Edward Albee's at Home at The

Total Page:16

File Type:pdf, Size:1020Kb

Edward Albee's at Home at The CAST OF CHARACTERS TROY KOTSUR*............................................................................................................................PETER Paul Crewes Rachel Fine Artistic Director Managing Director RUSSELL HARVARD*, TYRONE GIORDANO..........................................................................................JERRY AND AMBER ZION*.................................................................................................................................ANN JAKE EBERLE*...............................................................................................................VOICE OF PETER JEFF ALAN-LEE*..............................................................................................................VOICE OF JERRY PAIGE LINDSEY WHITE*........................................................................................................VOICE OF ANN *Indicates a member of Actors’ Equity Association, the Union of David J. Kurs Professional Actors and Stage Managers in the United States. Artistic Director Production of ACT ONE: HOMELIFE ACT TWO: THE ZOO STORY Peter and Ann’s living room; Central Park, New York City. EDWARD ALBEE’S New York City, East Side, Seventies. Sunday. Later that same day. AT HOME AT THE ZOO ADDITIONAL PRODUCTION STAFF STARRING COSTUME AND PROPERTIES REHEARSAL STAGE Jeff Alan-Lee, Jack Eberle, Tyrone Giordano, Russell Harvard, Troy Kotsur, WARDROBE SUPERVISOR SUPERVISOR INTERPRETER COMBAT Paige Lindsey White, Amber Zion Deborah Hartwell Courtney Dusenberry Alek Lev Steve Rankin SCENIC & COSTUME DESIGN LIGHTING DESIGN SOUND DESIGN Karyl Newman Julien V. Elstob Tom Jones DEAF WEST THEATRE LEADERSHIP ARTISTIC DIRECTOR David J. Kurs DEAF WEST THEATRE'S 2016-2017 productions and FOUNDING ARTISTIC DIRECTOR Ed Waterstreet programming are also made possible, in part, by PRODUCTION STAGE MANAGER ASSISTANT STAGE MANAGER ASSISTANT DIRECTOR generous grants and contributions from the following: Jennifer Brienen* Kiley Gilchriest Sandra Mae Frank BOARD OF DIRECTORS PRESIDENT Nancy Popovich VICE PRESIDENT Mark Freund ASL MASTER ASSISTANT ASL MASTERS SECRETARY Erin Moss TREASURER Scott Plantinga Linda Bove Jessica Frank, Justin Jackerson Ed Waterstreet, Mel Carter, Shelley Cohen, Keri Kelsey, Jeffrey Lenham. DIRECTED BY PRESIDENT EMERITI Sidney R. Craig, Stephen Schultz Annenberg Foundation, Broadcast Music, Inc., Coy Middlebrook ADVISORY BOARD Friars Charitable Foundation, Mark Freund and Trice Linda Bove, Carol Doran, Kalen Feeney, Bruce Grakal, Koopman, Greater Community Foundation of Greater Laura Hite, Joan Johnson, Liz Lin, Memphis, Harold & Mimi Steinberg Charitable Trust, MARCH 7 - 26, 2017 Kenneth Mikos, Victoria Morris, Carol Padden, Richie Convo Relay, Kenneth T. and Eileen L. Norris Foundation, Shubert Foundation, Walt Disney Imagineering. Lovelace Studio Theater Olson, Sarah Quigley, Carolyn Sargent Running Time: 2 hours including one 15-minute intermission. The Role of ASL Masters The production is made possible by the generous support of Meeghan and Michael Nemeroff. The American Sign Language (ASL) Master facilitates the adaptation and translation process from written English to “At Home at the Zoo (Zoo Story)” is presented by special arrangement with American Sign Language. This process requires careful attention to preserve the integrity of ASL while adhering to SAMUEL FRENCH, INC. the script as written. In addition to executing the translation, the ASL Master must see that it appropriately reflects the actor and the character portrayed. The ASL Master then works with each actor to ensure that the playwright’s Edward Albee’s AT HOME AT THE ZOO was produced under the title PETER AND JERRY by Second Stage intentions, tone, rhythm, poetry, idiomatic expressions, and humor are all reflected in each actor’s signing. Theatre, New York, 2007, Carole Rothman, Artistic Director The positions of Assistant ASL Masters and Assistant Director on this production were made possible by donations to HOME LIFE was commissioned and PETER AND JERRY was originally produced by Hartford Stage. the Ed Waterstreet and Linda Bove Artists’ Initiative. For more information, www.deafwest.org PERFORMANCES MAGAZINE P5 About