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Macbeth on Three Levels Wrap Around a Deep Thrust Stage—With Only Nine Rows Dramatis Personae 14 Separating the Farthest Seat from the Stage
Weird Sister, rendering by Mieka Van Der Ploeg, 2019 Table of Contents Barbara Gaines Preface 1 Artistic Director Art That Lives 2 Carl and Marilynn Thoma Bard’s Bio 3 Endowed Chair The First Folio 3 Shakespeare’s England 5 Criss Henderson The English Renaissance Theater 6 Executive Director Courtyard-Style Theater 7 Chicago Shakespeare Theater is Chicago’s professional theater A Brief History of Touring Shakespeare 9 Timeline 12 dedicated to the works of William Shakespeare. Founded as Shakespeare Repertory in 1986, the company moved to its seven-story home on Navy Pier in 1999. In its Elizabethan-style Courtyard Theater, 500 seats Shakespeare's Macbeth on three levels wrap around a deep thrust stage—with only nine rows Dramatis Personae 14 separating the farthest seat from the stage. Chicago Shakespeare also The Story 15 features a flexible 180-seat black box studio theater, a Teacher Resource Act by Act Synopsis 15 Center, and a Shakespeare specialty bookstall. In 2017, a new, innovative S omething Borrowed, Something New: performance venue, The Yard at Chicago Shakespeare, expanded CST's Shakespeare’s Sources 18 campus to include three theaters. The year-round, flexible venue can 1606 and All That 19 be configured in a variety of shapes and sizes with audience capacities Shakespeare, Tragedy, and Us 21 ranging from 150 to 850, defining the audience-artist relationship to best serve each production. Now in its thirty-second season, the Theater has Scholars' Perspectives produced nearly the entire Shakespeare canon: All’s Well That Ends -
Playing Shakespeare with Deutsche Bank Production of Twelfth Night
2016 shakespeare’s globe Annual review contents Welcome 5 Theatre: The Globe 8 Theatre: The Sam Wanamaker Playhouse 14 Celebrating Shakespeare’s 400th Anniversary 20 Globe Education – Inspiring Young People 30 Globe Education – Learning for All 33 Exhibition & Tour 36 Catering, Retail and Hospitality 37 Widening Engagement 38 How We Made It & How We Spent It 41 Looking Forward 42 Last Words 45 Thank You! – Our Stewards 47 Thank You! – Our Supporters 48 Who’s Who 50 The Playing Shakespeare with Deutsche Bank production of Twelfth Night. Photo: Cesare de Giglio The Little Matchgirl and Other Happier Tales. Photo: Steve Tanner WELCOME 2016 – a momentous year – in which the world celebrated the richness of Shakespeare’s legacy 400 years after his death. Shakespeare’s Globe is proud to have played a part in those celebrations in 197 countries and led the festivities in London, where Shakespeare wrote and worked. Our Globe to Globe Hamlet tour travelled 193,000 miles before coming home for a final emotional performance in the Globe to mark the end, not just of this phenomenal worldwide journey, but the artistic handover from Dominic Dromgoole to Emma Rice. A memorable season of late Shakespeare plays in the Sam Wanamaker Playhouse and two outstanding Globe transfers in the West End ran concurrently with the last leg of the Globe to Globe Hamlet tour. On Shakespeare’s birthday, 23 April, we welcomed President Obama to the Globe. Actors performed scenes from the late plays running in the Sam Wanamaker Playhouse at Southwark Cathedral, a service which was the only major civic event to mark the anniversary in London and was attended by our Patron, HRH the Duke of Edinburgh. -
Lady M Program
