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Shakespeare in Love
FEB Shakespeare 26 MAR in Love 29 Based on the screenplay by Marc Norman & Tom Stoppard Adapted for the stage by Lee Hall Music by Alex Bechtel Directed by Matt Pfeiffer Welcome to Shakespeare in Love. Every year, many of you cry out to us “Dear God, no more Shakespeare!” While others plead “I loved your Winter’s Tale, your Richard III. Please put on Midsummer. I beg you for a Twelfth Night.” With Shakespeare In Love, the Purists and the Never Barders may unite to curse us with a plague on both our houses, but if they — and you — are someone who loves love, well then . Here is a love letter to romantic love, to the theatre, and to the rebellious, transgressive, mysterious, and glorious madness of both. Whether you keep Shakespeare close to your heart or far from it, we invite you to celebrate what he loved most: the stage, its players, poetry . and a dog. Zak Berkman, Producing Director Lend me your ears Matt Pfeiffer, Director I’ve been really blessed to spend most of my career working on the plays of William Shakespeare. I believe his plays are foundational to Western culture. Love him or hate him, his infuence is an essential part of our understanding of stories and storytelling. And I’ve had the privilege for the last six years of fostering a specifc approach to his plays. I found that attempting to be in conversation with the principals of the theatre practices of Shakespeare’s time was a good starting place—not so much aesthetically, but logistically. -
The 200 Plays That Every Theatre Major Should Read
The 200 Plays That Every Theatre Major Should Read Aeschylus The Persians (472 BC) McCullers A Member of the Wedding The Orestia (458 BC) (1946) Prometheus Bound (456 BC) Miller Death of a Salesman (1949) Sophocles Antigone (442 BC) The Crucible (1953) Oedipus Rex (426 BC) A View From the Bridge (1955) Oedipus at Colonus (406 BC) The Price (1968) Euripdes Medea (431 BC) Ionesco The Bald Soprano (1950) Electra (417 BC) Rhinoceros (1960) The Trojan Women (415 BC) Inge Picnic (1953) The Bacchae (408 BC) Bus Stop (1955) Aristophanes The Birds (414 BC) Beckett Waiting for Godot (1953) Lysistrata (412 BC) Endgame (1957) The Frogs (405 BC) Osborne Look Back in Anger (1956) Plautus The Twin Menaechmi (195 BC) Frings Look Homeward Angel (1957) Terence The Brothers (160 BC) Pinter The Birthday Party (1958) Anonymous The Wakefield Creation The Homecoming (1965) (1350-1450) Hansberry A Raisin in the Sun (1959) Anonymous The Second Shepherd’s Play Weiss Marat/Sade (1959) (1350- 1450) Albee Zoo Story (1960 ) Anonymous Everyman (1500) Who’s Afraid of Virginia Woolf Machiavelli The Mandrake (1520) (1962) Udall Ralph Roister Doister Three Tall Women (1994) (1550-1553) Bolt A Man for All Seasons (1960) Stevenson Gammer Gurton’s Needle Orton What the Butler Saw (1969) (1552-1563) Marcus The Killing of Sister George Kyd The Spanish Tragedy (1586) (1965) Shakespeare Entire Collection of Plays Simon The Odd Couple (1965) Marlowe Dr. Faustus (1588) Brighton Beach Memoirs (1984 Jonson Volpone (1606) Biloxi Blues (1985) The Alchemist (1610) Broadway Bound (1986) -
2019 Silent Auction List
September 22, 2019 ………………...... 10 am - 10:30 am S-1 2018 Broadway Flea Market & Grand Auction poster, signed by Ariana DeBose, Jay Armstrong Johnson, Chita Rivera and others S-2 True West opening night Playbill, signed by Paul Dano, Ethan Hawk and the company S-3 Jigsaw puzzle completed by Euan Morton backstage at Hamilton during performances, signed by Euan Morton S-4 "So Big/So Small" musical phrase from Dear Evan Hansen , handwritten and signed by Rachel Bay Jones, Benj Pasek and Justin Paul S-5 Mean Girls poster, signed by Erika Henningsen, Taylor Louderman, Ashley Park, Kate Rockwell, Barrett Wilbert Weed and the original company S-6 Williamstown Theatre Festival 1987 season poster, signed by Harry Groener, Christopher Reeve, Ann Reinking and others S-7 