^ I I a C May 1998 95.Fcn
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Henley's the Wake of Jamie Foster and the Miss Firecracker Contest
‘SNOW BRIDE’ CAST BIOS PATRICIA RICHARDSON (Maggie Tannenhill) – Patricia Richardson is best known for her portrayal of Jill Taylor on the long running series “Home Improvement” in which she co-starred with Tim Allen. For her work on the series, she received four Emmy® nominations and two Golden Globe® nominations as Outstanding Lead Actress in a Comedy Series. While performing in “Home Improvement,” she also co-hosted the Emmy® Awards with Ellen DeGeneres. In 2009, the cast members of “Home Improvement” received a Fan Favorite Award from the TV Land Awards. She has also received a Vision Award and a Women In Film Award in Texas and commendations from the Prism Awards for her work in the show. For two years, she had a recurring role in “The West Wing” as Sheila Brooks, Sen. Arnold Vinick’s (Alan Alda) chief of staff. She was nominated for an Independent Spirit Award for her role in “Ulee’s Gold,” opposite Peter Fonda and directed by Victor Nunez. Previously, Richardson garnered rave reviews for her portrayal of Marilyn Monroe’s mother in the CBS miniseries “Blonde.” She played twins in “Viva Las Nowhere,” co-starring Danny Stern and James Caan, which was released on video under the title “Dead Simple” and won a Seattle Film Festival Award. She received more great reviews for her role in Lifetime’s “Sophie & the Moonhanger,” co-starring Lynn Whitfield and Jason Bernard and “Undue Influence,” with Brian Dennehy. Other films include “Lost Angels,” “In Country” and “Beautiful Wave.” She was brought out to Los Angeles from New York after several years of doing theater, first by Norman Lear and then Alan Burns, to do three different series prior to “Home Improvement” - “Double Trouble” for Lear and then “Eisenhower and Lutz” and “FM” for Burns. -
David Rabe's Good for Otto Gets Star Studded Cast with F. Murray Abraham, Ed Harris, Mark Linn-Baker, Amy Madigan, Rhea Perl
David Rabe’s Good for Otto Gets Star Studded Cast With F. Murray Abraham, Ed Harris, Mark Linn-Baker, Amy Madigan, Rhea Perlman and More t2conline.com/david-rabes-good-for-otto-gets-star-studded-cast-with-f-murray-abraham-ed-harris-mark-linn-baker-amy- madigan-rhea-perlman-and-more/ Suzanna January 30, 2018 Bowling F. Murray Abraham (Barnard), Kate Buddeke (Jane), Laura Esterman (Mrs. Garland), Nancy Giles (Marci), Lily Gladstone (Denise), Ed Harris (Dr. Michaels), Charlotte Hope (Mom), Mark Linn- Baker (Timothy), Amy Madigan (Evangeline), Rileigh McDonald (Frannie), Kenny Mellman (Jerome), Maulik Pancholy (Alex), Rhea Perlman (Nora) and Michael Rabe (Jimmy), will lite up the star in the New York premiere of David Rabe’s Good for Otto. Rhea Perlman took over the role of Nora, after Rosie O’Donnell, became ill. Directed by Scott Elliott, this production will play a limited Off-Broadway engagement February 20 – April 1, with Opening Night on Thursday, March 8 at The Pershing Square Signature Center (The Alice Griffin Jewel Box Theatre, 480 West 42nd Street). Through the microcosm of a rural Connecticut mental health center, Tony Award-winning playwright David Rabe conjures a whole American community on the edge. Like their patients and their families, Dr. Michaels (Ed Harris), his colleague Evangeline (Amy Madigan) and the clinic itself teeter between breakdown and survival, wielding dedication and humanity against the cunning, inventive adversary of mental illness, to hold onto the need to fight – and to live. Inspired by a real clinic, Rabe finds humor and compassion in a raft of richly drawn characters adrift in a society and a system stretched beyond capacity. -
South Coast Repertory Is a Professional Resident Theatre Founded in 1964 by David Emmes and Martin Benson
