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Lisa Portes Director Productions Miss You Like Hell (upcoming) Quiara Alegría Hudes & Erin McKeown Olney Theatre Glass Menagerie Tennessee Williams California Shakespeare Theatre The Thanksgiving Play Larissa Fasthorse Cincinnati Playhouse Rightlynd* Ike Holter Victory Gardens I Come from Arizona* Carlos Murillo Childrens Theatre Company Breach* Antoinette Nwandu Victory Gardens Native Gardens Karen Zacarías Denver Center Disgraced Ayad Akhtar Cincinnati Playhouse This Is Modern Art* Idris Goodwin & Kevin Coval Steppenwolf Theatre Ghostwritten* Naomi Iizuka Goodman Theatre After 100 Years* Naomi Iizuka Guthrie Theatre Permanent Collection Thomas Gibbons Northlight Theatre Concerning Strange Devices from the Distant West Naomi Iizuka Timeline Theatre TRANSit* Darren Canady American Blues Theatre Grounded George Brandt American Blues Theater Elliot, A Soldier’s Fugue Quiara Alegría Hudes, Steppenwolf Theatre w/Teatro Vista The Piano Teacher Julia Cho Next Theatre Far Away Caryl Churchill Next Theatre In the Blood Suzan-Lori Parks Next Theatre Wilder* Erin Cressida Wilson, Jack Herrick and Mike Craver Playwrights Horizons Carthage* Naomi Iizuka Theater E, San Diego Cross Dressing in the Depression Erin Cressida Wilson Theater E and Sledgehammer Theatre *Indicates World Premiere or 1st Production Academic/Educational In the Heights Lin Manuel Miranda & Quiara Hudes The Theatre School, DePaul University The Last Days of Judas Iscariot Stephen Adly Guirgis The Theatre School, DePaul University Electricidad Luis Alfaro The Theatre School, DePaul University Night Runner* Ike Holter Chicago Playworks (TYA) Barrio Grrrl, The Musical Quiara Alegria Hudes & Bill Sherman Chicago Playworks (TYA) Cinderella Eats Rice and Beans: Karen Zacarías & Debbie Wicks La Puma Chicago Playworks (TYA) Workshops (selected) Wolf at the Door Marisela Treviño Orta LTC Caranval Tennis in Nablus Ismail Khalidi Goodman Theatre Ghostwritten Naomi Iizuka Sundance Theatre Lab Associate Directorships The Who’s Tommy Director: Des McAnuff Broadway, London, Toronto Frankfurt, UK and Canadian Nat’l Tours Awards (selected) 2016 SDC Zelda Fichandler Award Phone: 773-501-7261 * Email: [email protected] .

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THE 42Nd COMPARATIVE DRAMA CONFERENCE the Comparative Drama Conference Is an International, Interdisciplinary Event Devoted to All Aspects of Theatre Scholarship
THE 42nd COMPARATIVE DRAMA CONFERENCE The Comparative Drama Conference is an international, interdisciplinary event devoted to all aspects of theatre scholarship. It welcomes papers presenting original investigation on, or critical analysis of, research and developments in the fields of drama, theatre, and performance. Papers may be comparative across disciplines, periods, or nationalities, may deal with any issue in dramatic theory and criticism, or any method of historiography, translation, or production. Every year over 170 scholars from both the Humanities and the Arts are invited to present and discuss their work. Conference participants have come from over 35 countries and all fifty states. A keynote speaker whose recent work is relevant to the conference is also invited to address the participants in a plenary session. The Comparative Drama Conference was founded by Dr. Karelisa Hartigan at the University of Florida in 1977. From 2000 to 2004 the conference was held at The Ohio State University. In 2005 the conference was held at California State University, Northridge. From 2006 to 2011 the conference was held at Loyola Marymount University. Stevenson University was the conference’s host from 2012 through 2016. Rollins College has hosted the conference since 2017. The Conference Board Jose Badenes (Loyola Marymount University), William C. Boles (Rollins College), Miriam M. Chirico (Eastern Connecticut State University), Stratos E. Constantinidis (The Ohio State University), Ellen Dolgin (Dominican College of Blauvelt), Verna Foster (Loyola University, Chicago), Yoshiko Fukushima (University of Hawai'i at Hilo), Kiki Gounaridou (Smith College), Jan Lüder Hagens (Yale University), Karelisa Hartigan (University of Florida), Graley Herren (Xavier University), William Hutchings (University of Alabama at Birmingham), Baron Kelly (University of Louisville), Jeffrey Loomis (Northwest Missouri State University), Andrew Ian MacDonald (Dickinson College), Jay Malarcher (West Virginia University), Amy Muse (University of St.