the Artists About the Artists JEFF ALAN-LEE (Voice of the critically-acclaimed Cyrano at the Fountain PAIGE LINDSEY WHITE the Gold Medal in Drama from the American history and happenings around Giant Rock in Playwrights Conference, Reprise Theatre Company, Jerry) is so happy to be Theatre in Los Angeles and Tribes at the Studio (Voice of Ann) Stage: Eliza Academy and Institute of Arts and Letters in 1980. In Landers, CA for museum exhibition. As part of and the Disneyland Resort. Recently, she worked at re-creating Zoo, with Coy and Theatre in Washington, D.C. He currently gets his Doolittle in Pygmalion 1996 he received the Kennedy Center Honors and ongoing research into the Llano del Rio colony she Thinkwell Group as a Design Manager and taught the gang from Deaf West once artistic jollies as an ensemble member with dog & (Pasadena Playhouse); Macon the National Medal of Arts. In 2005, he was awarded produced experimental art and interpretive Stage Management I for the USC School of Dramatic more. Recent credits: The pony dc, which devises theatre with audience Hill in Abundance (South Coast a special Tony Award for Lifetime Achievement. exhibitions at the site in 2013 and 2014 as Arts. Jennifer is a member of Actors' Equity Suitcase (The Echo Theater integration in mind. Rep); Brooke Wyeth in Other Hinterculture.com with Craftswoman House. She Association and IATSE 504. She graduated with a BFA Company), the L.A. hit, Desert Cities (Arizona Theatre COY MIDDLEBROOK (Director) re-visits his leads a project mapping illegal dumping and in Stage Management from the University of Assassins, Reset, Detective Partner Hero Villian, and RUSSELL HARVARD Company & Indiana Rep); Catherine in Rapture direction of Deaf West Theatre’s render of Edward implemented an application to share debris locations Southern California. Exit the King. Favorite roles include: Auto Da Fe (also (Jerry, performances March Blister Burn (San Diego Rep); Trying (Ovation Albee’s The Zoo Story and this time around in a as a material resource -- Blightsites and is the in Edinburgh and Ireland), Frankie and Johnny in 7-15) A veteran of the stage, Nomination), Ghost-Writer, and The Heir Apparent co-production with The Wallis and with Albee’s co-founder and director of Dehsart. Exhibitions SANDRA MAE FRANK (Assistant Director) is a The Claire De Lune, Hello and Goodbye, and The Russell most recently starred in (International City Theatre); The Children and R II prequel At Home. Directing credits include Little include installations and performances at REDCAT, trained stage and film actress who recently closed Boys Next Door. Early credits: Huck and Jim Open Circle Theatre’s (Theatre @ Boston Court); Walking the Tightrope (LA Shop of Horrors (Ford’s Theatre) the world premiere NASA’s JPL and Santa Monica's GLOW festival. She is her Broadway debut in Deaf West’s Spring (directed by Broadway legend, Joshua Logan), groundbreaking The Who’s Drama Critics' Circle Award Lead Performance of Nobody’s Perfect (The Kennedy Center), the NY the 2016-2017 Archibald Hanna Beinecke Research Awakening. She studies music to do more musicals Snoopy (with Andrea McArdle), Losing It (directed by Tommy and Huntington Theatre Winner, Ovation Nomination, 24TH ST Theatre), Ivo premieres of Tennessee Williams’ Spring Storm Fellow at Yale where she received her MFA. and continue her training in stunts for action films. Andy Cadiff), and many regional and stock theater Company’s I Was Most Alive With You written and Van Hove’s A View From the Bridge (Ahmanson & (Lobo Theatre) and Lee Blessing’s The Roads That As an actress stems from her deep desire to raise the credits throughout the country. Film and TV directed by Craig Lucas.. Russell also performed in Kennedy Center, u/s); Fallen Angels (Ensemble Lead Here (Epic Repertory), Orphans (Lobo Theatre), JULIEN V. ELSTOB (Lighting Design) is a multi- standards within the communication and includes As the World Turns, Could It Be A Miracle, the critically acclaimed Deaf West Broadway revival Theatre Santa Barbara); Wounded (Los Angeles Wooden Nickels and Race Music (The Actors Studio), disciplinary designer; his lighting and video work entertainment industries, she has become an No Big Deal (with Kevin Dillon) and The Beniker of Spring Awakening. In 2012, he made his off- Theatre