DOCSLIB.ORG

Elena Araoz Directing Resume May 4, 2021

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

E L E N A A R A O Z www.elenaaraoz.com Allison Schwartz, Paradigm Talent Agency [email protected] [email protected] 267.253.3232 212.897.6400 BROADWAY (charity event) Union Square Incident* Warren Leight The 24 Hour Plays on Broadway, American Airlines Theatre OFF-BROADWAY Original Sound* Adam Seidel Cherry Lane Theatre Fur Migdalia Cruz New York Theatre Workshop Next Door Madness of Small Worlds* Mac Wellman New York Theatre Workshop Next Door Alligator* Hilary Bettis The Sol Project and New Georges Architecture of Becoming* multiple Women’s Project at City Center (by Lauren Yee, Sarah Gancher, Kara Lee Corthron, Vicki Grise, Dipika Guha) Three on a Couch Carl Djerassi Redshift Productions at Soho Playhouse Phallacy Carl Djerassi Redshift Productions at Cherry Lane Theatre SELECTED LIVE VIRTUAL PRODUCTIONS The Manic Monologues* Zach Burton McCarter Theatre (2021 DRAMA LEAGUE AWARD NOM.) A Survivor’s Odyssey* Prescott/Jacobs White Snake Projects (upcoming) Alice in the Pandemic* Sosa/Jacobs White Snake Projects a farm for meme* Virgina Grise Cara Mia Theatre A Virtual Sugar Skull!* Gregory Van Acker Mexico Beyond Mariachi References to Salvador Dalí… José Rivera Juilliard Swell Live + Online Melisa Tien HERE at Home/HERE Arts Center SELECTED INTERNATIONAL Two Arms and a Noise* Elena Araoz Bucharest International Theatre Platform, Romania Midsummer Night’s Dream Shakespeare Prague Shakespeare Company, Czech Republic The Power* Li Tong Chen Noble Theatre Bridge, Beijing, China SELECTED OPERA I Am A Dreamer Who Director Resonance Works, Pittsburgh (upcoming) No Longer Dreams* White Snake Productions at Paramount Theatre, Boston Let’s Celebrate* Director White Snake Productions, Boston (upcoming) Azaan* Director Oregon Symphony, Portland La traviata Director/Choreographer New York City Opera at BAM Gilman Opera House Falstaff, Act III Director Brooklyn Philharmonic at BAM Gilman Opera House Lucia di Lammermoor Director Opera North, NH Così fan tutte Director Brooklyn Philharmonic at BAM Gilman Opera House Latin Lovers Director/Choreographer Glimmerglass Opera La traviata Choreographer/Associate Director with Sir Jonathan Miller Vancouver Opera St. Matthew Passion Associate Director with Sir Jonathan Miller BAM Harvey Theatre Così fan tutte Associate Director with Sir Jonathan Miller Seattle Opera Lincoln Center Mostly Mozart BAM Harvey Theatre Il matrimonio segreto Associate Director with Sir Jonathan Miller BAM Harvey Theatre Dido and Aeneas Associate Director with Sir Jonathan Miller Glimmerglass Opera SELECTED NATIONAL TOURS Sugar Skull! A Dia de los Gregory Van Acker Mexico Beyond Mariachi, represented by Columbia Artists Muertos Musical Adventure 30-city American tour 2019, with tour set for 2022 SELECTED REGIONAL THEATRE Garbologists* Lindsay Joelle City Theatre, Pittsburgh, PA (upcoming) Sweat Lynn Nottage People’s Light, PA In Between* Ibrahim Miari Walnut Street Theatre, Philadelphia, PA Romeo and Juliet Shakespeare Shakespeare Festival St. Louis, MO Plastic Drastic* Elena Araoz Rose Theatre, Omaha, NE The Retreating World Naomi Wallace Great Plains Theatre Conference, Omaha, NE The Company We Keep* Jaclyn Villano Boston Playwright’s Theatre, MA The Fever Chart Naomi Wallace Underground Railway Theatre, Boston, MA (IRNE Nomination) The Price Arthur Miller Northern Stage, VT Midsummer Night’s Dream Shakespeare Geva Theatre at SUNY Brockport, NY Io: a myth about you* Monika Bustamante Shrewd Productions, Austin, TX (4 Critics’ Table Nominations) Faust Elena Araoz FirstWorks Providence Festival, RI Titus Andronicus Shakespeare Austin Shakespeare Festival (B. Iden Payne Award) E L E N A A R A O Z www.elenaaraoz.com Allison Schwartz, Paradigm Talent