Love! Valour! Compassion! poster, signed by Stephen Bogardus, John Glover, John Benjamin Hickey, Nathan Lane, Joe Mantello, Terrence McNally and the company S-8 One-of-a-kind The Phantom of the Opera mask from the 30th anniversary celebration with the Council of Fashion Designers of America, designed by Christian Roth S-9 The Waverly Gallery Playbill, signed by Joan Allen, Michael Cera, Lucas Hedges, Elaine May and the company S-10 Pretty Woman poster, signed by Samantha Barks, Jason Danieley, Andy Karl, Orfeh and the company S-11 Rug used in the set of Aladdin , 103"x72" (1 of 3) Disney Theatricals requires the winner sign a release at checkout S-12 "Copacabana" musical phrase, handwritten and signed by Barry Manilow 10:30 am - 11 am S-13 2018 Red Bucket Follies poster and DVD, -
Rules EN 2015 TTR2 Rules Nordic EN 18/05/15 15:51 Page2
[T2RNordic] rules EN 2015_TTR2 rules Nordic EN 18/05/15 15:51 Page2 icket to Ride Nordic Countries takes you on a Nordic adventure through Denmark, Finland, Norway and Sweden as you travel to the great northern cities T of Copenhagen, Oslo, Helsinki and Stockholm. Visit Norway's beautiful fjords and the magnificent mountain scenery on the Rauma Railway. Breathe in the salt air of the busy Swedish ports on the Baltic Sea. Ride through the Danish countryside where Vikings once walked. Hop-on the Finnish railway and travel across the Arctic Circle to the land of the Midnight Sun. CREDITS Game design by Alan R. Moon Illustrations by Julien Delval Graphic Design by Cyrille Daujean 2-3 8+ 30-60’ [T2RNordic] rules EN 2015_TTR2 rules Nordic EN 18/05/15 15:52 Page3 Components 1 Globetrotter Bonus card u 1 Board map of Scandinavian train routes for the most completed tickets u 120 Colored Train cars (40 each in 3 different colors, plus a few spare) 46 Destination u 157 Illustrated cards: Ticket cards 110 Train cards : 12 of each color, plus 14 Locomotives ∫ ∂ u 3 Wooden Scoring Markers (1 for each player matching the train colors) u 1 Rules booklet Setting up the Game Place the board map in the center of the table. Each player takes a set of 40 Colored Train Cars along with its matching Scoring Marker. Each player places his Scoring Marker on the starting π location next to the 100 number ∂ on the Scoring Track running along the map's border. Throughout the game, each time a player scores points, he will advance his marker accordingly. -
BOEING BOEING by Marc Camoletti Translated by Beverley Cross & Francis Evans
March 7 – April 2, 2017 on the OneAmerica Mainstage STUDY GUIDE edited by Richard J Roberts with contributions by Janet Allen • Laura Gordon Vicki Smith • Matthew LeFebvre • Charles cooper Indiana Repertory Theatre • 140 West Washington Street • Indianapolis, Indiana 46204 Janet Allen, Executive Artistic Director • Suzanne Sweeney, Managing Director www.irtlive.com SEASON SPONSOR 2016-2017 SUPPORTERS 2 INDIANA REPERTORY THEATRE BOEING BOEING by Marc Camoletti translated by Beverley Cross & Francis Evans Paris has long been known as the city of love. However, in Bernard’s case, it is the city of interlocking flight schedules, an impeccable bachelor pad, and three well-vetted flight attendants who also happen to be his fiancées! In classic farcical tradition, Bernard and his American friend, Robert, hold on by the skin of their teeth as their affair is threatened with delayed flights and mistaken identity. In the tradition of early Roman comedy, Marc Camoletti offers his audience uproarious models of the knave, the fool, and the clever servant through Bernard, Robert, and Berthe. These three, accompanied by three foreign fiancées, present a whirlwind of slamming doors and romance while challenging and, ultimately, being reined in by the authority of monogamy. Student Matinee: March 22, 2017 Estimated length: 2 hours & 30 minutes THEMES & TOPICS Love and Marriage, Physical Comedy, Genre and Farce, European Culture CONTENT ADVISORY Boeing Boeing is a fun-filled farce that contains references to infidelity and mild sexual innuendo. Recommended -