CURTIS R PRIEM EXPERIMENTAL MEDIA AND PERFORMING ARTS CENTER EMPAC.RPI.EDU Heartbeat Opera Welcome Ethan Heard & Louisa Proske, Co-Artistic Directors Presents: Dearest Audience, Heartbeat Opera was founded on the principle of meeting restrictions with creativity and imagination. In our six seasons, we’ve innovated across all aspects of opera to show that the art form can pack a potent punch even when it is produced on a leaner budget. We are proud that The New York Times celebrated this core belief, Lady M calling our productions “icy vodka shots of opera instead of ladles of cream sauce.” an online fantasia of Verdi’s Macbeth May 11-20, 2020 Today, we are facing our biggest restriction yet—the inability to share opera in a physical space. The world is out of joint. We are devastated by the human toll of this crisis. We deeply feel the threat it poses to the livelihood of artists and of the This work is co-presented by The Curtis R. Priem Experimental Media performing arts world. And so we ask ourselves: what good can we do in a time so full and Performing Arts Center (EMPAC) at Rensselaer Polytechnic Institute. of fear and uncertainty? We believe it is our duty to seize this moment and find new modes of creating CREATIVE TEAM together. This is why we decided not to cancel Lady M, but to move it into virtual Giuseppe Verdi / Composer space. The passion to express ourselves prevails. We take pride in providing work for Francesco Maria Piave with additions by Andrea Maffei / Librettist artists during this time of financial hardship. -
Proceedings First Annual Palo Alto Conference
PROCEEDINGS OF THE FIRST ANNUAL PALO ALTO CONFERENCE An International Conference on the Mexican-American War and its Causes and Consequences with Participants from Mexico and the United States. Brownsville, Texas, May 6-9, 1993 Palo Alto Battlefield National Historic Site Southwest Region National Park Service I Cover Illustration: "Plan of the Country to the North East of the City of Matamoros, 1846" in Albert I C. Ramsey, trans., The Other Side: Or, Notes for the History of the War Between Mexico and the I United States (New York: John Wiley, 1850). 1i L9 37 PROCEEDINGS OF THE FIRST ANNUAL PALO ALTO CONFERENCE Edited by Aaron P. Mahr Yafiez National Park Service Palo Alto Battlefield National Historic Site P.O. Box 1832 Brownsville, Texas 78522 United States Department of the Interior 1994 In order to meet the challenges of the future, human understanding, cooperation, and respect must transcend aggression. We cannot learn from the future, we can only learn from the past and the present. I feel the proceedings of this conference illustrate that a step has been taken in the right direction. John E. Cook Regional Director Southwest Region National Park Service TABLE OF CONTENTS Introduction. A.N. Zavaleta vii General Mariano Arista at the Battle of Palo Alto, Texas, 1846: Military Realist or Failure? Joseph P. Sanchez 1 A Fanatical Patriot With Good Intentions: Reflections on the Activities of Valentin GOmez Farfas During the Mexican-American War. Pedro Santoni 19 El contexto mexicano: angulo desconocido de la guerra. Josefina Zoraida Vazquez 29 Could the Mexican-American War Have Been Avoided? Miguel Soto 35 Confederate Imperial Designs on Northwestern Mexico. -
JULIA BUMKE Local Address: Permanent Address: [email protected] 15 Irving Street, Apt
JULIA BUMKE Local Address: Permanent Address: [email protected] 15 Irving Street, Apt. 2 362 Morris Ave. 201.486.7197 Somerville, MA 02144 Mountain Lakes, NJ 07046 ___________________________________________________________________________________________________________________________________________________________________________________________________________ EDUCATION Institute for Advanced Theater Training at Harvard University, Cambridge, MA | American Repertory Theater/Moscow Art Theater School. M.F.A. Candidate | Dramaturgy and Theater Studies, June 2015. Princeton University, Princeton, NJ. A.B., Magna cum laude | United States History, with Theater and American Studies concentrations, June 2013. • Academic Senior Thesis, From Upstarts to Institutions: How W. McNeil Lowry Transformed America’s Nonprofit Theaters. Sean Wilentz, Advisor. • Creative Independent Thesis, Program in Theater: Directed Stephen Sondheim and James Lapine’s Sunday in the Park With George, Berlind Theatre, McCarter Theater Center. Tim Vasen, Advisor. HONORS AND PUBLICATIONS • Francis LeMoyne Page Theater Award | Princeton University Program in Theater, Spring 2013. • Asher Hinds Prize for Excellence in American Studies | Princeton University Program in American Studies, Spring 2013. • Published What History Can Teach Us About Arts Philanthropy in the Age of Obama | HowlRound: Journal of the Theater Commons at Emerson College, January 2013. • Published Rock ’n’ Revolution: How the Prague Spring’s Cultural Liberalism Transformed Czech Human Rights | -