Agency [email protected] [email protected] 267.253.3232 212.897.6400 OTHER SELECTED NYC THEATRE Under the Skin* Catherine Filloux Intar (upcoming) Swell* Melisa Tien HERE Arts Center Kidnap Road* Catherine Filloux La MaMa Conduct of Life María Irene Fornés Boundless Theatre Company Mechanics of Love Dipika Guha To-by-For Productions Prospect Octavio Solís Boundless Theatre Company Mud María Irene Fornés Boundless Theatre Company Horrocks/Wu World Woo* Mac Wellman The New Museum, also at ArtsEmerson and BlueBarn Omaha She-She-She* Virginia Grise Ice Factory Festival at New Ohio Theatre Lawnpeople* Natalia Naman Cherry Lane Mentor Project Thirst* Monika Bustamante HERE Arts Center Labyrinths/Laberintos* Elena Araoz Chekhov Theatre Ensemble (bilingual Spanish/English) War Music* Elena Araoz Skirball Center/NYU Institute for the Humanities also at Chicago Humanities Festival, FirstWorks Providence RI SELECTED ASSOCIATE & ASSISTANT THEATRE DIRECTING Ghosts Associate Director with Sir Richard Eyre BAM Harvey Theatre King Lear Assistant Director for Sir Jonathan Miller Broadway, Lincoln Center The Library* Assistant Director for Steven Soderbergh The Public Theatre Antony and Cleopatra Assistant Director for Darko Tresnjak Theatre for a New Audience AUDIO DRAMA DIRECTING Nightfall Marisela Treviño Orta Audible (upcoming) Exile Brigette Wimberly Audible SELECTED NEW PLAY DEVELOPMENT WORKSHOPS and STAGINGS Allond(r)a by Gina Femia (MCC and Leah Ryan Prize) Mushroom by Eisa Davis (People’s Light and Theatre) Alma by Benjamin Benne (Old Globe, National Playwrights Conference Eugene O'Neill Theater Center) three girls never learnt the way home by Matthew Paul Olmos (The New Group) Welcome to Fear City by Kara Lee Corthron (Atlantic Theatre Company, Labyrinth Theater, PlayPenn) Megastasis by Kia Corthron (New York Theatre Workshop, Yale University, Brooklyn New Works) Torera by Monet Hurst-Mendoza (The Public Theatre’s Emerging Writers Group Spotlight Series) Children of the Republic by Gonzalo Rodriguez Risco (Playwrights Realm) Tiny People by Christopher Oscar Peña (Two River Theatre) All’s Well That Ends Well translation by Virginia Grise (Play On! at Classic Stage Company) River of Gruel by Sibyl Kempson (New Dramatists) Duchess of Stringtown by Jones and Schmid (Anna Deavere Smith’s Institute on the Arts & Civic Dialogue) The Ghosts of Lote Bravo by Hilary Bettis (Lark’s Playwright’s Week, Repertorio Español, Project Y Theatre) Dakota Atoll by Hilary Bettis (New York Theatre Workshop) Tio Pepe by Matthew Lopez (playwright’s workshop) with Pricilla Lopez Good People one version in English and one version in Spanish by Alex Beech (Two River Theatre) Obra Negra by Flavio González Mello and translated by Carmen Rivera (Lark’s México/US Exchange) What Are You Worth? by Kara Lee Corthron (Miranda Theatre Company) The Greenest Month by Meghan Kennedy (playwright’s workshop) EVENT DIRECTING events for PEN World Voices Festival of International Literature, Cathedral of St. John the Divine, Anna Deavere Smith’s Institute on the Arts & Civic Dialogue SELECTED HONORS • Two Arms and a Noise, written and directed by Elena Araoz, named by Latino Theatre Commons as one of “thirty- six plays and writers that everyone should know.” 2015 • The Beatrice Terry Artist-In-Residence at The Drama League for a writer-director 2015 - to develop Plastic Drastic, a commission by the Rose Theatre RELATED Member AGMA, SDC, AEA, Canadian AEA, SAG-AFTRA (eligible) Spanish speaker, reads music, trained singer New York Theatre Workshop Usual Suspect EDUCATION M.F.A. in acting; University of Texas at Austin B.A. in English and theatre; College of the Holy Cross TEACHING faculty at Princeton University - Theatre Program *world premiere.
Recommended publications
  • Broadcasting the Arts: Opera on TV

