–135. Bloomsbury Collections. Web. 29 Sep. 2021. <http://dx.doi.org/10.5040/9781780931500.ch-011>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 29 September 2021, 05:30 UTC. Copyright © Ellis Cashmore 2012. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 11 To be spoken for, rather than with ‘“I’m not going to put a label on it,” said Halle Berry about something everyone had grown accustomed to labeling. And with that short declaration she made herself arguably the most engaging black celebrity.’ uperheroes are a dime a dozen, or, if you prefer, ten a penny, on Planet SAmerica. Superman, Batman, Captain America, Green Lantern, Marvel Girl; I could fi ll the rest of this and the next page. The common denominator? They are all white. There are benevolent black superheroes, like Storm, played most famously in 2006 by Halle Berry (of whom more later) in X-Men: The Last Stand , and Frozone, voiced by Samuel L. Jackson in the 2004 animated fi lm The Incredibles. But they are a rarity. This is why Will Smith and Wesley Snipes are so unusual: they have both played superheroes – Smith the ham-fi sted boozer Hancock , and Snipes the vampire-human hybrid Blade . Pulling away from the parallel reality of superheroes, the two actors themselves offer case studies.
    [Show full text]
  • Biographical Description for the Historymakers® Video Oral History with James Earl Jones
    Biographical Description for The HistoryMakers® Video Oral History with James Earl Jones PERSON Jones, James Earl​ Alternative Names: James Earl Jones; Life Dates: January 17, 1931- Place of Birth: Arkabutla, Mississippi, USA Work: Pawling, NY Occupations: Actor Biographical Note Actor James Earl Jones was born on January 17, 1931 to Robert Earl Jones and Ruth Connolly in Arkabutla, Mississippi. When Jones was five years old, his family moved to Dublin, Michigan. He graduated from Dickson High School in Brethren, Michigan in 1949. In 1953, Jones participated in productions at Manistee Summer Theatre. After serving in the U.S. Army for two years, Jones received his B.A. degree from the University of Michigan in Ann Arbor in 1955. Following graduation, Jones relocated to New York City where he studied acting at the American Theatre Wing. Jones’ first speaking role on Broadway was as the valet in Sunrise at Campobello in 1958. Then, in 1960, Jones acted in the Shakespeare in Central Park production of Henry V while also playing the lead in the off-Broadway production of The Pretender. Geraldine Lust cast Jones in Jean Genet’s The Blacks in the following year. In 1963, Jones made his feature film debut as Lt. Lothar Zogg in Dr. Strangelove, directed by Stanley Kubrick. In 1964, Joseph Papp cast Jones as Othello for the Shakespeare in Central Park production of Othello. Jones portrayed champion boxer Jack Jefferson in the play The Great White Hope in 1969, and again in the 1970 film adaptation. His leading film performances of the 1970s include The Man (1972), Claudine (1974), The River Niger (1975) and The Bingo Long Traveling All-Stars and Motor Kings (1976).
    [Show full text]
  • A History of African American Theatre Errol G
    Cambridge University Press 978-0-521-62472-5 - A History of African American Theatre Errol G. Hill and James V. Hatch Frontmatter More information AHistory of African American Theatre This is the first definitive history of African American theatre. The text embraces awidegeographyinvestigating companies from coast to coast as well as the anglo- phoneCaribbean and African American companies touring Europe, Australia, and Africa. This history represents a catholicity of styles – from African ritual born out of slavery to European forms, from amateur to professional. It covers nearly two and ahalf centuries of black performance and production with issues of gender, class, and race ever in attendance. The volume encompasses aspects of performance such as minstrel, vaudeville, cabaret acts, musicals, and opera. Shows by white playwrights that used black casts, particularly in music and dance, are included, as are produc- tions of western classics and a host of Shakespeare plays. The breadth and vitality of black theatre history, from the individual performance to large-scale company productions, from political nationalism to integration, are conveyed in this volume. errol g. hill was Professor Emeritus at Dartmouth College, Hanover, New Hampshire before his death in September 2003.Hetaughtat the University of the West Indies and Ibadan University, Nigeria, before taking up a post at Dartmouth in 1968.His publications include The Trinidad Carnival (1972), The Theatre of Black Americans (1980), Shakespeare in Sable (1984), The Jamaican Stage, 1655–1900 (1992), and The Cambridge Guide to African and Caribbean Theatre (with Martin Banham and George Woodyard, 1994); and he was contributing editor of several collections of Caribbean plays.
    [Show full text]
  • For Student Success
    TRANSFORMING School Environments OUR VISION For Student Success Weaving SKILLS ROPES Relationships 2018 Annual Report Practices to Help All Students Our Vision for Student Success City Year has always been about nurturing and developing young people, from the talented students we serve to our dedicated AmeriCorps members. We put this commitment to work through service in schools across the country. Every day, our AmeriCorps members help students to develop the skills and mindsets needed to thrive in school and in life, while they themselves acquire valuable professional experience that prepares them to be leaders in their careers and communities. We believe that all students can succeed. Supporting the success of our students goes far beyond just making sure they know how to add fractions or write a persuasive essay—students also need to know how to work in teams, how to problem solve and how to work toward a goal. City Year AmeriCorps members model these behaviors and mindsets for students while partnering with teachers and schools to create supportive learning environments where students feel a sense of belonging and agency as they develop the social, emotional and academic skills that will help them succeed in and out of school. When our children succeed, we all benefit. From Our Leadership Table of Contents At City Year, we are committed to partnering Our 2018 Annual Report tells the story of how 2 What We Do 25 Campaign Feature: with teachers, parents, schools and school City Year AmeriCorps members help students 4 How Students Learn Jeannie & Jonathan Lavine districts, and communities to ensure that all build a wide range of academic and social- 26 National Corporate Partners children have access to a quality education that emotional skills to help them succeed in school 6 Alumni Profile: Andrea Encarnacao Martin 28 enables them to reach their potential, develop and beyond.