IN BRIEF FOUNDING South Coast Repertory is a professional resident theatre founded in 1964 by David Emmes and Martin Benson. VISION Creating the finest theatre in America. LEADERSHIP SCR is led by Artistic Director David Ivers and Managing Director Paula Tomei. Its 33-member Board of Trustees is made up of community leaders from business, civic and arts backgrounds. In addition, hundreds of volunteers assist the theatre in reaching its goals, and about 2,000 individuals and businesses contribute each year to SCR’s annual and endowment funds. MISSION South Coast Repertory was founded in the belief that theatre is an art form with a unique power to illuminate the human experience. We commit ourselves to exploring urgent human and social issues of our time, and to merging literature, design, and performance in ways that test the bounds of theatre’s artistic possibilities. We undertake to advance the art of theatre in the service of our community, and aim to extend that service through educational, intercultural, and community engagement programs that harmonize with our artistic mission. FACILITY/ The David Emmes/Martin Benson Theatre Center is a three-theatre complex. Prior to the pandemic, there were six SEASON annual productions on the 507-seat Segerstrom Stage, four on the 336-seat Julianne Argyros Stage, with numerous workshops and theatre conservatory performances held in the 94-seat Nicholas Studio. In addition, the three-play family series, “Theatre for Young Audiences,” produced on the Julianne Argyros Stage. The 20-21 season includes two virtual offerings and a new outdoors initiative, OUTSIDE SCR, which will feature two productions in rotating rep at the Mission San Juan Capistrano in July 2021. -
Women-American Theatre
Women in American Theatre – Schedule Spring 2012 Dr. Beth Osborne *As always, this schedule is subject to change as needed during the semester.* Readings, Assignments and Facilitation Topics should be prepared For class on the day they are listed. Key to Abbreviations: BB = Blackboard (see the site for link, article, or more information) NAWD = North American Women’s Drama database (through the Strozier database portal) WAT = Women in American Theatre, edited by Helen Krich Chinoy & Linda Walsh Jenkins Plays…[years] = one of the Plays by American Women anthologies – specified by the year Note: When reading from the various Plays anthologies, please read the play introductions too. Recommended Readings: Everyone is always welcome to read more. To do so, move on to start the “Recommended Readings” as available (and hang on to the list of recommendations for the future – I certainly don’t expect anyone to get through all of these this semester!). I’ve put the * next to those recommended readings that would be particularly interesting to read. 1/4: Introductions to the Course Readings: Poof (1993), Lynn Nottage (emailed pdf, NAWD); Feminism is for Everybody, bell hooks (emailed pdf, p1-18); "Art vs. Business," Helen Krich Chinoy (in Women in American Theatre or emailed pdf) Recommended: A Room of One's Own, Virginia Woolf (etext- http://ebooks.adelaide.edu.au/w/woolf/virginia/w91r/); "Report on the Status of Women: A Limited Engagement" (http://www.womenarts.org/advocacy/WomenCountNYSCAReport.htm); "Discrimination and the Female Playwright," -
In Kindergarten with the Author of WIT
re p resenting the american theatre DRAMATISTS by publishing and licensing the works PLAY SERVICE, INC. of new and established playwrights. atpIssuel 4,aFall 1999 y In Kindergarten with the Author of WIT aggie Edson — the celebrated playwright who is so far Off- Broadway, she’s below the Mason-Dixon line — is performing a Mdaily ritual known as Wiggle Down. " Tapping my toe, just tapping my toe" she sings, to the tune of "Singin' in the Rain," before a crowd of kindergarteners at a downtown elementary school in Atlanta. "What a glorious feeling, I'm — nodding my head!" The kids gleefully tap their toes and nod themselves silly as they sing along. "Give yourselves a standing O!" Ms. Edson cries, when the song ends. Her charges scramble to their feet and clap their hands, sending their arms arcing overhead in a giant "O." This willowy 37-year-old woman with tousled brown hair and a big grin couldn't seem more different from Dr. Vivian Bearing, the brilliant, emotionally remote English professor who is the heroine of her play WIT — which has won such unanimous critical acclaim in its small Off- Broadway production. Vivian is a 50-year-old scholar who has devoted her life to the study of John Donne's "Holy Sonnets." When we meet her, she is dying of very placement of a comma crystallizing mysteries of life and death for ovarian cancer. Bald from chemotherapy, she makes her entrance clad Vivian and her audience. For this feat, one critic demanded that Ms. Edson in a hospital gown, dragging an IV pole. -