    Broadcasting the Arts: Opera on TV

    Broadcasting the Arts: Opera on TV With onstage guests directors Brian Large and Jonathan Miller & former BBC Head of Music & Arts Humphrey Burton on Wednesday 30 April BFI Southbank’s annual Broadcasting the Arts strand will this year examine Opera on TV; featuring the talents of Maria Callas and Lesley Garrett, and titles such as Don Carlo at Covent Garden (BBC, 1985) and The Mikado (Thames/ENO, 1987), this season will show how television helped to democratise this art form, bringing Opera into homes across the UK and in the process increasing the public’s understanding and appreciation. In the past, television has covered opera in essentially four ways: the live and recorded outside broadcast of a pre-existing operatic production; the adaptation of well-known classical opera for remounting in the TV studio or on location; the very rare commission of operas specifically for television; and the immense contribution from a host of arts documentaries about the world of opera production and the operatic stars that are the motor of the industry. Examples of these different approaches which will be screened in the season range from the David Hockney-designed The Magic Flute (Southern TV/Glyndebourne, 1978) and Luchino Visconti’s stage direction of Don Carlo at Covent Garden (BBC, 1985) to Peter Brook’s critically acclaimed filmed version of The Tragedy of Carmen (Alby Films/CH4, 1983), Jonathan Miller’s The Mikado (Thames/ENO, 1987), starring Lesley Garret and Eric Idle, and ENO’s TV studio remounting of Handel’s Julius Caesar with Dame Janet Baker. Documentaries will round out the experience with a focus on the legendary Maria Callas, featuring rare archive material, and an episode of Monitor with John Schlesinger’s look at an Italian Opera Company (BBC, 1958).
  • J Ohn F. a Ndrews

    J Ohn F. a Ndrews

    J OHN F . A NDREWS OBE JOHN F. ANDREWS is an editor, educator, and cultural leader with wide experience as a writer, lecturer, consultant, and event producer. From 1974 to 1984 he enjoyed a decade as Director of Academic Programs at the FOLGER SHAKESPEARE LIBRARY. In that capacity he redesigned and augmented the scope and appeal of SHAKESPEARE QUARTERLY, supervised the Library’s book-publishing operation, and orchestrated a period of dynamic growth in the FOLGER INSTITUTE, a center for advanced studies in the Renaissance whose outreach he extended and whose consortium grew under his guidance from five co-sponsoring universities to twenty-two, with Duke, Georgetown, Johns Hopkins, North Carolina, North Carolina State, Penn, Penn State, Princeton, Rutgers, Virginia, and Yale among the additions. During his time at the Folger, Mr. Andrews also raised more than four million dollars in grant funds and helped organize and promote the library’s multifaceted eight- city touring exhibition, SHAKESPEARE: THE GLOBE AND THE WORLD, which opened in San Francisco in October 1979 and proceeded to popular engagements in Kansas City, Pittsburgh, Dallas, Atlanta, New York, Los Angeles, and Washington. Between 1979 and 1985 Mr. Andrews chaired America’s National Advisory Panel for THE SHAKESPEARE PLAYS, the BBC/TIME-LIFE TELEVISION canon. He then became one of the creative principals for THE SHAKESPEARE HOUR, a fifteen-week, five-play PBS recasting of the original series, with brief documentary segments in each installment to illuminate key themes; these one-hour programs aired in the spring of 1986 with Walter Matthau as host and Morgan Bank and NEH as primary sponsors.
  • Alumni Revue! This Issue Was Created Since It Was Decided to Publish a New Edition Every Other Year Beginning with SP 2017