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Press Release-AMERICAN STAGE ANNOUNCES PRODUCING
For Immediate Release (after given date/time below) January 20, 2015 (after 12 pm) Contact: Roman Black, Marketing Director (727) 823-1600 x 202 mailto:[email protected] AMERICAN STAGE ANNOUNCES NEW PRODUCING ARTISTIC DIRECTOR ST. PETERSBURG, FL – American Stage Theatre Company is excited to announce and welcome Stephanie Gularte as the company’s next Producing Artistic Director. Ms. Gularte will begin her role as Producing Artistic Director on February 24, 2015. The Board of Trustees and staff of American Stage are excited to have Stephanie Gularte accept this position and they are confident she will successfully lead American Stage into the theater’s next era. “Stephanie brings an extraordinary combination of leadership, talent, energy, and vision to American Stage and the Tampa Bay region,” said Matthew Conigliaro, chair of the Board of Trustees at American Stage. “She will thrive here, continuing the traditions of excellence at American Stage while taking this theatre to new heights and expanding our ability to bring the magic of live theatre to growing audiences from all around the bay area.” Gularte has 14 years of experience as a producing artistic director, including 10 years as the executive artistic director of Capital Stage Company, an acclaimed professional, nonprofit theatre company in Sacramento, California. Gularte was the Founding Artistic Director of Capital Stage Company and successfully led the theater while developing a strong reputation as an arts leader and creating a legacy of excellence that has brought her to the Tampa Bay region, where she will guide American Stage into an exciting new era. Gularte brings an impressive range of experience to American Stage.
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Play Guide for Gloria
Play Guide September 28-October 20, 2019 by Emily Mann directed by Risa Brainin 2019 and the recent past. This new work by Tony Award-winning playwright Emily Mann celebrates the life of one of the most important figures of America's feminist movement! Nearly half a century later, Ms. Steinem's fight for gender equality is still a battle yet to besimplifying won. IT 30 East Tenth Street Saint Paul, MN 55101 651-292-4323 Box Office 651-292-4320 Group Sales historytheatre.com Page 2 Emily Mann—Playwright Pages 3-4 Gloria Steinem Timeline Page 5-7 Equal Rights Amendment Page 8-11 Second Wave Feminism Page 12 National Women’s Conference Page 13 Phyllis Schlafly Pages 14-15 Milestones in U.S. Women’s History Page 16 Discussion Questions/Activities Page 17 Books by Gloria Steinem able of Content T Play Guide published by History Theatre c2019 Emily Mann (Playwright, Artistic Director/Resident Playwright) is in her 30th and final season as Artistic Director and Resident Playwright at the McCarter Theatre Center in Princeton, New Jersey. Her nearly 50 McCarter directing credits include acclaimed produc- tions by Shakespeare, Chekhov, Ibsen, and Williams and the world premieres of Christopher Durang’s Turning Off the Morning News and Miss Witherspoon; Ken Ludwig’s Murder on the Orient Express; Rachel Bonds’ Five Mile Lake; Danai Guri- ra’s The Convert; Sarah Treem’s The How and the Why; and Edward Albee’s Me, Myself & I. Broadway: A Streetcar Named Desire, Anna in the Tropics, Execution of Justice, Having Our Say.
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T Wentieth Centur Y North Amer Ican Drama
TWENTIETH CENTURY NORTH AMERICAN DRAMA, SECOND EDITION learn more at at learn more alexanderstreet.com Twentieth Century North American Drama, Second Edition Twentieth Century North American Drama, Second Edition contains 1,900 plays from the United States and Canada. In addition to providing a comprehensive full-text resource for students in the performing arts, the collection offers a unique window into the econom- ic, historical, social, and political psyche of two countries. Scholars and students who use the database will have a new way to study the signal events of the twentieth century – including the Depression, the role of women, the Cold War, and more – through the plays and performances of writers who lived through these decades. More than 1,250 of the works are in copyright and licensed Jules Feiffer, Neil LaBute, Moisés Kaufman, Lee Breuer, Richard from the authors or their estates, and 1,700 plays appear in Foreman, Stephen Adly Guirgis, Horton Foote, Romulus Linney, no other Alexander Street collection. At least 550 of the works David Mamet, Craig Wright, Kenneth Lonergan, David Ives, Tina have never been published before, in any format, and are Howe, Lanford Wilson, Spalding Gray, Anna Deavere Smith, Don available only in Twentieth Century North American Drama, DeLillo, David Rabe, Theresa Rebeck, David Henry Hwang, and Second Edition – including unpublished plays by major writers Maria Irene Fornes. and Pulitzer Prize winners. Besides the mainstream works, users will find a number of plays Important works prior to 1920 are included, with the concentration of particular social significance, such as the “people’s theatre” of works beginning with playwrights such as Eugene O’Neill, exemplified in performances by The Living Theatre and The Open Elmer Rice, Sophie Treadwell, and Susan Glaspell in the 1920s Theatre.
