Spring 2016 CUES EXCEPTIONAL STRENGTH
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
18P-035 STF PKT.Pdf
Planning Commission Planning and Development Division City of Galveston June 19, 2018 18P-035 STAFF REPORT ADDRESS: Public Notice and Comment: No 2010-2020 Postoffice/Avenue E Sent Returned In Favor Opposed Comment LEGAL DESCRIPTION: 34 Property is legally described as Lots 9, 10, 11, and 12, Block 500, in the City and County of Galveston, Texas APPLICANT/REPRESENTATIVE: Maureen M. Patton, Executive Director PROPERTY OWNER: 1894, Inc. ZONING DISTRICT: Central Business (CB) HISTORIC DISTRICT: None REQUEST: Request for designation as a Galveston Landmark STAFF RECOMMENDATION: Approval with Conditions EXHIBITS: A – Applicant’s Submittal STAFF: Catherine Gorman, AICP Historic Preservation Officer 409-797-3665 [email protected] 1 Zoning and Land Use Location Zoning Land Use Subject Central Business (CB) Commercial Site North Central Business (CB) Parking South Central Business (CB) Commercial East Central Business (CB) Commercial West Central Business (CB) Commercial Executive Summary The applicants are requesting designation of the above referenced address, as a Galveston Landmark. Analysis As per Article 10 of the Land Development Regulations, the following criteria should be considered during the Landmark Designation review process: 1. The character, interest, or value as part of the development, heritage, or cultural characteristics of the City of Galveston, Galveston County, the State of Texas, or the United States. The Grand Opera House and Hotel complex is valuable to the cultural heritage of the City of Galveston due to its association with the performing arts. Constructed in 1894, The Grand Opera House operated continuously, as both a live theater and a movie theater, until 1974. After an extensive restoration in the 1980s, the Grand Opera House continues as a setting for live performances, with more than 90,000 attendees a year. -
PLAYHOUSE SQUARE January 12-17, 2016
For Immediate Release January 2016 PLAYHOUSE SQUARE January 12-17, 2016 Playhouse Square is proud to announce that the U.S. National Tour of ANNIE, now in its second smash year, will play January 12 - 17 at the Connor Palace in Cleveland. Directed by original lyricist and director Martin Charnin for the 19th time, this production of ANNIE is a brand new physical incarnation of the iconic Tony Award®-winning original. ANNIE has a book by Thomas Meehan, music by Charles Strouse and lyrics by Martin Charnin. All three authors received 1977 Tony Awards® for their work. Choreography is by Liza Gennaro, who has incorporated selections from her father Peter Gennaro’s 1977 Tony Award®-winning choreography. The celebrated design team includes scenic design by Tony Award® winner Beowulf Boritt (Act One, The Scottsboro Boys, Rock of Ages), costume design by Costume Designer’s Guild Award winner Suzy Benzinger (Blue Jasmine, Movin’ Out, Miss Saigon), lighting design by Tony Award® winner Ken Billington (Chicago, Annie, White Christmas) and sound design by Tony Award® nominee Peter Hylenski (Rocky, Bullets Over Broadway, Motown). The lovable mutt “Sandy” is once again trained by Tony Award® Honoree William Berloni (Annie, A Christmas Story, Legally Blonde). Musical supervision and additional orchestrations are by Keith Levenson (Annie, She Loves Me, Dreamgirls). Casting is by Joy Dewing CSA, Joy Dewing Casting (Soul Doctor, Wonderland). The tour is produced by TROIKA Entertainment, LLC. The production features a 25 member company: in the title role of Annie is Heidi Gray, an 11- year-old actress from the Augusta, GA area, making her tour debut. -
178 Chapter 6 the Closing of the Kroll: Weimar