    Alumni Revue! This Issue Was Created Since It Was Decided to Publish a New Edition Every Other Year Beginning with SP 2017

    AAlluummnnii RReevvuuee Ph.D. Program in Theatre The Graduate Center City University of New York Volume XIII (Updated) SP 2016 Welcome to the updated version of the thirteenth edition of our Alumni Revue! This issue was created since it was decided to publish a new edition every other year beginning with SP 2017. It once again expands our numbers and updates existing entries. Thanks to all of you who returned the forms that provided us with this information; please continue to urge your fellow alums to do the same so that the following editions will be even larger and more complete. For copies of the form, Alumni Information Questionnaire, please contact the editor of this revue, Lynette Gibson, Assistant Program Officer/Academic Program Coordinator, Ph.D. Program in Theatre, The Graduate Center, City University of New York, 365 Fifth Avenue, New York, NY 10016-4309. You may also email her at [email protected]. Thank you again for staying in touch with us. We’re always delighted to hear from you! Jean Graham-Jones Executive Officer Hello Everyone: his is the updated version of the thirteenth edition of Alumni Revue. As always, I would like to thank our alumni for taking the time to send me T their updated information. I am, as always, very grateful to the Administrative Assistants, who are responsible for ensuring the entries are correctly edited. The Cover Page was done once again by James Armstrong, maybe he should be named honorary “cover-in-chief”. The photograph shows the exterior of Shakespeare’s Globe in London, England and was taken in August 2012.
  • A Chat with Arthur Miller

    A Chat with Arthur Miller

    University of 25 C ents ACHAT WITH ARTHUR MILLER by Steve CiofD Born in New York City and educated at the University of Michigan, Arthur Miller is rec­ ognized as one of America’s foremost dra­ matists. The author of such classics as Death Eigel Responds To of a Salesman, The Crucible, All My Sons, The Price and After the Fall, Miller’s latest w ork s. two one-act plays called Elegy for a Lady and Some Kind of Love Story. are Phase Out Controversy currently enjoying a successful World Premiere run at Long Wharf Theatre’s Stage by Lisa A. Sahttlka president, Gaylord Haas, statements he had made n. The shows, referred to under the title “2 by oppose both some of the in 1980. “At that time we A.M.”, will be presented through December The Vice President of terminations and the pro­ announced that we would 5th. Academic Affairs denied cess by which they were' continue to review pro­ At a recent break between rehearsals for that the recently issued issued. Haas has stated grams because even then the shows, Mr. Miller was kind enough to list of program phase the faculty contract was it was clear we would not share about fifteen minutes with me. As we outs in any way suggests violated because the ad­ be able to continue the sat next to the make-up mirror in one of the a move toward a lessen­ ministration failed to give programs we were cur­ dressing rooms, a square halo of thirty-watt 1 ing of scholastic offerings the Program Evaluation rently offering.” lightbulbs framed his reflection.
  • June 2016 President: Vice President: Simon Russell Beale CBE Nickolas Grace

    June 2016 President: Vice President: Simon Russell Beale CBE Nickolas Grace

    No. 495 - June 2016 President: Vice President: Simon Russell Beale CBE Nickolas Grace Nothing like a Dame (make that two!) The VW’s Shakespeare party this year marked Shakespeare’s 452nd birthday as well as the 400th anniversary of his death. The party was a great success and while London, Stratford and many major cultural institutions went, in my view, a bit over-bard (sorry!), the VW’s party was graced by the presence of two Dames - Joan Plowright and Eileen Atkins, two star Shakespeare performers very much associated with the Old Vic. The party was held in the Old Vic rehearsal room where so many greats – from Ninette de Valois to Laurence Olivier – would have rehearsed. Our wonderful Vice-President, Nickolas Grace, introduced our star guests by talking about their associations with the Old Vic; he pointed out that we had two of the best St Joans ever in the room where they would have rehearsed: Eileen Atkins played St Joan for the Prospect Company at the Old Vic in 1977-8; Joan Plowright played the role for the National Theatre at the Old Vic in 1963. Nickolas also read out a letter from Ronald Pickup who had been invited to the party but was away in France. Ronald Pickup said that he often thought about how lucky he was to have six years at the National Theatre, then at Old Vic, at the beginning of his career (1966-72) and it had a huge impact on him. Dame Joan Plowright Dame Joan Plowright then regaled us with some of her memories of the Old Vic, starting with the story of how when she joined the Old Vic school in 1949 part of her ‘training’ was moving chairs in and out of the very room we were in.
  • Castleton Festival Opera the Britten Project: the Rape of Lucretia