June 2018 Welcome Mike Hausberg
JUNE 2018 WELCOME MIKE HAUSBERG Welcome to The Old Globe and this production of The Tempest. Our goal is to serve all of San Diego and beyond through the art of theatre. Below are the mission and values that drive our work. We thank you for being a crucial part of what we do. MISSION STATEMENT The mission of The Old Globe is to preserve, strengthen, and advance American theatre by: creating theatrical experiences of the highest professional standards; producing and presenting works of exceptional merit, designed to reach current and future audiences; ensuring diversity and balance in programming; providing an environment for the growth and education of theatre professionals, audiences, and the community at large. STATEMENT OF VALUES The Old Globe believes that theatre matters. Our commitment is to make it matter to more people. The values that shape this commitment are: TRANSFORMATION Theatre cultivates imagination and empathy, enriching our humanity and connecting us to each other by bringing us entertaining experiences, new ideas, and a wide range of stories told from many perspectives. INCLUSION The communities of San Diego, in their diversity and their commonality, are welcome and reflected at the Globe. Access for all to our stages and programs expands when we engage audiences in many ways and in many places. EXCELLENCE Our dedication to creating exceptional work demands a high standard of achievement in everything we do, on and off the stage. STABILITY Our priority every day is to steward a vital, nurturing, and financially secure institution that will thrive for generations. IMPACT Our prominence nationally and locally brings with it a responsibility to listen, collaborate, and act with integrity in order to serve. -
~Lagf8lll COM PAN I E SIN C
June 2001 BAMcinematek 2001 Spring Season ___ 651 AFLlS Andres Serrano, Hooded Warbler II, 2000 BAM Spring Season sponsor: PHILIP MORRIS ~lAGf8lll COM PAN I E SIN C. 200] Spriog Brooklyn Academy of Music Bruce C. Ratner Alan H. Fishman Chairman of the Board Chairman, Campaign for BAM Karen Brooks Hopkins Joseph V. Melillo President Executive Prod ucer presents The Ghost Sonata The Royal Dramatic Theatre of Sweden Approximate BAM Harvey Lichtenstein Theater running time: June 20-23,2001, at 7:30pm 1 hour and June 24, at 3pm 35 minutes with Performed in Swedish with simultaneous English translation no intermission Written by August Strindberg Directed by Ingmar Bergman Set design Giiran Wassberg Costume design Anna Bergman Lighting design Pierre Leveau Wigs and masks Leif Qvistriim, Barbro Forsgardh Choreography Virpi Pahkinen Translation Inga Stina Ewbank BAM Theater sponsors: AOL Time Warner Inc. and Fleet Leadership support: The Peter Jay Sharp Foundation; The Shubert Foundation, Inc.; The Norman & Rosita Winston Foundation, Inc.; and The SHS Foundation Major support: The Barbra Osher Pro Suecia Foundation Additional support: Consulate General of Sweden and Trallback & Company Official airline for the BAM presentation of The Royal Dramatic Theatre of Sweden's The Ghost Sonata: Scandinavian Airlines 17 The Cast The Old Man Jan Malmsjo The Student Jonas Malmsjo The Milkmaid Virpi Pahkinen The Doorman's Wife Gertrud Mariano The Dead Man Nils Eklund The Dark Lady Gerthi Kulle The Young Lady Elin Klinga The Colonel Per Myrberg Mummy Gunnel -
Expressionism and Modernism New Approaches to August Strindberg