Chapter 6 The Closing of the Kroll: Weimar Culture and the Depression The last chapter discussed the Kroll Opera's success, particularly in the 1930-31 season, in fulfilling its mission as a Volksoper. While the opera was consolidating its aesthetic identity, a dire economic situation dictated the closing of opera houses and theaters all over Germany. The perennial question of whether Berlin could afford to maintain three opera houses on a regular basis was again in the air. The Kroll fell victim to the state's desire to save money. While the closing was not a logical choice, it did have economic grounds. This chapter will explore the circumstances of the opera's demise and challenge the myth that it was a victim of the political right. The last chapter pointed out that the response of right-wing critics to the Kroll was multifaceted. Accusations of "cultural Bolshevism" often alternated with serious appraisal of the strengths and weaknesses of any given production. The right took issue with the Kroll's claim to represent the nation - hence, when the opera tackled works by Wagner and Beethoven, these efforts were more harshly criticized because they were perceived as irreverent. The scorn of the right for the Kroll's efforts was far less evident when it did not attempt to tackle works crucial to the German cultural heritage. Nonetheless, political opposition did exist, and it was sometimes expressed in extremely crude forms. The 1930 "Funeral Song of the Berlin Kroll Opera", printed in the Neue Zeitschrift für Musik, may serve as a case in point. -
The Key Reporter
reporter volume xxxi number four summer 1966 NEW PROGRAMS FOR THE HUMANITIES The National Foundation on the Arts and the Humanities aspects of the program. Panels for review of proposals are celebrates its first birthday next month. One of the youngest also set up in selected fields. The Councils are obliged to make federal agencies, the Foundation was established last year by annual reports to the President for transmittal to Congress. the 89th Congress on September 16. Although legislation in Federal Council on the Arts and the Humanities support of cultural undertakings, particularly the arts, had been before Congress for some 88 years, last year was the first In order to avoid duplication of programs and with an eye to time that legislation had been introduced to benefit both the assuring maximum opportunity for cooperative activities humanities and the arts means of one independent national by the among federal government agencies, a Federal Council on foundation. That Congress voted to enact this legislative pro Arts and the Humanities was also established by Congress. gram the first time it was introduced can be attributed to strong There are nine members on the Federal Council, including the Administration backing of the proposed Foundation, biparti Secretary of the Smithsonian Institution, who serves as chair san support and sponsorship of the legislation in Congress, man. The Federal Council is authorized to assist in co and general public recognition and agreement that the national ordinating programs between the two Endowments and with government should support and encourage the humanities and related Federal bureaus and agencies; to plan and coordinate the arts. -
2019 Holiday Programming.Pdf
PICK UP YOUR HOLIDAY BROCHURES AND POSTERS AT PARK BOARD PLAZA OR CALL 409.797.5151. November 15, 2019 - January 12, 2020 ONGOING HOLIDAY EVENTS AN EVENING WITH WILLIE CHARLES DICKENS’ A SANTA HUSTLE HALF NELSON & FAMILY AT THE CHRISTMAS CAROL AT THE MARATHON & 5K SANTA SIGHTINGS ISLAND ETC PRESENTS: A TUNA GRAND GRAND Dec 15 CHRISTMAS Nov 19 Dec 6 – 7 PHOTOS WITH SANTA AT Nov 8 – 30 THE 5 BROWNS – HOLIDAY AT MOODY GARDENS VIENNA BOYS CHOIR – VICTORIAN HOLIDAY HOMES THE GRAND Nov 16 – Dec 24 GALVESTON RAILROAD CHRISTMAS IN VIENNA AT THE TOUR Dec 21 MUSEUM PRESENTS THE POLAR GRAND Dec 6 SANTA AT THE GRAND 1894 EXPRESS™ TRAIN RIDE Nov 22 DON’T DROP THE BALL! NEW OPERA HOUSE (EDNA’S ROOM Nov 15 – Dec 29 PIPE ORGAN EXTRAVAGANZA AT YEAR’S CELEBRATION AT HOLIDAY ART MARKET) JASTON WILLIAMS IN BLOOD & TRINITY EPISCOPAL CHURCH ROSENBERG LIBRARY Nov 30 FREE HOLIDAY IN THE GARDENS HOLLY – CHRISTMAS WEST OF Dec 7 Dec 26 FREE Nov 16 – Jan 12 THE PECOS AT THE GRAND SUNDAY BRUNCH WITH SANTA OLIVER’S ALLEY, AT DICKEN’S RUDOLPH, THE RED-NOSED AT HOTEL GALVEZ MOODY GARDENS ICE LAND: Nov 23 – 24 ON THE STRAND SPONSORED REINDEER AT THE GRAND Dec 1, 8, 15 & 22 CHRISTMAS AROUND THE HOTEL GALVEZ HOLIDAY BY GALVESTON CHILDREN’S Dec 28 WORLD LIGHTING CELEBRATION MUSEUM FAMILY FREE NIGHT WITH Nov 16 – Jan 12 Nov 29 FREE Dec 7 – 8 HAPPY NEW YEAR, VIENNA SANTA AT THE GALVESTON STYLE! GALVESTON SYMPHONY CHILDREN’S MUSEUM MOODY GARDENS FESTIVAL ARTWALK FAMILY DAY AT THE OCEAN ORCHESTRA AT THE GRAND Dec 5 OF LIGHTS Nov 30 FREE STAR DRILLING RIG MUSEUM Jan 5 FREE Nov -