Community in August Wilson and Tony Kushner
FROM THE INDIVIDUAL TO THE COLLECTIVE: COMMUNITY IN AUGUST WILSON AND TONY KUSHNER By Copyright 2007 Richard Noggle Ph.D., University of Kansas 2007 Submitted to the Department of English and the Faculty of the Graduate School of the University of Kansas In partial fulfillment of the requirements for the degree of Doctor of Philosophy ________________________ Chairperson, Maryemma Graham ________________________ Chairperson, Iris Smith Fischer ________________________ Paul Stephen Lim ________________________ William J. Harris ________________________ Henry Bial Date defended ________________ 2 The Dissertation Committee for Richard Noggle certifies that this is the approved version of the following dissertation: FROM THE INDIVIDUAL TO THE COLLECTIVE: COMMUNITY IN AUGUST WILSON AND TONY KUSHNER Committee: ________________________ Chairperson, Maryemma Graham ________________________ Chairperson, Iris Smith Fischer ________________________ Paul Stephen Lim ________________________ William J. Harris ________________________ Henry Bial Date approved _______________ 3 ABSTRACT My study examines the playwrights August Wilson and Tony Kushner as “political” artists whose work, while positing very different definitions of “community,” offers a similar critique of an American tendency toward a kind of misguided, dangerous individualism that precludes “interconnection.” I begin with a look at how “community” is defined by each author through interviews and personal statements. My approach to the plays which follow is thematic as opposed to chronological. The organization, in fact, mirrors a pattern often found in the plays themselves: I begin with individuals who are cut off from their respective communities, turn to individuals who “reconnect” through encounters with communal history and memory, and conclude by examining various “successful” visions of community and examples of communities in crisis and decay. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Doing the Time Warp: Queer Temporalities and Musical Theater Permalink https://escholarship.org/uc/item/1k1860wx Author Ellis, Sarah Taylor Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Doing the Time Warp: Queer Temporalities and Musical Theater A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Theater and Performance Studies by Sarah Taylor Ellis 2013 ABSTRACT OF THE DISSERTATION Doing the Time Warp: Queer Temporalities and Musical Theater by Sarah Taylor Ellis Doctor of Philosophy in Theater and Performance Studies University of California, Los Angeles, 2013 Professor Sue-Ellen Case, Co-chair Professor Raymond Knapp, Co-chair This dissertation explores queer processes of identification with the genre of musical theater. I examine how song and dance – sites of aesthetic difference within the musical – can warp time and enable marginalized and semi-marginalized fans to imagine different ways of being in the world. Musical numbers can complicate a linear, developmental plot by accelerating and decelerating time, foregrounding repetition and circularity, bringing the past to life and projecting into the future, and physicalizing dreams in a narratively open present. These excesses have the potential to contest naturalized constructions of historical, progressive time, as well as concordant constructions of gender, sexual, and racial identities. While the musical has historically been a rich source of identification for the stereotypical white gay male show queen, this project validates a broad and flexible range of non-normative readings. -
Teacher Guide
