DOCSLIB.ORG

A Doll's House, Part 2

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Doll's House, Part 2 SC 53rd Season • 508th Production JULIANNE ARGYROS STAGE / APRIL 9-30, 2017 Marc Masterson Paula Tomei ARTISTIC DIRECTOR MANAGING DIRECTOR David Emmes & Martin Benson FOUNDING ARTISTIC DIRECTORS presents the world premiere of A DOLL’S HOUSE, PART 2 by Lucas Hnath Takeshi Kata Sara Ryung Clement Tom Ontiveros Cricket S. Myers Se Hyun Oh COSTUME DESIGN LIGHTING DESIGN SOUND DESIGN SCENIC DESIGN Kimberly Colburn Joshua Marchesi Joanne DeNaut, CSa Bree Sherry DRAMATURG PRODUCTION MANAGER CASTING STAGE MANAGER Directed by Shelley Butler The Playwrights Circle Susan Bowman and Freddie Greenfield • Mary Ann Brown and Rick Reiff •Sandy Segerstrom Daniels • Dr. Robert F. and Julie A. Davey Patricia Ellis • Margaret M. Gates • Don Hecht • Lea and Harmon Kong • Anne and Christian Mack Carl Neisser • Barbara Roberts • Peter and Joy Sloan Honorary Producer A Doll’s House, Part 2 was commissioned by South Coast Repertory. This play is a recipient of an Edgerton Foundation New American Plays Award. A Doll’s House, Part 2 • South CoaSt RepeRtoRy • P1 CAST OF CHARACTERS (In order of appearance) Anne Marie ................................................................................. Lynn Milgrim Nora .................................................................................... Shannon Cochran Torvald ..................................................................................... Bill Geisslinger Emmy .......................................................................................... Virginia Vale SETTING Norway. Inside the Helmer house, 15 years after Nora left Torvald. LENGTH Approximately 90 minutes, with no intermission. PRODUCTION STAFF Production Assistant ...................................................................... Kathleen Barrett Assistant Director ....................................................................... Brittany Campbell Assistant to the Director ....................................................................... Keira Talley Costume Design Assistant ............................................................ J. Wendy Wallace Stage Management Intern ................................................................. Elena L. Perez Light Board Operator ............................................................................... Dan Gold Sound and Projections Operator ............................................................ Sam Levey Dresser ............................................................................................... Jessica Larsen Wig and Makeup Technician ......................................................... Gillian Woodson Additional Costume Staff ...................... Alexis Riggs, Lauren Smith, Sarah Timm The Actors and Stage Managers employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. Please refrain from unwrapping candy or making other noises that may disturb surrounding patrons. Videotaping and/or recording of this performance by any means whatsoever are strictly prohibited. Electronic devices should be turned off or set to non-audible mode during the performance. Smoking is not permitted anywhere in the theatre. Media Partner Media Partner P2 • South CoaSt RepeRtoRy • A Doll’s House, Part 2 The Slamming Door Heard ‘Round the World by Kimberly Colburn behind women continue to be, when most plays and films still feature more male than female characters and work bsen’s controversial A Doll’s House was met with a famously dries up for older women unless they are among divided reception. The final moments of the play, as a lucky handful. It’s interesting that Ibsen, never shying seen below, portrayed Nora leaving her husband and from the controversy the play originally caused, publicly family. That slam of the door reverberated around declared that he was not a feminist. the world. Feminists hailed Nora’s actions, while oth- Given the weight and iconic status of A Doll’s Iers decried the loss of family values and argued that it House, it is no surprise playwright Lucas Hnath used the would encourage women to abandon their family duties. idea of a sequel as a framework to explore modern rela- A Copenhagen paper proclaimed, “Finally an event at The tionships. What will happen when Nora returns to knock Royal Theatre, and an event of the first class! This play on that fateful door? touches the lives of thousands of families; oh yes there are thousands of such doll-homes, where the husband The end of A Doll’s House by Henrik Ibsen (translated by Eva Le treats his wife as a child he amuses himself with, and so Gallienne), first performed at The Royal Theatre in that is what the wives become… Who, after seeing this Copenhagen in December play, has the courage to speak scornfully about run-away 1879. wives?” On the other hand, the London Evening Standard said “it would be a misfortune were such a morbid and un- You really mean it’s over, Nora? Really wholesome play to gain the favour of the HELMER: public.” over? You’ll never