    Castleton Festival Opera the Britten Project: the Rape of Lucretia

    CAL PERFORMANCES PRESENTS Thursday, March 24, 2011, 8pm Friday, March 25, 2011, 8pm Zellerbach Hall Castleton Festival Opera The Britten Project: The Rape of Lucretia Composed by Benjamin Britten Conducted by Lorin Maazel Stage Direction by William Kerley Berkeley Symphony production Set & Costume Designer Nicholas Vaughan Lighting Designer Rie Ono Production Stage Manager Laine Goerner Assistant Director Amanda Consol Assistant Lighting Designer Marnie Cumings Associate Lighting Designer Brandon Mitchell Assistant Costume Designer Sarah Swafford cast (in order of vocal appearance) Male Chorus Vale Rideout Female Chorus Arianna Zukerman Collatinus Michael Rice Junius Michael Weyandt Tarquinius Matthew Worth Lucretia Ekaterina Metlova Bianca Alison Tupay Lucia Marnie Breckenridge music staff Assistant Conductor Blake Richardson Rehearsal Pianist/Coach Wilson Southerland By arrangement with Boosey & Hawkes, Inc., publisher and copyright holder. These performances are funded, in part, by the Britten-Pears Foundation and by Patron Sponsors Susan Graham Harrison and Michael A. Harrison. Cal Performances’ 2010–2011 season is sponsored by Wells Fargo. CAL PERFORMANCES 5 SYNOPSIS PROGRAM NOTES Scene 2 The Female Chorus takes us into the world of Lucretia at home with her nurse, Bianca, and maid, Lucia. They work, spinning yarn, embroi- dering, and folding linen, while Lucretia frets over Collatinus’s prolonged absence. Just as they are preparing to go to bed, Tarquinius arrives and demands to be put up for the night. With some trepidation, she invites him in and shows him to his room. Giuseppe DiLiberto Giuseppe act two The Rape of Lucretia (1946; rev. 1947) Scene 1 Civil unrest grows in Rome, and the discontent- he events of the opera, which take ed wait for the moment to revolt.
  • Annual Report

    Annual Report

    18 ANNUAL REPORT 19 MISSION VISION • We will educate enterprising artists, thinkers, innovators, leaders, and globally conscious citizens who transform The Theatre School trains students communities across DePaul, Chicago, the nation, and the world. • We will support an expert, passionate faculty and staff to the highest level of professional committed to advancing the vibrancy of live theatre and performance while continually adapting to a broadening skill and artistry in an inclusive and changing profession. • We will become a model of diversity and inclusion for the University and the field. and diverse conservatory setting. • We will produce public programs and performances that challenge, entertain, and stimulate the imagination. • We will foster cross-disciplinary collaboration to further student understanding and appreciation of every aspect of theatre work. VALUES EDUCATION We advance intellectual development and ethical consciousness. We foster moral, spiritual, social, political, and artistic growth. We promote participation in civic life. RESPECT We inspire respect for self, for others, for the profession, and for humanity. We embrace the Vincentian model of service. FREEDOM We build a community founded on the principles of creativity and freedom of expression. We value initiative, innovation, exploration, and risk-taking. IMAGINATION We celebrate the primacy of imagination in our work. SPIRITUALITY We believe theatre is a place for reflection, awakening, and the development of moral awareness. Welcome to The Theatre School’s 2018-19 Annual Report. This year we auditioned and admitted students in our new Comedy Arts and Projection Design majors. We also received approval for a new BFA degree in Wig and Makeup Design & Technology, which will greet its first class in Fall 2020.
  • West Village CHELSEA • GREENWICH VILLAGE • LADIES MILE SHOPPING DISTRICT • MEATPACKING DISTRICT • SOHO