Ferenc Molnar
L I L I O M A LEGEND IN SEVEN SCENES BY FERENC MOLNAR EDITED AND ADAPTED BY MARK JACKSON FROM AN ENGLISH TEXT BY BENJAMIN F. GLAZER v2.5 This adaptation of Liliom Copyright © 2014 Mark Jackson All rights strictly reserved. For all inquiries regarding production, publication, or any other public or private use of this play in part or in whole, please contact: Mark Jackson email: [email protected] www.markjackson-theatermaker.com CAST OF CHARACTERS (4w;4m) Marie / Stenographer Julie / Louise Mrs Muskat Liliom Policeman / The Guard Mrs Hollunder / The Magistrate Ficsur / A Poorly Dressed Man Wolf Beifeld / Linzman / Carpenter / A Richly Dressed Man SCENES (done minimally and expressively) FIRST SCENE — A lonely place in the park. SECOND SCENE — Mrs. Hollunder’s photographic studio. THIRD SCENE — Same as scene two. FOURTH SCENE — A railroad embankment outside the city. FIFTH SCENE — Same as scene two SIXTH SCENE — A courtroom in the beyond. SEVENTH SCENE — Julie’s garden, sixteen years later. A NOTE (on time & place) The current draft retains Molnar’s original 1909 Budapest setting. With minimal adjustments the play could easily be reset in early twentieth century America. Though I wonder whether certain of the social attitudes—toward soldiers, for example— would transfer neatly, certainly an American setting could embody Molnar’s complex critique of gender, class, and racial tensions. That said, retaining Molnar’s original setting perhaps now adds to his intention to fashion an expressionist theatrical legend, while still allowing for the strikingly contemporary themes that prompted me to write this adaptation—among them how Liliom struggles and fails to change in the face of economic and social flux; that women run the businesses, Heaven included; and Julie’s independent, confidently anti-conventional point of view. -
Ernani Program
VERDI PATRON-IN-CHIEF DR HARUHISA HANDA Celebrating the return of World Class Opera HSBC, as proud partner of Opera Australia, supports the many returns of 2021. Together we thrive Issued by HSBC Bank Australia Limited ABN 48 006 434 162 AFSL No. 232595. Ernani Composer Ernani State Theatre, Giuseppe Verdi (1813-1901) Diego Torre Arts Centre Melbourne Librettist Don Carlo, King of Spain Performance dates Francesco Maria Piave Vladimir Stoyanov 13, 15, 18, 22 May 2021 (1810-1876) Don Ruy Gomez de Silva Alexander Vinogradov Running time: approximately 2 hours and 30 Conductor Elvira minutes, including one interval. Carlo Montanaro Natalie Aroyan Director Giovanna Co-production by Teatro alla Scala Sven-Eric Bechtolf Jennifer Black and Opera Australia Rehearsal Director Don Riccardo Liesel Badorrek Simon Kim Scenic Designer Jago Thank you to our Donors Julian Crouch Luke Gabbedy Natalie Aroyan is supported by Costume Designer Roy and Gay Woodward Kevin Pollard Opera Australia Chorus Lighting Designer Chorus Master Diego Torre is supported by Marco Filibeck Paul Fitzsimon Christine Yip and Paul Brady Video Designer Assistant Chorus Master Paul Fitzsimon is supported by Filippo Marta Michael Curtain Ina Bornkessel-Schlesewsky and Matthias Schlesewsky Opera Australia Actors The costumes for the role of Ernani in this production have been Orchestra Victoria supported by the Concertmaster Mostyn Family Foundation Sulki Yu You are welcome to take photos of yourself in the theatre at interval, but you may not photograph, film or record the performance. -
The Sleeping Beauty Untouchable Swan Lake In