Music Assessment Unit AS 2: Part 2
ADVANCED SUBSIDIARY (AS) General Certificate of Education January 2014 Music Assessment Unit AS 2: Part 2 assessing Written Examination [AU122] WEDNESDAY 8 JANUARY, AFTERNOON MARK SCHEME 8961.01 F Context for marking Questions 2, 3 and 4 – Optional Areas of Study Each answer should be marked out of 27 marks distributed between the three criteria as follows: Criterion 1 – content focused Knowledge and understanding of the Area of Study applied to the context of the question. [21] Criterion 2 – structure and presentation of ideas Approach to the question, quality of the argument and ideas. [3] Criterion 3 – quality of written communication Quality of language, spelling, punctuation and grammar and use of appropriate musical vocabulary. [3] MARKING PROCESS Knowledge and Understanding of the Area of Study applied to the Context of the Question Marks should be awarded according to the mark bands stated below. Marks [1]–[6] The answer is limited by insufficient breadth or depth of knowledge. [7]–[11] The answer displays some breadth but limited depth of knowledge of the area of study. There is some attempt to relate the content of the answer to the context of the question but there may be insufficient reference to appropriate musical examples. [12]–[16] The answer displays a competent grasp of the area of study in terms of both breadth and depth of knowledge with appropriate musical examples to support points being made or positions taken. At the lower end of the range there may be an imbalance between breadth and depth of knowledge and understanding. [17]–[21] The answer displays a comprehensive grasp of the area of study in terms of both breadth and depth of knowledge and understanding with detailed musical examples and references to musical, social, cultural or historical contexts as appropriate. -
Determining Stephen Sondheim's
“I’VE A VOICE, I’VE A VOICE”: DETERMINING STEPHEN SONDHEIM’S COMPOSITIONAL STYLE THROUGH A MUSIC-THEORETIC ANALYSIS OF HIS THEATER WORKS BY ©2011 PETER CHARLES LANDIS PURIN Submitted to the graduate degree program in Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ___________________________ Chairperson Dr. Scott Murphy ___________________________ Dr. Deron McGee ___________________________ Dr. Paul Laird ___________________________ Dr. John Staniunas ___________________________ Dr. William Everett Date Defended: August 29, 2011 ii The Dissertation Committee for PETER PURIN Certifies that this is the approved version of the following dissertation: “I’VE A VOICE, I’VE A VOICE”: DETERMINING STEPHEN SONDHEIM’S COMPOSITIONAL STYLE THROUGH A MUSIC-THEORETIC ANALYSIS OF HIS THEATER WORKS ___________________________ Chairperson Dr. Scott Murphy Date approved: August 29, 2011 iii Abstract This dissertation offers a music-theoretic analysis of the musical style of Stephen Sondheim, as surveyed through his fourteen musicals that have appeared on Broadway. The analysis begins with dramatic concerns, where musico-dramatic intensity analysis graphs show the relationship between music and drama, and how one may affect the interpretation of events in the other. These graphs also show hierarchical recursion in both music and drama. The focus of the analysis then switches to how Sondheim uses traditional accompaniment schemata, but also stretches the schemata into patterns that are distinctly of his voice; particularly in the use of the waltz in four, developing accompaniment, and emerging meter. Sondheim shows his harmonic voice in how he juxtaposes treble and bass lines, creating diagonal dissonances. -
The Women's Voices Theater Festival