Ensemble); Mutual Philanthropy (Ensemble Into The Woods, Wizard of Oz, JC Superstar, HAIR spans Theater, Dance, Corporate, and Concert. He Advocate for ZVRS to #Bridging2Worlds by Gang (starring with Andrew McArthy). Jeff is a NYU Broadway debut in the play Tribes, earning a Theatre Studio Theatre LA). International Tour: Trial of the (CCLO) and the Los Angeles sci-fi musical, It Came studied under Joan Arhelger at San Francisco State collaborating both worlds through arts - Deaf and graduate, former NY and LA Lee Strasberg faculty World award, and receiving nominations for Drama Catonsville Nine (The Actors’ Gang). TV: Shameless, From Beyond (LA Ovation Award nom for Best New University. He is also the Lighting Supervisor at the hearing. Theatre credits includes Spring Awakening member and the founder and artistic director of The League Outer Critics and Lucille Lortel awards. He is Hampton DeVille, Days of Our Lives, The Flipside Musical). He directed Baseball Swing and The Wallis Annenberg Center
Recommended publications
  • OSLO Big Winner at the 2017 Lucille Lortel Awards, Full List! by BWW News Desk May
    Click Here for More Articles on 2017 AWARDS SEASON OSLO Big Winner at the 2017 Lucille Lortel Awards, Full List! by BWW News Desk May. 7, 2017 ​ ​ Tweet Share ​ ​ The Lortel Awards were presented May 7, 2017 at NYU Skirball Center beginning at 7:00 PM EST. This year's event was hosted by actor and comedian, Taran Killam, and once again served as a benefit for The Actors Fund. Leading the nominations this year with 7 each are the new musical, Hadestown - a folk opera produced by New York Theatre Workshop - and Sweeney Todd: The Demon Barber of Fleet Street, currently at the Barrow Street Theatre, which has been converted into a pie shop for the intimate staging. In the category of plays, both Paula Vogel's Indecent and J.T. Rogers' Oslo, current Broadway transfers, earned a total of 4 nominations, including for Outstanding Play. Playwrights Horizons' A Life also earned 4 total nominations, including for star David Hyde Pierce and director Anne Kauffman, earning her 4th career Lortel Award nomination; as did MCC Theater's YEN, including one for recent Academy Award nominee Lucas Hedges for Outstanding Lead Actor. Lighting Designer Ben Stanton earned a nomination for the fifth consecutive year - and his seventh career nomination, including a win in 2011 - for his work on YEN. Check below for live updates from the ceremony. Winners will be marked: **Winner** ​ Outstanding Play Indecent Produced by Vineyard Theatre in association with La Jolla Playhouse and Yale Repertory Theatre Written by Paula Vogel, Created by Paula Vogel & Rebecca Taichman Oslo **Winner** ​ Produced by Lincoln Center Theater Written by J.T.
    [Show full text]
  • FY14 Tappin' Study Guide
    Student Matinee Series Maurice Hines is Tappin’ Thru Life Study Guide Created by Miller Grove High School Drama Class of Joyce Scott As part of the Alliance Theatre Institute for Educators and Teaching Artists’ Dramaturgy by Students Under the guidance of Teaching Artist Barry Stewart Mann Maurice Hines is Tappin’ Thru Life was produced at the Arena Theatre in Washington, DC, from Nov. 15 to Dec. 29, 2013 The Alliance Theatre Production runs from April 2 to May 4, 2014 The production will travel to Beverly Hills, California from May 9-24, 2014, and to the Cleveland Playhouse from May 30 to June 29, 2014. Reviews Keith Loria, on theatermania.com, called the show “a tender glimpse into the Hineses’ rise to fame and a touching tribute to a brother.” Benjamin Tomchik wrote in Broadway World, that the show “seems determined not only to love the audience, but to entertain them, and it succeeds at doing just that! While Tappin' Thru Life does have some flaws, it's hard to find anyone who isn't won over by Hines showmanship, humor, timing and above all else, talent.” In The Washington Post, Nelson Pressley wrote, “’Tappin’ is basically a breezy, personable concert. The show doesn’t flinch from hard-core nostalgia; the heart-on-his-sleeve Hines is too sentimental for that. It’s frankly schmaltzy, and it’s barely written — it zips through selected moments of Hines’s life, creating a mood more than telling a story. it’s a pleasure to be in the company of a shameless, ebullient vaudeville heart.” Maurice Hines Is .