    West Village CHELSEA • GREENWICH VILLAGE • LADIES MILE SHOPPING DISTRICT • MEATPACKING DISTRICT • SOHO

    West Village CHELSEA • GREENWICH VILLAGE • LADIES MILE SHOPPING DISTRICT • MEATPACKING DISTRICT • SOHO Streets East 19 St, B12 Mulry Square, F8 West 10 St, F10, G8, J6 Points of Interest Center Stage, B11 Colonial House Inn, A6 # Flatiron Building, A11 Himalayan Institute of New York, E11 Lawrence A. Wien Center, B12 New York Shambala Center, A9 Pier 54, 56, E2 High School, D10 Sullivan Street Playhouse, K11 # Village Vanguard, F8 East 20 St, B12 Ninth Av, B-E5 West 11 St, F10, G7, H5 Chabad Center for Jewish Discovery, B9 Congregation Beth Simchat Forbes Magazine Gallery, E11 Hotel Gansevoort, E5 Legacy School for Integrated Studies, E10 New York Studio School, G11 Pier 59, C1 St. Francis Xavier College, D10 Sundance Institute, M9 Ward-Nasse Gallery, M11 Abingdon Square, F6 East 21 St, B12 Patchin Place, F9 West 12 St, E10, F7, G4 ABC Carpet & Home, B12 Chabad Synagogue, B9 Torah, G5 Foundation Center, D11 Hotel Verite, B12 Leo House, A5 # New York University, G12, J12 Pier 60, 61, B1 St. John’s in-the-Village Church, F7 Sweet Basil, H8 Washington Arch, H11 Key Bank St, F7, H4 East 22 St, A12 Perry St, G7, J5 West 13 St, E4-10 Abingdon Square Memorial, F6 Chambers Fine Art, B2 Congregation Derech Amuno, G7 Four Points by Sheraton Hotel, M9 Hudson Depot, D2 Lesbian & Gay Community Center, E7 Bobst Library, J12 Pier 62, A1 St. John’s Lutheran Church, H8 Tenri Cultural Institute, E10 Washington Square Hotel, G10 # Washington Square Park, H11 Barrow St, J8, K6 Eighth Av, B-F6 Prince St, L11 West 14 St, D4-10 Actor’s Playhouse, H8 Chelsea, A5, C10 Congregation Emunath Israel, A7 French Evangelical Presbyterian Hudson Guild-Fulton Senior Center, C4 Liberty HS, Academy for Law School, J10 Players Theatre, J10 # St.
  • The Challenges of Opera Direction

    The Challenges of Opera Direction

    UNLV Retrospective Theses & Dissertations 1-1-2000 The challenges of opera direction Dean Frederick Lundquist University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/rtds Repository Citation Lundquist, Dean Frederick, "The challenges of opera direction" (2000). UNLV Retrospective Theses & Dissertations. 1167. http://dx.doi.org/10.25669/wzqe-ihk0 This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in UNLV Retrospective Theses & Dissertations by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substarxfard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted.

  • Off* for Visitors

    Welcome to The best brands, the biggest selection, plus 1O% off* for visitors. Stop by Macy’s Herald Square and ask for your Macy’s Visitor Savings Pass*, good for 10% off* thousands of items throughout the store! Plus, we now ship to over 100 countries around the world, so you can enjoy international shipping online. For details, log on to macys.com/international Macy’s Herald Square Visitor Center, Lower Level (212) 494-3827 *Restrictions apply. Valid I.D. required. Details in store. NYC Official Visitor Guide A Letter from the Mayor Dear Friends: As temperatures dip, autumn turns the City’s abundant foliage to brilliant colors, providing a beautiful backdrop to the five boroughs. Neighborhoods like Fort Greene in Brooklyn, Snug Harbor on Staten Island, Long Island City in Queens and Arthur Avenue in the Bronx are rich in the cultural diversity for which the City is famous. Enjoy strolling through these communities as well as among the more than 700 acres of new parkland added in the past decade. Fall also means it is time for favorite holidays. Every October, NYC streets come alive with ghosts, goblins and revelry along Sixth Avenue during Manhattan’s Village Halloween Parade. The pomp and pageantry of Macy’s Thanksgiving Day Parade in November make for a high-energy holiday spectacle. And in early December, Rockefeller Center’s signature tree lights up and beckons to the area’s shoppers and ice-skaters. The season also offers plenty of relaxing options for anyone seeking a break from the holiday hustle and bustle.
  • Dd Shrewstudyguide.Pdf