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10th Grade Monologue Packet M - The Glass Menagerie: Tennessee Williams Tom 2 F - The Crucible: Arthur Miller A bigail (A) 2 F - The Crucible: Arthur Miller A bigail (B) 2 F - A View from the Bridge: A rthur Miller C atherine (A) 2 F - A View from the Bridge: A rthur Miller C atherine (B) 3 M - The Dark at the Top of the Stairs: W illiam Inge S ammy 3 F - N ight, Mother: Marsha Norman Jessie 3 F - A scension Day: Timothy Mason Faith 4 M/F - A unt Dan & Lemon: Wallace Shawn Lemon 4 F - Like Dreaming, Backwards: Kellie Powell N atalie 4 M - M ermaid in Miami: Wade Bradford E mperor Tropico 5 F - M y Fair Lady: Alan Jay Lerner E liza Doolittle 5 M - In Arabia We’d All Be Kings: S tephen Adly Guirgis C harlie 5 M - “Master Harold”…And the Boys: A thol Fugard H ally 6 M - S ammy Carducci’s Guide to Women: R onald Kidd S ammy 6 F - O ur Town: Thornton Wilder E mily 6 F - The Clean House: Sarah Ruhl Virginia 7 F - The Effect of Gamma Rays on Man-In-The-Moon-Marigolds: Paul Zindel Tillie 7 M/F - Till We Meet Again: Colin and Mary Crowther U nknown 7 F - C harlene: Unknown C harlene 8 M/F - Irreconcilable Differences: Nancy Meyers and Charles Shyer C asey 8 F - Juno: Diablo Cody Juno 8 F - D irty Dancing: Eleanor Bergstein Frances 9 F - Felicity: J.J.
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The Sixth Act: An Event History 2004-2005 Academic Workshop: The Sixth Act: A New Drama Initiative This workshop will officially launch The Sixth Act, MCC's new Drama Initiative, so in addition to mocking a rehearsal for Sophocles' Oedipus Rex, we also will talk about the initiative and its goals. Everyone interested in drama--for personal, political, artistic, and/or pedagogical reasons-- is invited! Academic Workshop: Mamet, Harassment, and the Stage The workshop will focus on interdisciplinary approaches to a dramatic text, using David Mamet’s provocative, challenging play Oleanna as a case study. Oleanna, which is widely taught and performed, tells the story of a college student who issues a formal sexual harassment complaint against her college professor. The play is difficult in part because it’s difficult to tell which character is the real victim—raising real questions about different forms of power. More than one version of a key scene will be shown and then a group of MCC colleagues from different academic perspectives will offer insight into the text based on their individual backgrounds. The idea is that a single dramatic text can yield multiple readings, and that we all are better equipped to approach a dramatic text when we have a wider understanding of some of these readings. Academic Workshop: "Unpack My Heart With Words": Using Dramatic Techniques to Understand Shakespeare's Language This interactive workshop will help students, teachers, and drama enthusiasts use performance to interpret the multiple dimensions of Shakespeare's words. Academic Workshop: Stagecraft 101: Understanding the Fundamentals of Design This hands-on workshop will familiarize participants with the language of scenic, sound, lighting, costume, and property design-providing important insight into practical as well as metaphoric applications of the stage.