MILWAUKEE REPERTORY THEATER TEACHER’S GUIDE November 18-December 21, 2014 | The Quadracci Powerhouse CLASSROOM ACTIVITIES Teacher Guide written by Deanie Vallone, Education Intern, with contributions by Lindsey Hoel-Neds, Education Associate, By Mary Chase and Hope Parow, Education Assistant Directed by KJ Sanchez Executive Producer Judy Hansen SUGGESTED TEACHING TOPICS 1.) Family & Relationships This Teacher’s Guide is designed to be used in the classroom along with The Rep’s Play Guide for Harvey. 2.) Reality vs. Fantasy These are some suggested activities for your classroom. The Play Guide is available online at http://www.milwaukeerep.com/Tickets/2014-15-Season/Harvey-Play-Guide/ 3.) Changing Identities & Perspectives FAMILY & RELATIONSHIPS DISCUSS: Pre-Show Questions • Harvey’s plot revolves around the Dowd family and how they interact with each other. Over the course of the play they learn to make sacrifices for each other, and they redefine how they view one another. How do you define family? What kind of exceptions do you make for family? How do you treat your family members differently from other people? DISCUSS: Post-Show Questions • Harvey depicts one type of family from the 1940s. How have family dynamics changed since that time period? How is your family similar to Scenes from the 1949 Broadway or different from the Dowd family inHarvey ? production of Harvey. Photo courtesy of Program Publishing Company. PERFORM: Family Portrait Tableaus Have students create tableaus (frozen images that tell a story) to illustrate family as a central theme. Their tableaus should be candid in the sense that they are not depicting a traditional formal family portrait, but families engaged in daily life. -
Program from the Production
STC Board of Trustees Board of Trustees Stephen A. Hopkins Emeritus Trustees Michael R. Klein, Chair Lawrence A. Hough R. Robert Linowes*, Robert E. Falb, Vice Chair W. Mike House Founding Chairman John Hill, Treasurer Jerry J. Jasinowski James B. Adler Pauline Schneider, Secretary Norman D. Jemal Heidi L. Berry* Michael Kahn, Artistic Director Scott Kaufmann David A. Brody* Kevin Kolevar Melvin S. Cohen* Trustees Abbe D. Lowell Ralph P. Davidson Nicholas W. Allard Bernard F. McKay James F. Fitzpatrick Ashley M. Allen Eleanor Merrill Dr. Sidney Harman* Stephen E. Allis Melissa A. Moss Lady Manning Anita M. Antenucci Robert S. Osborne Kathleen Matthews Jeffrey D. Bauman Stephen M. Ryan William F. McSweeny Afsaneh Beschloss K. Stuart Shea V. Sue Molina William C. Bodie George P. Stamas Walter Pincus Landon Butler Lady Westmacott Eden Rafshoon Dr. Paul Carter Rob Wilder Emily Malino Scheuer* Chelsea Clinton Suzanne S. Youngkin Lady Sheinwald Dr. Mark Epstein Mrs. Louis Sullivan Andrew C. Florance Ex-Officio Daniel W. Toohey Dr. Natwar Gandhi Chris Jennings, Sarah Valente Miles Gilburne Managing Director Lady Wright Barbara Harman John R. Hauge * Deceased 3 Dear Friend, Table of Contents I am often asked to choose my favorite Shakespeare play, and Henry IV, Parts 1 and 2 Title Page 5 it is very easy for me to answer immediately Henry IV, Parts 1 The Play of History and 2. In my opinion, there is by Drew Lichtenberg 6 no other play in the English Synopsis: Henry IV, Part 1 9 language which so completely captures the complexity and Synopsis: Henry IV, Part 2 10 diversity of an entire world. -
Awake and Sing! Study Guide/Lobby Packett Prepared by Sara Freeman, Dramaturg
Awake and Sing! Study Guide/Lobby Packett Prepared by Sara Freeman, dramaturg Section I Clifford Odets: A Striving Life Clifford Odets was born in Philadelphia, on July 18, 1906, the son of a working-class Jewish family made good. Louis Odets, his father, had been a peddler, but also worked as a printer for a publishing company. In 1908, Louis Odets moved his family to New York City, where, after a brief return to Philadelphia, he prospered as a printer and ended up owning his own plant and an advertising agency, as well as serving as a Vice President of a boiler company. Odets grew up in the middle-class Bronx, not the Berger’s Bronx of tenements and squalor. Still Odets described himself as a “melancholy kid” who clashed often with his father. Odets quit high school after two