STUDY GUIDE In the fall of 2015, more than 50 professional theaters in Washington, D.C. are each producing at least one world premiere play by a female playwright. The Women’s Voices Theater Festival is history’s largest collaboration of theater companies working simultaneously to produce original works by female writers. CONSIDER WHY A WOMEN’S VOICES THEATER FESTIVAL? • Why is it important If someone asked you to quickly name three playwrights, who would they be? for artists of diverse backgrounds to have Shakespeare likely tops your list. Perhaps you remember Arthur Miller, Tennessee their work seen by Williams or August Wilson. Sophocles, Molière, Marlowe, Ibsen, Chekov, Shaw, O’Neill — these are among the most famous Western playwrights. They are central audiences? to the dramatic canon. A “canon” is an authoritative list of important works — think of it as the official “Top 40” of dramatic literature. Their plays are the most likely • What is the impact of to be seen onstage and assigned in schools. seeing a play that you can connect to your own A large group is often missing from the canon, professional stages, traditional experience? reading lists and your education in theater: women playwrights. Plays by women are as important, artistic, rigorous, compelling and producible as • How would you react plays by men. They are also plentiful. Women’s perspectives are also key to more if you knew that you fully understanding our world. and the playwright of According to a recent Washington Post article, surveys say that D.C. audiences a production you were are 61 percent female and Broadway audiences are 68 percent female. -
American Women Playwrights: Late 20Th to 21St Century IRP, Fall 2014, Syllabus
American Women Playwrights: Late 20th to 21st Century IRP, Fall 2014, Syllabus Coordinator: Dolores Walker Readings: Hudes, Quiara Alegria, Water By The Spoonful (Theatre Communications Group, 2012, ISBN-13: 9781559364386; $14.95) Nottage, Lynn, Intimate Apparel/Fabulation (Theatre Communications Group, 2006, ISBN-13: 9781559362795; $14.95) Ruhl, Sarah, TBA Vogel, Paula, How I Learned to Drive (Dramatists Play Service, rev. ed., 1997, ISBN-13: 9780822216230; $8). Session One (Prior to Session One, the class will receive excerpts from a Maria Irene Fornes play) Historical background of women playwrights in America 1920 – 1980 Development of women playwrights since 1980 Discussion of those contemporary women playwrights preferred by individual members of the class Exploration of the differences in reading plays and novels Excerpts from work by Maria Irene Fornes; exploration of her playwriting theories and her influence on other playwrights Assignment Session Two: Read the following handouts: Excerpts from Marsha Norman’s Night Mother Dramatists Guild Journal articles - Norman’s techniques for writing plays Gussow, Mel, Entering the Mainstream: The Plays of Beth Henley, Marsha Norman, and Wendy Wasserstein Session Two - Marsha Norman, playwright and Julliard professor Exploration of Norman’s playwriting style and playwriting techniques Excerpts from Night Mother read aloud and analyzed Paula Vogel, playwright and Yale Professor of Playwriting – biography Assignment Session Three: Handout: Interviews with Vogel about her playwriting techniques Read Paula Vogel’s How I Learned to Drive Session Three Exploration of Vogel’s playwriting techniques Youtube: Interview with Vogel Youtube: Paula Vogel on Plot Comparison of Norman and Vogel’s techniques How I Learned to Drive (Vogel) Assignment Session Four: Youtube: Women In Theatre: Paula Vogel (26 min) Session Four How I Learned to Drive (Vogel) (continued) Using Vogel’s playwriting theories, the class continues to analyze theme, style, plot and characterizations. -
Printable Version