Expressionism and Modernism New Approaches to August Strindberg Edited by Michael Robinson and Sven Hakon Rossel Edition Praesens Wien 1999 7 Contents Foreword 11 Preface 13 Lotta Gavel Adams The Dance of Death I: The Hells of August Strindberg And Lars Noren - from Swedenborgian Vastation to Bourgeois Waste Land 17 Paul Austin August Strindberg, Sam Shepard, and the Expressionist Impulse 25 Friedrich Buchmayr August Strindberg and the Altered Perception of Modernism 33 Piotr Bukowski August Strindberg and the Expressionist Aesthetics of Par Lagerkvist 47 Harry G. Carlson Theme, Image and Style in August Strindberg's Expressionism 53 Barry Jacobs Expressionist Elements in August Strindberg's Charles the Twelfth 63 Hermann Keckeis August Strindberg and German Opera: Studies in the Transposition of the Genre of Strindberg's Plays in Operatic Dramaturgy - a Textual Analysis 79 Arturo Larcarti August Strindberg in the Periodicals of Austrian Expressionism 93 Barbara Lide Stations of Expressionism: The Great Highway from To Damascus to Contemporary Performance 101 Brigitte Marschall Higher States of Consciousness in August Strindberg's 'Inferno Dramas' 111 Christopher Joseph Mitchell Gender and Marriage Construction Across the 'Inferno': August Strindberg's The Father and The Dance of Death I 121 Jan Myrdal An Exemplary Phase Reversal: The Modernity of August Strindberg 129 UlfOlsson The Bloodstained Sign: The Problem of Expressivity in August Strindberg's Black Banners 139 Michael Robinson August Strindberg and Musical Expressionism in Vienna -
Noises Off | Full Playbill
PLAYBILL 2021 SEASON COMMUNITY CIRCLE THEATRE, INC. | FUN HOME | JULY 12-28 1 GENERAL INFORMATION BOX OFFICE HOURS MONDAY - FRIDAY | 12PM - 5PM MONDAY - FRIDAY PERFORMANCE DAYS | 12PM - CURTAIN SATURDAY | 2PM - CURTAIN SUNDAY | 12PM - CURTAIN LATE ARRIVALS Patrons arriving late will be seated at the House Manager’s discretion. NO STANDING No standing is permitted in the back of the theatre. If you become uncomfortable and/or have to move out of your seat for any reason, you may stretch your legs in the upper or lower lobby. ELECTRONIC DEVICES Please turn off all electronic devices that light up or make noise. Please, no texting. The taking of pictures and/or recordings (audio or video) is prohibited; the device may be taken from you and held until after the show. EMERGENCY CALLS If you anticipate the need to be reached in the event of an emergency, you may leave your name and seat number with the House Manager. A House Manager will also be available in the House during the run of the show. Our emergency contact number is 616 632 2996. In the event that someone is not available at this number, Aquinas College Campus Safety’s number is 616 632 2462; a dispatcher is available 24/7. YOUNG AUDIENCE Most Main Stage productions are geared toward mature audiences and may not be appropriate for younger audiences. Our Magic Circle productions provide wonderful family entertainment and an introduction to the live theatre experience. Please call the box office at 616 456 6656 for information on age appropriateness of any of our shows. -
The Cambridge Companion to August Strindberg Edited by Michael Robinson Frontmatter More Information
Cambridge University Press 978-0-521-60852-7 - The Cambridge Companion to August Strindberg Edited by Michael Robinson Frontmatter More information the cambridge companion to august strindberg August Strindberg is one of the most enduring of nineteenth-century dramatists, and is also an internationally recognized novelist, autobiographer and painter. This Companion presents contributions by leading international scholars on different aspects of Strindberg’s highly colourful life and work. The essays focus primarily on his most celebrated plays; these include the naturalist dramas, The Father and Miss Julie; the experimental dramas with which he created a true modernist theatre – To Damascus and A Dream Play; and the Chamber Plays of 1908 which, like so much of his work, exerted a powerful influence on later twentieth-century drama. His plays are contextualized for what they contribute both to the history of drama and developments in theatre