years. When he was 17, Odets plunged into the theatre. He joined The Drawing Room Players and Harry Kemp’s Poets’ Theater. He wrote some radio plays, did summer stock, and hit the vaudeville circuit as “The Roving Reciter.” In 1929, he moved into the city because of a job understudying Spencer Tracy in Conflict on Broadway. A year later Odets joined the nascent Group Theatre, having met Harold Clurman and some of the other Group actors while playing bit parts at the Theatre Guild. The Group philosophy became the shaping force of Odets’ life as a writer. Clurman became his best friend and most perceptive critic. Odets wrote the first version of Awake and Sing!, then called I Got the Blues, in 1934. -
Performing History Studies in Theatre History & Culture Edited by Thomas Postlewait Performing HISTORY
Performing history studies in theatre history & culture Edited by Thomas Postlewait Performing HISTORY theatrical representations of the past in contemporary theatre Freddie Rokem University of Iowa Press Iowa City University of Iowa Press, Library of Congress Iowa City 52242 Cataloging-in-Publication Data Copyright © 2000 by the Rokem, Freddie, 1945– University of Iowa Press Performing history: theatrical All rights reserved representations of the past in Printed in the contemporary theatre / by Freddie United States of America Rokem. Design by Richard Hendel p. cm.—(Studies in theatre http://www.uiowa.edu/~uipress history and culture) No part of this book may be repro- Includes bibliographical references duced or used in any form or by any and index. means, without permission in writing isbn 0-87745-737-5 (cloth) from the publisher. All reasonable steps 1. Historical drama—20th have been taken to contact copyright century—History and criticism. holders of material used in this book. 2. Holocaust, Jewish (1939–1945), The publisher would be pleased to make in literature. 3. France—His- suitable arrangements with any whom tory—Revolution, 1789–1799— it has not been possible to reach. Literature and the revolution. I. Title. II. Series. The publication of this book was generously supported by the pn1879.h65r65 2000 University of Iowa Foundation. 809.2Ј9358—dc21 00-039248 Printed on acid-free paper 00 01 02 03 04 c 54321 for naama & ariel, and in memory of amitai contents Preface, ix Introduction, 1 1 Refractions of the Shoah on Israeli Stages: -
Marvin Hamlisch
tHE iRA AND lEONORE gERSHWIN fUND IN THE lIBRARY OF cONGRESS AN EVENING WITH THE MUSIC OF MARVIN HAMLISCH Monday, October 19, 2015 ~ 8 pm Coolidge Auditorium Library of Congress, Thomas Jefferson Building The Ira and Leonore Gershwin Fund in the Library of Congress was established in 1992 by a bequest from Mrs. Gershwin to perpetuate the name and works of her husband, Ira, and his brother, George, and to provide support for worthy related music and literary projects. "LIKE" us at facebook.com/libraryofcongressperformingarts loc.gov/concerts Please request ASL and ADA accommodations five days in advance of the concert at 202-707-6362 or [email protected]. Latecomers will be seated at a time determined by the artists for each concert. Children must be at least seven years old for admittance to the concerts. Other events are open to all ages. • Please take note: Unauthorized use of photographic and sound recording equipment is strictly prohibited. Patrons are requested to turn off their cellular phones, alarm watches, and any other noise-making devices that would disrupt the performance. Reserved tickets not claimed by five minutes before the beginning of the event will be distributed to stand-by patrons. Please recycle your programs at the conclusion of the concert. The Library of Congress Coolidge Auditorium Monday, October 19, 2015 — 8 pm tHE iRA AND lEONORE gERSHWIN fUND IN THE lIBRARY OF cONGRESS AN EVENING WITH THE mUSIC OF MARVIN hAMLISCH WHITNEY BASHOR, VOCALIST | CAPATHIA JENKINS, VOCALIST LINDSAY MENDEZ, VOCALIST | BRYCE PINKHAM, VOCALIST