THE ROYAL BALLET Director KEVIN O’HARE CBE Founder DAME NINETTE DE VALOIS OM CH DBE Founder Choreographer SIR FREDERICK ASHTON OM CH CBE Founder Music Director CONSTANT LAMBERT Prima Ballerina Assoluta DAME MARGOT FONTEYN DBE THE ROYAL BALLET: BACK ON STAGE Conductor JONATHAN LO ELITE SYNCOPATIONS Piano Conductor ROBERT CLARK ORCHESTRA OF THE ROYAL OPERA HOUSE Concert Master VASKO VASSILEV Introduced by ANITA RANI FRIDAY 9 OCTOBER 2020 This performance is dedicated to the late Ian Taylor, former Chair of the Board of Trustees, in grateful recognition of his exceptional service and philanthropy. Generous philanthropic support from AUD JEBSEN THE SLEEPING BEAUTY OVERTURE Music PYOTR IL’YICH TCHAIKOVSKY ORCHESTRA OF THE ROYAL OPERA HOUSE UNTOUCHABLE EXCERPT Choreography HOFESH SHECHTER Music HOFESH SHECHTER and NELL CATCHPOLE Dancers LUCA ACRI, MICA BRADBURY, ANNETTE BUVOLI, HARRY CHURCHES, ASHLEY DEAN, LEO DIXON, TÉO DUBREUIL, BENJAMIN ELLA, ISABELLA GASPARINI, HANNAH GRENNELL, JAMES HAY, JOSHUA JUNKER, PAUL KAY, ISABEL LUBACH, KRISTEN MCNALLY, AIDEN O’BRIEN, ROMANY PAJDAK, CALVIN RICHARDSON, FRANCISCO SERRANO and DAVID YUDES SWAN LAKE ACT II PAS DE DEUX Choreography LEV IVANOV Music PYOTR IL’YICH TCHAIKOVSKY Costume designer JOHN MACFARLANE ODETTE AKANE TAKADA PRINCE SIEGFRIED FEDERICO BONELLI IN OUR WISHES Choreography CATHY MARSTON Music SERGEY RACHMANINOFF Costume designer ROKSANDA Dancers FUMI KANEKO and REECE CLARKE Solo piano KATE SHIPWAY JEWELS ‘DIAMONDS’ PAS DE DEUX Choreography GEORGE BALANCHINE Music PYOTR IL’YICH TCHAIKOVSKY -
Feminist Scholarship Review: Women in Theater and Dance
Trinity College Trinity College Digital Repository Feminist Scholarship Review Women and Gender Resource Action Center Spring 1998 Feminist Scholarship Review: Women in Theater and Dance Katharine Power Trinity College Joshua Karter Trinity College Patricia Bunker Trinity College Susan Erickson Trinity College Marjorie Smith Trinity College Follow this and additional works at: https://digitalrepository.trincoll.edu/femreview Part of the Feminist, Gender, and Sexuality Studies Commons, and the Theatre and Performance Studies Commons Recommended Citation Power, Katharine; Karter, Joshua; Bunker, Patricia; Erickson, Susan; and Smith, Marjorie, "Feminist Scholarship Review: Women in Theater and Dance" (1998). Feminist Scholarship Review. 10. https://digitalrepository.trincoll.edu/femreview/10 Peminist Scfiofarsliip CR§view Women in rrlieater ana(])ance Hartford, CT, Spring 1998 Peminist ScfioCarsfiip CJ?.§view Creator: Deborah Rose O'Neal Visiting Lecturer in the Writing Center Trinity College, Hartford, Connecticut Editor: Kimberly Niadna Class of2000 Contributers: Katharine Power, Senior Lecturer ofTheater and Dance Joshua Kaner, Associate Professor of Theater and Dance Patricia Bunker, Reference Librarian Susan Erickson, Assistant to the Music and Media Services Librarian Marjorie Smith, Class of2000 Peminist Scfzo{a:rsnip 9.?eview is a project of the Trinity College Women's Center. For more information, call 1-860-297-2408 rr'a6fe of Contents Le.t ter Prom. the Editor . .. .. .... .. .... ....... pg. 1 Women Performing Women: The Body as Text ••.•....••..••••• 2 by Katharine Powe.r Only Trying to Move One Step Forward • •.•••.• • • ••• .• .• • ••• 5 by Marjorie Smith Approaches to the Gender Gap in Russian Theater .••••••••• 8 by Joshua Karter A Bibliography on Women in Theater and Dance ••••••••.••• 12 by Patricia Bunker Women in Dance: A Selected Videography .••• .•... -
A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher Diana Carol Amos University of South Carolina
University of South Carolina Scholar Commons Theses and Dissertations 2015 A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher Diana Carol Amos University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Amos, D. C.(2015). A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/3642 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. A SURVEY OF THE CAREER OF BARITONE, JOSEF METTERNICH: ARTIST AND TEACHER by Diana Carol Amos Bachelor of Music Oberlin Conservatory of Music, 1982 Master of Music University of South Carolina, 2011 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Performance School of Music University of South Carolina 2015 Accepted by: Walter Cuttino, Major Professor Donald Gray, Committee Member Sarah Williams, Committee Member Janet E. Hopkins, Committee Member Lacy Ford, Senior Vice Provost and Dean of Graduate Studies ©Copyright by Diana Carol Amos, 2015 All Rights Reserved. ii ACKNOWLEDGEMENTS I gratefully acknowledge the help of my professor, Walter Cuttino, for his direction and encouragement throughout this project. His support has been tremendous. My sincere gratitude goes to my entire committee, Professor Walter Cuttino, Dr. Donald Gray, Professor Janet E. Hopkins, and Dr. Sarah Williams for their perseverance and dedication in assisting me. -