GOODSPEED MUSICALS AUDIENCE INSIGHTS MICHAEL GENNARO Executive Director presents Music by RICHARD RODGERS Book and Lyrics by OSCAR HAMMERSTEIN II Based on the play "Green Grow the Lilacs" by LYNN RIGGS Original Dances by AGNES de MILLE Scenic Design by Costume Design by Lighting Design by WILSON CHIN TRACY CHRISTENSEN PHILIP S. ROSENBERG Wig & Hair Design by Fight Director Orchestrations by MARK ADAM RAMPMEYER UNKLEDAVE'S FIGHT-HOUSE DAN DeLANGE Additional Dance Arragements by Sound Design by Casting by DAVID CHASE JAY HILTON PAUL HARDT STEWART/WHITLEY CASTING Production Manager Production Stage Manager Assistant Music Director R. GLEN GRUSMARK BRADLEY G. SPACHMAN F. WADE RUSSO Associate Producer Line Producer General Manager BOB ALWINE DONNA LYNN COOPER HILTON RACHEL TISCHLER Music Direction by MICHAEL O'FLAHERTY Choreographed by KATIE SPELMAN Directed by JENN THOMPSON JULY 14 - SEPT 23, 2017 THE GOODSPEED TABLE OF CONTENTS Character & Show Synopsis................................................................................................................................................................4 Meet the Writers.....................................................................................................................................................................................6 Director's Vision......................................................................................................................................................................................7 How The Pioneers Revolutionized the -
AQA Music a Level Area of Study 4: Music for Theatre
AQA Music A Level Area of Study 4: Music for Theatre NAME: TEACHER: 1 Contents Page Contents Page number What we are studying 3 Timeline 4 Kurt Weill 5 The Threepenny Opera 6 Rise and Fall of Mahagonny 9 Richard Rodgers 10 Oklahoma! 11 Carousel 15 Stephen Sondheim 16 Sweeney Todd 17 Into The Woods 21 Claude-Michel Schonberg 22 Miss Saigon 23 Les Miserables 26 Jason Robert Brown 27 The Last Five Years 28 Parade 31 Essay Questions and unfamiliar listening tests 32 Vocabulary specific to this unit 33 2 One essay question will be set on this topic. You will choose between answering an essay on Music for Theatre or on Jazz. You will need to answer listening questions and shorter essay questions on both topics, so you must study both. You will be studying these named artists and these suggested pieces from the board: Artists Pieces (Suggested listening) Kurt Weill Rise and Fall of the City of Mahagonny: - ‘Alabama Song’ - ‘Havana Song’ The Threepenny Opera: - ‘Ballad of Mack the Knife’ - ‘Jealousy Duet’ - ‘Pirate Jenny’ Richard Rogers Oklahoma!: - ‘Oh, What a Beautiful Mornin’’ - ‘Lonely Room’ - ‘Oklahoma’ Carousel: - ‘Louise’s Ballet: Pas de deux’ - ‘What’s the Use of Wond’rin?’ Stephen Sondheim Sweeney Todd: - ‘Prelude’ - ‘Green Finch and Linnet Bird’ - ‘A Little Priest’ - ‘My Friends’ Into The Woods: - ‘On the Steps of the Palace’ - ‘Agony’ - ‘Giants in the Sky’ - ‘Last Midnight’ Claude-Michel Miss Saigon: Schönberg - ‘I’d Give My Life for You’ - ‘Bui Doi’ - ‘I Still Believe’ Les Miserables: - ‘One Day More’ - ‘Bring Him Home’ Jason -
SINGER's MUSICAL THEATRE ANTHOLOGY Master Index, All Volumes
THE SINGER’S MUSICAL THEATRE ANTHOLOGY SERIES GUIDE AND INDEXES FOR ALL VOLUMES • Alphabetical Song Index • Alphabetical Show Index Updated September 2016 Key Accompaniment Book Only CDs Book/Audio S1 = Soprano, Volume 1 00361071 00740227 00000483 S2 = Soprano, Volume 2 00747066 00740228 00000488 S3 = Soprano, Volume 3 00740122 00740229 00000493 S4 = Soprano, Volume 4 00000393 00000397 00000497 S5 = Soprano, Volume 5 00001151 00001157 00001162 S6 = Soprano, Volume 6 00145258 00151246 00145264 ST = Soprano, Teen's Edition 00230043 00230051 00230047 S16 = Soprano, 16-Bar Audition 00230039 NA NA M1 = Mezzo-Soprano/Belter, Volume 1 00361072 00740230 00000484 M2 = Mezzo-Soprano/Belter, Volume 2 00747031 00740231 00000489 M3 = Mezzo-Soprano/Belter, Volume 3 00740123 00740232 00000494 M4 = Mezzo-Soprano/Belter, Volume 4 00000394 00000398 00000498 M5 = Mezzo-Soprano/Belter, Volume 5 00001152 00001158 00001163 M6 = Mezzo-Soprano/Belter, Volume 6 00145259 00151247 00145265 MT = Mezzo-Soprano/Belter, Teen's Edition 00230044 00230052 00230048 M16 = Mezzo-Soprano/Belter, 16-Bar Audition 00230040 NA NA T1 = Tenor, Volume 1 00361073 00740236 00000485 T2 = Tenor, Volume 2 00747032 00740237 00000490 T3 = Tenor, Volume 3 00740124 00740238 00000495 T4 = Tenor, Volume 4 00000395 00000401 00000499 T5 = Tenor, Volume 5 00001153 00001160 00001164 T6 = Tenor, Volume 6 00145260 00151248 00145266 TT = Tenor, Teen's Edition 00230045 00230053 00230049 T16 = Tenor, 16-Bar Audition 00230041 NA NA B1 = Baritone/Bass, Volume 1 00361074 00740236 00000486 B2 = Baritone/Bass,