    [Show full text]
  • A Comedy Revolution Comes to Starlight Indoors This Winter
    FOR IMMEDIATE RELEASE CONTACT: Rachel Bliss, Starlight Theatre [email protected] 816-997-1151-office 785-259-3039-cell A Comedy Revolution Comes to Starlight Indoors This Winter Playing November 5-17 only! “SMART, SILLY AND “SPAMILTON IS SO “THE NEXT BEST THING CONVULSIVELY FUNNY” INFECTIOUSLY FUN THAT IT TO SEEING HAMILTON!” - The New York Times COULD EASILY RUN AS LONG - New York Post AS ITS INSPIRATION!” – The Hollywood Reporter KANSAS CITY, Mo. – As the weather cools off, the stage house heats up with the 2019-20 Starlight Indoors series, sponsored by the Missouri Lottery. Now in its fifth season, this year’s lineup of hilarious Off-Broadway hits opens November 5-17 with the North American tour of Spamilton: An American Parody, making its Kansas City premiere. Tickets are on sale now. Created by Gerard Alessandrini, the comic mastermind behind the long-running hit Forbidden Broadway, which played the 2017-18 Starlight Indoors series, Spamilton: An American Parody is a side-splitting new musical parody based on a blockbuster hit of a similar name. After numerous extensions of its run in New York, this hilarious production made a splash in Chicago, Los Angeles and London. Now, Spamilton: An American Parody brings a singing, dancing and comedy revolution to Kansas City. “Spamilton pays a hilarious tribute to its inspiration and is smart, sharp and funny to its core— everything you’d want and more from a spoof of Broadway’s most popular musical,” Caroline Gibel, director of indoor programming at Starlight, said. “The best part is, you don’t have to have seen Hamilton to enjoy Spamilton.
    [Show full text]
  • An Analysis and Evaluation of the Acting Career Of
    AN ANALYSIS AND EVALUATION OF THE ACTING CAREER OF TALLULAH BANKHEAD APPROVED: Major Professor m Minor Professor Directororf? DepartmenDepa t of Speech and Drama Dean of the Graduate School AN ANALYSIS AND EVALUATION OF THE ACTING CAREER OF TALLULAH BANKHEAD THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF SCIENCE By Jan Buttram Denton, Texas January, 1970 TABLE OF CONTENTS Chapter Page I. THE BEGINNING OF SUCCESS 1 II. ACTING, ACTORS AND THE THEATRE 15 III. THE ROLES SHE USUALLY SHOULD NOT HAVE ACCEPTED • 37 IV. SIX WITH MERIT 76 V. IN SUMMARY OF TALLULAH 103 APPENDIX 114 BIBLIOGRAPHY. 129 CHAPTER I THE BEGINNING OF SUCCESS Tallulah Bankhead's family tree was filled with ancestors who had served their country; but none, with the exception of Tallulah, had served in the theatre. Both her grandfather and her mother's grandfather were wealthy Alabamians. The common belief was that Tallulah received much of her acting talent from her father, but accounts of her mother1s younger days show proof that both of her parents were vivacious and talented. A stranger once told Tallulah, "Your mother was the most beautiful thing that ever lived. Many people have said you get your acting talent from your father, but I disagree. I was at school with Ada Eugenia and I knew Will well. Did you know that she could faint on 1 cue?11 Tallulahfs mother possessed grace and beauty and was quite flamboyant. She loved beautiful clothes and enjoyed creating a ruckus in her own Southern world.* Indeed, Tallulah inherited her mother's joy in turning social taboos upside down.