Opera Australia 2018 Annual Report
2018 ANNUAL REPORT Cover image: Simon Lobelson as Gregor in Metamorphosis, which played at the Opera Australia Scenery Workshop in Enriching Australia’s Surry Hills and the Malthouse cultural life with Theatre in Melbourne. exceptional opera. One of Opera Australia’s new Vision productions, it was written by Australian Brian Howard, performed by an all Australian cast To present opera that excites and produced by an all Australian audiences and sustains and creative team. Photo: develops the art form. Prudence Upton Mission TABLE OF CONTENTS At a glance 3 Artistic Sydney Screens on stage 32 Director’s Report 12 Conservatorium Productions: of Music 2018 awards 34 performances and Regional Tour 13 Internships 23 attendances 4 China tour 36 Regional Student Professional and Artists 38 Season star ratings 5 Scholarships 16 Talent Development 24 Orchestra 39 Revenue and expenditure 6 Schools Tour 18 Evita 26 Philanthropy 40 Australia’s biggest Auslan Handa Opera arts employer 7 shadow-interpreting 20 on Sydney Harbour – Opera Australia Community reach 8 Community events 21 La Bohème 28 Capital Fund 43 Chairman’s Report 10 NSW Regional New works Staff 46 Conservatoriums in development 30 Partners 48 Chief Executive Project 22 Officer’s Report 11 opera.org.au 2 At a glance 77% Self-generated revenue $61mBox office 1351 jobs provided 543,500 58,000 attendees student attendees 7 637 productions new to Australia performances opera.org.au 3 Productions Productions Performances Attendance A Night at the Opera, Sydney 1 2,182 Performances and total attendances Aida, Sydney 19 26,266 By the Light of the Moon, Victorian Schools tour 85 17,706 Carmen, Sydney 13 18,536 Die Meistersinger von Nürnberg, Melbourne 4 6,175 Don Quichotte, Melbourne 4 5,269 Don Quichotte, Sydney 6 7,889 Great Opera Hits 2018 27 23,664 La Bohème, Handa Opera on Sydney Harbour 26 48,267 La Bohème, Melbourne 7 11,228 La Bohème, New Year 1 1,458 The chorus of Bizet’s Carmen, directed by John Bell. -
Lead Cast Bio Highlights
Lead Cast Bio Highlights Shona White as Donna In the role of Donna Sheridan is Shona White, who has performed in numerous productions including the roles of Lisa and Sophie Sheridan in Mamma Mia! (Prince Edward Theatre, London), Elphaba in Wicked (Apollo Victoria, London) and Eponine and Cosette in Les Misérables (UK Tour). Shona is an Associate of the Royal Academy of Music, London, where she received the Ronald White Prize for Acting Through Song. Nicky Swift as Rosie Nicky Swift brings her experience from Aladdin, Sleeping Beauty, Jellylorum in Cats (Arena Tour) and David Copperfield (UK Tour) to play Rosie. She was also soloist alongside Dame Judi Dench in An Enchanted Evening (Theatre Royal, Drury Lane, London). Nicky was trained in the National Youth Music Theatre, Birmingham University and The Royal Academy of Music where she received The Ian Fleming Musical Theatre Award. Helen Anker as Tanya The role of Tanya will be played by Helen Anker, who has performed in Cats (New London Theatre, London), Crazy for You (Prince Edward Theatre, London), Oklahoma! (National Theatre and Lyceum Theatre, London) and Fame (Cambridge Theatre, London). Her film credit includes Ted 2 and Cinderella. She has also appeared in the TV programme The Good Wife as well as performed on four Tony Awards and at The Oscars. Tamlyn Henderson as Sam Carmichael The role of Sam Carmichael will be played by Tamlyn Henderson, who has had roles in We Will Rock You (Australia and Japan Tour) and The Sound of Music(Australia Tour) and Cabaret (IMG/Fran and Barry Weissler).