practice, and other essays clarify the enormous importance to these dramas of his other work, most notably the autobiographical novel Inferno, and his lifelong interest in science, the occult, sexual politics and the visual arts. michael robinson is Professor Emeritus of Drama and Scandinavian Studies at the University of East Anglia, Norwich. He is the author of Strindberg and Autobiography (1986) and Studies in Strindberg (1998), and has translated a two-volume selection of Strindberg’s letters (1992), a collection of his essays (1996) and five of the plays (1998). He has edited five volumes of essays on Strindberg and Ibsen, and is also the General Editor of the Cambridge Plays in Production series. His three-volume International Annotated Bibliography of Strindberg Studies was published by the MHRA in 2008. -
Programming; Providing an Environment for the Growth and Education of Theatre Professionals, Audiences and the Community at Large
MAY 2014 WELCOME A few weeks ago, on April 30, 2014, the American the- atre lost a giant, and The Old Globe lost one of its most valued friends. Nicholas Martin’s relationship with this institution began when he acted here in King Lear in 1957, and it continues to this day as we present Vanya and Sonia and Masha and Spike in a production based on his original Broadway direction. The fifty seven year span of his Globe career saw him act in eighteen additional productions and direct six, most recently his acclaimed 2013 staging of Shaw’s Pygmalion. On the opening night of that production the Globe named him an Associate DOUG GATES Artist, an honor that he was as proud to earn as we were Managing Director Michael G. Murphy and Artistic Director Barry Edelstein. to bestow. Nicky, as he was known, loved San Diego and adored the Globe, but the Globe loved him more. At every level of the institution, from artists to staff to Board, he was cherished. He was an uproari- ously funny man with a room-filling laugh and a bright twinkle in his eye. His wit was scintillat- ing, and although it could be withering, too, it was never, ever mean-spirited. Nicky was a man of the theatre in the deepest sense: every single part of the process of making theatre thrilled him. His manner in rehearsal was always gentle and open-hearted, and he was fiercely devoted to his artistic collaborators and their work. He was a generous mentor of emerging talent and a loyal supporter of longtime colleagues. -
Downloadable Resume
Emily Verla AEA/ SAG-AFTRA (310)844-5393 [email protected] www.emilyverla.com Eyes: Green – Hair: Brown -5’6”- 120lbs - Mezzo Soprano FILM/ TV/ NEW MEDIA New Amsterdam Guest Star NBC The Deuce Recurring HBO Dietland Co-Star AMC The Tonight Show Recurring NBC Hairy Legs Hannah’s Feminist Quarter Hour Hairy Legs Hannah South America Prod. -- AUSTIN FILM FESTIVAL FINALIST-- The Wheatgrass Incident Supporting Adrienne Rosenberg Little Carrot Lead Little Carrot LLC. Terrible Shows I Wish I Were In Series Regular The Sparrow and the Lion The Story Pirates Podcast Various Gimlet Media OFF-BROADWAY Petie KM Theatre East (Urban Stages) / Martha Banta A Name For A Ghost To Mutter Lala Theatre East (Urban Stages) / Judson Jones As You Like It Audrey New York Classical Theatre / Stephen Burdman The Jungle Book Taa/Wolf/ Puppeteer Theatre East (Peter J Sharp) / Dina Epshteyn REGIONAL THEATRE The Wolves #46 Boise Contemporary Theater / Kittson O’Neil Crimes Of The Heart Babe Bristol Valley Theater/ Benjamin Viertel 1980 (Or Why I’m Voting for John Anderson)* Kathleen Premiere Stages / Jessi D. Hill The Tall Girls Jean Luna Stage / Jane Mandel Tar Beach Mary Claire Luna Stage / Cheryl Katz A Little Night Music Mrs. Anderssen Princeton Summer Theater / Adam Immerwhar 42nd Street Ensemble Musical Theatre West / Jon Engstrom Into the Woods Lucinda Twin Tiers Theatre Festival Oliver! Bet Civic Light Opera South Bay / Jon Engstrom NEW YORK THEATRE Bar Dykes Joyce The Flea/ TOSOS / Mark Finley & Virginia Baeta Bad People Kati Dixon Place HOT Festival