    [Show full text]
  • July 14–19, 2019 on the Campus of Belmont University at Austin Peay State University
    July 14–19, 2019 On the Campus of Belmont University at Austin Peay State University OVER 30 years as Tennessee’s only Center of Excellence for the Creative Arts OVER 100 events per year OVER 85 acclaimed guest artists per year Masterclasses Publications Performances Exhibits Lectures Readings Community Classes Professional Learning for Educators School Field Trip Grants Student Scholarships Learn more about us at: Austin Peay State University does not discriminate on the basis of race, color, religion, creed, national origin, sex, sexual orientation, gender identity/expression, disability, age, status as a protected veteran, genetic information, or any other legally protected class with respect to all employment, programs and activities sponsored by APSU. The Premier Summer Teacher Training Institute for K–12 Arts Education The Tennessee Arts Academy is a project of the Tennessee Department of Education and is funded under a grant contract with the State of Tennessee. Major corporate, organizational, and individual funding support for the Tennessee Arts Academy is generously provided by: Significant sponsorship, scholarship, and event support is generously provided by the Belmont University Department of Art; Community Foundation of Middle Tennessee; Dorothy Gillespie Foundation; Solie Fott; Bobby Jean Frost; KHS America; Sara Savell; Lee Stites; Tennessee Book Company; The Big Payback; Theatrical Rights Worldwide; and Adolph Thornton Jr., aka Young Dolph. Welcome From the Governor of Tennessee Dear Educators, On behalf of the great State of Tennessee, it is my honor to welcome you to the 2019 Tennessee Arts Academy. We are so fortunate as a state to have a nationally recognized program for professional development in arts education.
    [Show full text]
  • Theatre Dance
    COLLEGE OF CHARLESTON “...AND JUSTICE FOR ALL.” The Department of Theatre and Dance presents its 2018-19 season that continues to support the College of Charleston’s sustainability literacy initiative aimed to equip students with the knowledge and skills to solve challenges of social justice, THEATRE economic disparity, and looming environmental concerns. The Department is committed to exploring these critical chal- AND lenges this season and every season. DANCE Our Year of Social Justice brings together a season of musical theatre, drama, comedy and dance. Of particular note, we are ...And Justice For All thrilled to announce Quattlebaum Artist Bret Shuford, who will direct and choreograph URINETOWN. Keep an eye out this spring for our special presentation of Mr. Shuford in his cabaret titled, CHARMING: A Tale of an American Prince. In addition, we welcome back Artistic Director and Founder of PURE THEATRE, Sharon Graci, to direct MARISOL. Join us as a season subscriber and receive invitations to other special events and presentations including backstage tours, receptions and rehearsals. Subscribers also benefit from prior- Order ity seating, flex-ticketing, exchange privilege and opportuni- 2018-19 ties to engage with the cast and crew to gain insight into the season creativity and process taking place behind the scenes. tickets While continuing to maintain high production values in its today! spectacle, our Department fosters a commitment to profes- sional training, critical thinking, diversity and inclusion to enrich our students and our community. We are devoted to growing support for our students through scholarship oppor- tunities and the continued high impact learning experiences provided through our ambitious season production program.
    [Show full text]
  • <I>Spring Awakening</I>
    The Journal of American Drama and Theatre (JADT) https://jadtjournal.org Silence, Gesture, and Deaf Identity in Deaf West Theatre's Spring Awakening by Stephanie Lim The Journal of American Drama and Theatre Volume 33, Number 1 (Fall 2020) ISNN 2376-4236 ©2020 by Martin E. Segal Theatre Center For a woman to bear a child, she must . in her own personal way, she must . love her husband. Love him, as she can love only him. Only him . she must love—with her whole . heart. There. Now, you know everything.[1] Frau Bergman, Spring Awakening In the opening scene of Spring Awakening, Wendla begs her mother to explain where babies come from, to which her mother bemoans, “Wendla, child, you cannot imagine—.” In Deaf West Theatre’s version of the show, Frau Bergman speaks this line while bringing her pinky finger up to her head, palm outward, but Wendla quickly corrects the gesture, indicating that her mother has actually inverted the American Sign Language (ASL) for “imagine,” a word signed with palm facing inward.[2] As part of a larger dialogue that closes with the epigraph above, Bergman’s struggle to communicate about sexual intercourse in both ASL and English is one of many exchanges in which adults find themselves unable to communicate effectively with teenagers. The theme of (mis)communication is also evoked through characters’ refusal to communicate with each other at all, as in the musical number “Totally Fucked.” When Melchior’s teachers demand he confess to having authored the obscene 10-page document, “The Art of Sleeping With” (which they claim hastened the suicide of his best friend Moritz), they reject his attempts to explain.