    [Show full text]
  • 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.
    [Show full text]
  • BOARD of GOVERNORS March 30, 2021 2:00 Pm to 4:00 Pm Video And
    BOARD OF GOVERNORS March 30, 2021 2:00 p.m. to 4:00 p.m. Video and Teleconference Time Item Presenter(s) Action 2:00 1. IN-CAMERA DISCUSSION (Board Members Only) Tony Staffieri Information 2:05 2. IN-CAMERA DISCUSSION (Executive Group Invited) END OF IN-CAMERA SESSION 2:35 3. INTRODUCTION 3.1 Chair’s Remarks Tony Staffieri Information 3.2 Approval of the March 30, 2021 Agenda Tony Staffieri Approval 2:40 4. REPORT FROM THE PRESIDENT Mohamed Lachemi Information 2:50 4.1 Opportunities Working Group: Agile Workforce Jenny O’Donnell Information 3:10 5. REPORT FROM THE SECRETARY Julia Shin Doi Information 5.1 2021 Board Elections Report Julia Shin Doi Information 3:15 6. REPORT FROM THE INTERIM-PROVOST AND VICE Saeed Zolfaghari Information PRESIDENT ACADEMIC 3:30 7. DISCUSSION ITEMS 7.1 REPORT FROM THE CHAIR OF THE EXECUTIVE Jack Cockwell Information COMMITTEE 7.2 REPORT FROM THE CHAIR OF THE FINANCE David Porter Information COMMITTEE 7.2.1 Fiera Capital Report – December 31, 2020 Joanne McKee Information 7.2.2 2021-22 Budget: Government Funding Update and Mohamed Lachemi Information Budget Strategy Saeed Zolfaghari Glenn Craney 3:35 7.3 REPORT FROM THE VICE-PRESIDENT RESEARCH Steven Liss Information AND INNOVATION 7.3.1 Scholarly, Research and Creative (SRC) Activities at Steven Liss Information Ryerson: Scaling SRC Through Partnership and Collaboration 8. CONSENT AGENDA 8.1 Approval of the January 29, 2021 Minutes Tony Staffieri Approval 8.2 Authorization to Conduct Business with the Joanne McKee Approval Canadian Revenue Agency Jennifer MacInnis 9.
    [Show full text]
  • Viola Davis's Call to Adventure
    PROFILES DECEMBER 19 & 26, 2016 ISSUE VIOLA DAVIS’S CALL TO ADVENTURE How the star of “Fences” and “How to Get Away with Murder” got away from her difficult past. By John Lahr “I had a call to adventure, a call to live life bigger than myself,” Davis said. Photograph by Awol Erizku for The New Yorker n January 25, 2009, a jubilant Meryl Streep stood before a gala crowd at the O Screen Actors Guild Awards, in Los Angeles, having just won an award for her role in “Doubt,” the flm adaptation of John Patrick Shanley’s Pulitzer Prize- winning play about sexual abuse, race, and the Catholic Church. Clutching her statuette, Streep gave a shout-out to the rest of the cast. When she got to Viola Davis—who had earned her frst Academy Award nomination for her performance as the mother of an African-American boy a priest is accused of abusing—Streep saluted her colleague as “gigantically gifted,” then threw up her hands. “My God!” she said. “Somebody give her a movie!” The industry seems to have listened. Davis—“a newcomer at forty-fve,” as Streep later joked—has made twenty-one flms since then. Not all her roles have been large or central to the narrative arc, but, as Aibileen Clark, the maid who helps expose the folly of the white Mississippi matrons she serves, in “The Help”(2011), she was a popular success and gained a second Academy Award nomination. “No one had ever akst me what it felt like to be me,” Aibileen says at the end of the flm.
    [Show full text]
  • Child Care Donations
    Human Services Department Frequently Asked Questions Child Care Who would I call to find the right child care arrangement for my child? Call the Child Care Services Info line @ 211 or https://221ct.org If a parent is having difficulties with their child care provider, who do they call? Connecticut Department of Public Health Practitioner Licensing and Investigations Section 410 Capitol Ave., MS# 12 APP P.O. Box 340308 Hartford, CT 06134-0308 Phone: (860) 509-7603 Fax: (860) 707-1984 email: [email protected] (Preferred) Is there a School Readiness Council in Manchester? Manchester School Readiness Council was established in 1997 in response to a statewide initiative that increased the number of preschool and child care spaces available to Connecticut residents. The primary goal of the Council is to support the positive development, education, and well-being of young children -- ensuring that every child in Manchester starts school "ready to learn." Mission To advocate for the advancement of young children’s learning by promoting policies, programs, and partnerships among Manchester families, schools and the community. Membership Council members represent a wide variety of organizations in town, but they have one purpose in common: the best interests of children. Our members bring a wealth of expertise to the Council. To view a list of our members click on the following link: http://schoolreadiness.townofmanchester.org/ Donations Where would I be able to donate items such as: clothing, furniture, household items or durable medical supplies? Manchester Area Conference of Churches (MACC) accepts donations for Community Threads Thrift Shoppe accepts gently used clothing and shoes for all ages (in season is helpful) and small household items such as, dishes, towels and bed linens.
    [Show full text]