    Dd Shrewstudyguide.Pdf

    HOFSTRA UNIVERSITY DEPARTMENT OF DRAMA AND DANCE THE TAMING OF THE SHREW William Shakespeare STUDY GUIDE Written and compiled by James J. Kolb, Professor of Drama HOFSTRA/DRAMA 1997 A Study Guide to Hofstra University’s Department of Drama and Dance Production of The Taming of the Shrew by William Shakespeare March 1997 Table of Contents The New Cambridge Shakespeare version of The Taming of the Shrew, edited by Ann Thompson, is the text used in the About Shakespeare 2 current production. It is published in paperback by Cambridge University Press, 40 West 20th Street, New York, Title Page of the First Folio Edition New York 10011-4211 of Shakespeare’s Plays 2 ISBN # 0 521 29388 X ($10.95) Shakespeare’s Coat of Arms 3 Shakespeare’s Plays 3 Shakespeare’s Theatre 4 HOFSTRA/DRAMA Department of Drama and Dance Summary of the Story 5 Hofstra University (516) 463-5444 The Sources of the Story 5 The Date of Composition and Special Problems With the Text of The Taming of the Shrew As Related to The Taming of a Shrew 6 A Few Critical Comments 7 The cover engraving is taken from James Edmund Harting’s About the Play on Stage 10 The Birds of Shakespeare (1871). It depicts hawks in training being carried to the field in “the cadge,” carried by “the Notable Lines 15 cadger.” See page 8 of the Study Guide for some additional comments about falconry. About the Play in Other Forms 16 The idea and format of this study guide is by Peter Sander.
  • 2019 YOUTH THEATRE JULY 25–AUGUST 10 CAST Arlecchino

    2019 YOUTH THEATRE JULY 25–AUGUST 10 CAST Arlecchino

    AND PRESENT BOOK BY MUSIC & LYRICS BY Sam LaFrage Lewis Flinn and Sam LaFrage WITH Marleigh Briggs Kacie Colandria Lelia Gillespie Ella LaMee Phoebe Lloyd Elliott Loverin Patrick McKinney Gwen Scorpa Sam Stein Sam Tucker-Smith Ruth Weaver COSTUMES LIGHTING DESIGNER Ragtag Theatre Company, Angela Borst, Meghan Gillespie Wylder Cooper SOUND DESIGNERS DESIGN COORDINATORS Sam LaFrage, Jason McGuire Gabriel Walker, Anais Bustos PRODUCTION STAGE MANAGER BERKSHIRE PRESS REPRESENTATIVE Rachel Lynne Harper Charlie Siedenburg MUSICAL DIRECTION BY Dave Klodowski ASSISTANT DIRECTOR/ASSOCIATE CHOREOGRAPHER Katy Gore DIRECTED & CHOREOGRAPHED BY Sam LaFrage Ragatg Theatre’s Hansel and Gretel is presented in collaboration with Berkshire Museum Ragatg Theatre’s Hansel and Gretel is sponsored in part by The Berkshire Eagle 2019 YOUTH THEATRE JULY 25–AUGUST 10 CAST Arlecchino ............................................................................................. Sam Tucker-Smith Pantalone .............................................................................................. Patrick McKinney Columbina.................................................................................................... Phoebe Lloyd Rosetta ..........................................................................................................Ruth Weaver Pulcinella ..................................................................................................Marleigh Briggs Zanni ...............................................................................................................