    [Show full text]
  • A Delicate Balance ​ ​​ ​ ​ ​​ ​
    PEEK BEHIND ​ ​ THE SCENES OF A DELICATE BALANCE ​ ​​ ​ ​ ​​ ​ Compiled By Lotta Löfgren ​ ​ ​ ​ ​ ​ To Our Patrons ​ ​ ​ ​ Most of us who attend a theatrical performance know little about how a play is ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ actually born to the stage. We only sit in our seats and admire the magic of theater. ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ But the birthing process involves a long period of gestation. ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ Certainly magic does happen on the stage, minute to minute, and night after night. ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ But the magic that theatergoers experience when they see a play is made possible ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ only because of many weeks of work and the remarkable dedication of many, many ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ volunteers in order to transform the text into performance, to move from page to ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ stage. In this study guide, we want to give you some idea of what goes into creating a ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ show. You will see the actors work their magic in the performance tonight. But they ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ could not do their job without the work of others. Inside you will find comments ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ from the director, the assistant director, the producer, the stage manager, the set ​ ​ ​ ​ ​
    [Show full text]
  • American Music Research Center Journal
    AMERICAN MUSIC RESEARCH CENTER JOURNAL Volume 19 2010 Paul Laird, Guest Co-editor Graham Wood, Guest Co-editor Thomas L. Riis, Editor-in-Chief American Music Research Center College of Music University of Colorado Boulder THE AMERICAN MUSIC RESEARCH CENTER Thomas L. Riis, Director Laurie J. Sampsel, Curator Eric J. Harbeson, Archivist Sister Mary Dominic Ray, O.P. (1913–1994), Founder Karl Kroeger, Archivist Emeritus William Kearns, Senior Fellow Daniel Sher, Dean, College of Music William S. Farley, Research Assistant, 2009–2010 K. Dawn Grapes, Research Assistant, 2009–2011 EDITORIAL BOARD C. F. Alan Cass Kip Lornell Susan Cook Portia Maultsby Robert R. Fink Tom C. Owens William Kearns Katherine Preston Karl Kroeger Jessica Sternfeld Paul Laird Joanne Swenson-Eldridge Victoria Lindsay Levine Graham Wood The American Music Research Center Journal is published annually. Subscription rate is $25.00 per issue ($28.00 outside the U.S. and Canada). Please address all inquiries to Lisa Bailey, American Music Research Center, 288 UCB, University of Colorado, Boulder, CO 80309-0288. E-mail: [email protected] The American Music Research Center website address is www.amrccolorado.org ISSN 1058-3572 © 2010 by the Board of Regents of the University of Colorado INFORMATION FOR AUTHORS The American Music Research Center Journal is dedicated to publishing articles of general interest about American music, particularly in subject areas relevant to its collections. We welcome submission of articles and pro- posals from the scholarly community, ranging from 3,000 to 10,000 words (excluding notes). All articles should be addressed to Thomas L. Riis, College of Music, University of Colorado Boulder, 301 UCB, Boulder, CO 80309-0301.
    [Show full text]
  • 6 X 10.5 Long Title.P65
    Cambridge University Press 0521542332 - The Cambridge Companion to Edward Albee Edited by Stephen Bottoms Table of Contents More information CONTENTS List of illustrations page ix Notes on contributors xi Acknowledgments xv Notes on the text xvi Chronology xvii 1 Introduction: The man who had three lives 1 stephen bottoms 2 Albee’s early one-act plays: “A new American playwright from whom much is to be expected” 16 philip c. kolin 3 Who’s Afraid of Virginia Woolf?: Toward the marrow 39 matthew roudane´ 4 “Withered age and stale custom”: Marriage, diminution, and sex in Tiny Alice, A Delicate Balance, and Finding the Sun 59 john m. clum 1 5 Albee’s 3 /2: The Pulitzer plays 75 thomas p. adler 6 Albee’s threnodies: Box-Mao-Box, All Over, The Lady from Dubuque, and Three Tall Women 91 brenda murphy 7 Minding the play: Thought and feeling in Albee’s “hermetic” works 108 gerry mccarthy vii © Cambridge University Press www.cambridge.org Cambridge University Press 0521542332 - The Cambridge Companion to Edward Albee Edited by Stephen Bottoms Table of Contents More information contents 8 Albee’s monster children: Adaptations and confrontations 127 stephen bottoms 9 “Better alert than numb”: Albee since the eighties 148 christopher bigsby 10 Albee stages Marriage Play: Cascading action, audience taste, and dramatic paradox 164 rakesh h. solomon 11 “Playing the cloud circuit”: Albee’s vaudeville show 178 linda ben-zvi 12 Albee’s The Goat: Rethinking tragedy for the 21st century 199 j. ellen gainor 13 “Words; words...They’re such a pleasure.” (An Afterword) 217 ruby cohn 14 Borrowed time: An interview with Edward Albee 231 stephen bottoms Notes on further reading 251 Select bibliography 253 Index 259 viii © Cambridge University Press www.cambridge.org.