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Board of Directors. I Want to Make Sure That There’S a Diversity Ourselves — We Live with Them for Long Periods of of Voices Being Published by DPS
ISSUE 16 DRAMATISTS PLAY SERVICE SPRING 2015 ROUND TABLE with JOHN PATRICK SHANLEY, Dramatists Play Service POLLY PEN, and LYNN NOTTAGE is very fortunate not just to publish and license the best BY PETER HAGAN, PRESIDENT American playwrights, but also to have four of them sit on our the publishing conversation. As a woman of always going to be slightly different from that of the color, I also see my role as one of advocacy; agents. Our plays are creative extensions of Board of Directors. I want to make sure that there’s a diversity ourselves — we live with them for long periods of of voices being published by DPS. time; we keep them close and protected until we release them into the world. The founding charter of the Play Service, back in As time has gone by, have you seen your Then we entrust our plays 1936, called for the Board to be split evenly position as a playwright member change? to others for safekeeping: between playwrights (all members of the initially agents, and eventually Dramatists Guild) and agents. Back then, the star John Patrick Shanley: When I first served on publishing companies like playwrights included Howard Lindsay, George the Board, I was skeptical and challenging DPS. For better or worse, Abbott, and Sidney Howard. Today our stars are and, frankly, young. But over time I morphed agents can approach the Donald Margulies, Polly Pen, Lynn Nottage, and from opponent to colleague. business of publishing with John Patrick Shanley, who have been members a certain level of objectivity of the board ranging from five years (Nottage) to PP: Ways of thinking about how theatrical and distance; however, it’s over 20 (Shanley).
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Esperanza Rising Program
presents by Lynne Alvarez based on the book by Pam Muñoz Ryan music by Victor Zupanc Director – Lisa Portes Musical Director – Mark Elliott Dialect Coach – Claudia Anderson Scenic Designer – Maggie Armendariz Costume Designer – Hailey Rakowiecki Lighting Designer – Jamie Davis Sound Designer – Sadie Tremblay Dramaturg – Lauren Quinlan Stage Manager – Emily Mills October 8 – November 14, 2015 The Theatre School at DePaul University Chicago Playworks for Families and Young Audiences DePaul’s Merle Reskin Theatre 60 E. Balbo Drive, Chicago, IL 60605 Email: [email protected] | (312) 922-1999 Esperanza Rising 1 CAST [in order of appearance] DIRECTORS NOTE Esperanza ................................................................................................................... Paola Sanchez Abreu You know, I bet that you or someone you know has a parent or grandparent from another Lone Mariachi ...................................................................................................................Gonzalo Cordova country. Do you know their story? My Abuelo, for example, was the Superintendent Hortensia .........................................................................................................................................Aida Delaz of Schools in Havana, Cuba, but the Cuban Revolution of 1959 forced him to flee his Ramona .............................................................................................................................................Julia Atkin country. When he got to the United
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At the Mission San Juan Capistrano
AT THE MISSION SAN JUAN CAPISTRANO by José Cruz González based on the comic strip “Peanuts” by Charles M. Schulz directed by Christopher Acebo book, music and lyrics by Clark Gesner additional dialogue by Michael Mayer additional music and lyrics by Andrew Lippa directed and choreographed by Kari Hayter OUTSIDE SCR 2021 • SOUTH COAST REPERTORY • 1 THE THEATRE Tony Award-winning South Coast Repertory, founded in 1964 by David Emmes and Martin Benson, is led by Artistic Director David Ivers and SPRING/SUMMER 2021 SEASON Managing Director Paula Tomei. SCR is recog- nized as one of the leading professional theatres IN THIS ISSUE Get to know, or get reacquainted with, South Coast Repertory in the United States. It is committed to theatre through the stories featured in this magazine. You’ll find information about both that illuminates the compelling personal and Outside SCR productions: American Mariachi and You’re a Good Man, Charlie social issues of our time, not only on its stages but Brown, as well as the Mission San Juan Capistrano, acting classes for all ages and a through its wide array of education and engage- host of other useful information. ment programs. 6 Letter From the Artistic Director While its productions represent a balance of clas- That Essential Ingredient of the Theatre: YOU sic and modern theatre, SCR is renowned for The Lab@SCR, its extensive new-play development program, which includes one of the nation’s larg- 7 Letter From the Managing Director est commissioning programs for emerging, mid- A Heartfelt Embrace career and established writers and composers.