    [Show full text]
  • The New Yorker-20180326.Pdf
    PRICE $8.99 MAR. 26, 2018 MARCH 26, 2018 6 GOINGS ON ABOUT TOWN 17 THE TALK OF THE TOWN Amy Davidson Sorkin on White House mayhem; Allbirds’ moral fibres; Trump’s Twitter blockees; Sheila Hicks looms large; #MeToo and men. ANNALS OF THEATRE Michael Schulman 22 The Ascension Marianne Elliott and “Angels in America.” SHOUTS & MURMURS Ian Frazier 27 The British Museum of Your Stuff ONWARD AND UPWARD WITH THE ARTS Hua Hsu 28 Hip-Hop’s New Frontier 88rising’s Asian imports. PROFILES Connie Bruck 36 California v. Trump Jerry Brown’s last term as governor. PORTFOLIO Sharif Hamza 48 Gun Country with Dana Goodyear Firearms enthusiasts of the Parkland generation. FICTION Tommy Orange 58 “The State” THE CRITICS A CRITIC AT LARGE Jill Lepore 64 Rachel Carson’s writings on the sea. BOOKS Adam Kirsch 73 Two new histories of the Jews. 77 Briefly Noted THE CURRENT CINEMA Anthony Lane 78 “Tomb Raider,” “Isle of Dogs.” POEMS J. Estanislao Lopez 32 “Meditation on Beauty” Lucie Brock-Broido 44 “Giraffe” COVER Barry Blitt “Exposed” DRAWINGS Roz Chast, Zachary Kanin, Seth Fleishman, William Haefeli, Charlie Hankin, P. C. Vey, Bishakh Som, Peter Kuper, Carolita Johnson, Tom Cheney, Emily Flake, Edward Koren SPOTS Miguel Porlan CONTRIBUTORS The real story, in real time. Connie Bruck (“California v. Trump,” Hua Hsu (“Hip-Hop’s New Frontier,” p. 36) has been a staff writer since 1989. p. 28), a staff writer, is the author of “A She has published three books, among Floating Chinaman.” them “The Predators’ Ball.” Jill Lepore (A Critic at Large, p.
    [Show full text]
  • To Download Resume
    THOM SESMA www.thomsesma.com 214 West 29th Street • Suite 1203 New York, NY 10001 • 212-977-8502 • Lic. # 0927158 Television / Film Death Saved My Life Peter Lifetime Television Instinct Jorry (Guest) CBS/Alan Cumming Exec. Prod. Madam Secretary Tran (Guest) CBS/Barbara Hall Productions Jessica Jones Kurata (Guest) ABC/Marvel/Netflix Gotham Barthel (Guest) Fox/WBTelevision/DC Comics Single Ladies Vincent (Guest) VH1/Dana Lynn North, Exec. Prod. The Good Wife Martinez (Guest) CBS/Michelle King, Exec. Prod Person Of Interest Su (Featured) CBS/JJ Abrams, Exec. Prod. Over/Under (Pilot) Ichiro (Recurring) USA/Jonathan Starch, Prod. Lay The Favorite Young Gambler Feature/Stephen Frears, Dir. Third Watch Chow (Guest) NBC/John Wells, Exec.Prod. Whoopi Cousin (Featured) NBC/Whoopi Goldberg, Exec. Prod. Trinity Gabriel (Recurring) NBC/John Wells, Exec. Prod. Law & Order Mark Considine (Guest) NBC/Dick Wolf Productions Building Girl Gilbride Indie Feature/Shari Carpenter, Dir. Broadway & National Tours Disney’s The Lion King Scar Disney Theatrical Productions Times They Are A-Changin’ Captain A-Rab Brooks Atkinson Theatre Man of La Mancha Carrasco Martin Beck Theatre Titanic: A New Musical Andrews Dodger Productions Miss Saigon The Engineer Cameron Mackintosh Prod. Search and Destroy Martin Circle in the Square Nick & Nora Robert Marquis Theatre Chu Chem The Prince Walter Kerr (Ritz) Theatre Off Broadway Unknown Soldier Doctor Trip Cullman, dir./Playwrights Horizons Superhero Vic Jason Moore, dir./2nd Stage The Resistible Rise of Arturo Ui Givola
    [Show full text]