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History of Arena Stage: Where American Theater Lives the Mead Center for American Theater
History oF arena Stage: Where American Theater Lives The Mead Center for American Theater Arena Stage was founded August 16, 1950 in Washington, D.C. by Zelda Fichandler, Tom Fichandler and Edward Mangum. Over 65 years later, Arena Stage at the Mead Center for American Theater, under the leadership of Artistic Director Molly Smith and Executive Director Edgar Dobie, is a national center dedicated to American voices and artists. Arena Stage produces plays of all that is passionate, profound, deep and dangerous in the American spirit, and presents diverse and ground- breaking work from some of the best artists around the country. Arena Stage is committed to commissioning and developing new plays and impacts the lives of over 10,000 students annually through its work in community engagement. Now in its seventh decade, Arena Stage serves a diverse annual audience of more than 300,000. When Zelda and Tom Fichandler and a handful of friends started Arena Stage, there was no regional theater movement in the United States or resources to support a theater committed to providing quality work for its community. It took time for the idea of regional theater to take root, but the Fichandlers, together with the people of the nation’s capital, worked patiently to build the fledgling theater into a diverse, multifaceted, internationally renowned institution. Likewise, there were no professional theaters operating in Washington, D.C. in 1950. Actors’ Equity rules did not permit its members to perform in segregated houses, and neither The National nor Ford’s Theatre was integrated. From its inception, Arena opened its doors to anyone who wished to buy a ticket, becoming the first integrated theater in this city.
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Dexter J. Singleton Resume
DEXTER J. SINGLETON Representation: Gurman Agency LLC DIRECTOR / TEACHING ARTIST [email protected] or 212-749-4618 203-809-9296 - [email protected] www.collectiveconsciousnesstheatre.org THEATRE Jesus Hopped The A Train Stephen Adly Guirgis Collective Consciousness, New Haven, CT 2018 Flint Jose Casas University of Michigan, Ann Arbor, MI 2018 I Know Why The Caged Bird Sings Kevin Wilmott Flea Theatre/NYCT, NYC, NY 2018 Among The Western Dinka Russell Sharman TheatreSquared, Fayetteville, AR, 2018 Black Book Austin Dean Ashford TheatreSquared/U of Ark, Fayetteville, AR 2018 Topdog/Underdog Suzan Lori-Parks Collective Consciousness, New Haven, CT, 2017 The Mountaintop Katori Hall Collective Consciousness, New Haven, CT, 2017 This Is Modern Art Idris Goodwin & Kevin Coval Collective Consciousness, New Haven, CT, 2016 Rumors Neil Simon Regional Center for the Arts, Trumbull, CT, 2015 Silver Bullet Dexter Singleton Regional Center for the Arts, Trumbull, CT, 2014 Khalas Jon Goode Collective Consciousness, New Haven, CT, 2013 Caroline or Change Tony Kushner/Jeanine Tesori Academy of the Arts, Hartford, CT, 2012 Anon(ymous) Naomi Iizuka Regional Center for the Arts, Trumbull, CT, 2011 Kingdom Aaron Jafferis/Ian Williams ICAF/Theatre Zupplein, Rotterdam, Holland, 2009 *Select Credits, Full List Available upon request SOCIAL JUSTICE THEATRE RESIDENCIES My Sister’s Place White Plains, NY 2010 - 2014 New Haven Detention Center New Haven, CT 2004 - 2014 International Festival of Arts and Ideas New Haven, CT 2013 International
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Our Lady of 121St Street Program
This Season at the School of Drama Arabian Nights adaptation by Dominic Cooke directed by Keith Hitchcock Penthouse Theatre November 26-December 9, 2007 Fun for the whole family! Wild Black-Eyed Susans by Kara Lee Corthron directed by Valerie Curtis-Newton Ethnic Cultural Theatre February 3-17, 2008 West Coast Premiere. Funny, moving and emotionally charged! She Stoops to Conquer by Oliver Goldsmith directed by Matthew Arbour Meany Studio Threatre February 3-17, 2008 Rollicking classic comedy! Tickets available at 206.543.4880 and on-line at http://depts.washington.edu/uwdrama Are you missing out? Have you subscribed to our E-News yet? If not, visit our website and sign up today. It’s easy and takes less than a minute. We’ll send you monthly e-mails reminding you of productions, special events and other significant news from the School of Drama. Join the E-News list at: http://depts.washington.edu/uwdrama Meany Studio Theatre Comments? 30th Season Let us know your thoughts at: [email protected] 73rd Production October 28‐November 11, 2007 st Our Lady of 121 Street by Stephen Adly Guirgis Tune your TV to the following shows ! Director Valerie Curtis-Newton It seems every time one of us here at the School turns on our Assistant Director David Crowe television we spot alumni on various TV shows and commercials. We’re delighted for everyone, and especially Scenic Design Edward K. Ross ** those that have starring or recurring roles on shows this fall or Costume Design Will Alvin as mid-season replacements in January.
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