think of me again? Few plays have spawned as many NORA: I expect I shall often think of you; of sequels, parodies or adaptations from the you—and the children, and this house. very outset. A revised version with an al- HELMER: May I write to you? ternate ending premiered in Flensburg, Germany a few months following the Nor- NORA: No—never. You mustn’t! Please! wegian premiere. When leading woman HELMER: At least, let me send you— Hedwig Niemann-Raabe refused to act the NORA: Nothing! part as written, Nora did not leave home at the end of the play—the curtain instead HELMER: But, you’ll let me help you, Nora— fell after Torvald showed Nora the children NORA: No, I say! I can’t accept anything from and she sank to the ground—an amendment strangers. Ibsen later described as “a barbaric outrage.” Must I always be a stranger to you, Nora? In 1881, Norwegian MJ Bugge published How HELMER: Nora Returned Home Again: An Epilogue. The NORA: Yes, unless it were to happen—the most original script was forbidden to be performed wonderful thing of all— in London, but in 1884 an adaptation of A Doll’s HELMER: What? House by Henry Arthur Jones and Henry Her- man renamed Breaking a Butterfly premiered NORA: Unless we both could change so that—Oh, at the Princess Theatre in London. Productions Torvald! I no longer believe in miracles, you of A Doll’s House were forbidden as late as the see! me 1920s in China. In the last 100 or so years, there HELMER: Tell me! Let believe! Unless we both have been far too many productions, adaptations, could change so that—? or artistic responses to list. NORA: —So that our life together might truly be The play carries great weight still—there a marriage. Good-bye. (She goes to the door.) were three high profile London revivals of A Doll’s HELMER: Nora! Nora! She is gone! How empty it House in 2013—and the role of Nora has been lik- all seems! The most wonderful thing of all—? ened to the role of Hamlet for men, something ev- From below is heard the reverberation of a ery actor strives to tackle. Nora has also become a ( heavy door closing. End of Play. symbol of what is possible and a reminder of how far ) A Doll’s House, Part 2 • South CoaSt RepeRtoRy • P3 Artist Biographies SHANNON COCHRAN Ghost Light by Tony Taccone and as assistant direc- Nora tor of A Streetcar Named Desire. His other credits include the world premiere of Continental Divide by was last seen at SCR in System David Edgar (OSF, Berkeley Repertory Theatre, La Jolla Wonderland. Her recent appear- Playhouse, in the U.K. at Birmingham Repertory and ances include Lucas Hnath’s The the Barbican Center in London) and the world pre- Christians at Steppenwolf Theatre miere of X’s and O’s by K.J. Sanchez (Berkeley Reper- and Roundabout Theatre Com- tory Theatre, Baltimore Center Stage). He also has pany’s national tour of Cabaret. performed at the Old Globe Theatre, Long Wharf The- Her other theatre credits include the national tour of atre, Huntington Theatre Company, Intiman Theatre, August: Osage County, receiving a Helen Hayes nomi- Denver Center Theatre Company, Virginia Stage Com- nation and Chicago Theatre Award; Goldfish (Route pany, Mechanic Theatre, Artists Repertory Theatre, 66 Theatre); The Little Foxes (Goodman Theatre); Merrimack Repertory Theatre and Portland Center Dance of Death ( Joseph Jefferson Award); A Little Stage. Geisslinger’s film and television credits include Night Music, Hamlet, The Father, The Lion in Win- “Grimm,” “Cheers,” “St. Elsewhere,” “News Radio,” ter (Writers Theatre); Man From Nebraska, The Un- “Nowhere Man,” Dead by Sunset, A Thousand Heroes, mentionables, Morningstar, Your Home in the West, Imaginary Crimes and American Playhouse: The Skin The Geography of Luck (Steppenwolf Theatre); and of Our Teeth. The Last Goodbye (Old Globe Theatre). She is an Obie and TheatreWorld awards-winner for Tracy Letts’ LYNN MILGRIM Bug (Gate Theatre, London; Barrow Street Theatre). Anne Marie She has appeared at other theatres including Long Wharf Theatre, Mark Taper Forum, Geffen Playhouse, appeared at SCR previously in Court Theatre, Victory Gardens Theater, Marriott The- Rest, The Trip to Bountiful, The atre in Lincolnshire (Ill.), Cincinnati Playhouse in the Heiress, The Caucasian Chalk Park, Playhouse on the Square and Barbican Center Circle, Bosoms and Neglect, The (London). Her directing credits include Fallen Angels Countess, Death of a Salesman (Remy Bummpo), Dirty (Zephyr), Bug (barebones pro- and Pygmalion. On Broadway, ductions),
Load more

Recommended publications
  • A Strange Loop
    A Strange Loop / Who we are Our vision We believe in theater as the most human and immediate medium to tell the stories of our time, and affirm the primacy and centrality of the playwright to the form. Our writers We support each playwright’s full creative development and nurture their unique voice, resulting in a heterogeneous mix of as many styles as there are artists. Our productions We share the stories of today by the writers of tomorrow. These intrepid, diverse artists develop plays and musicals that are relevant, intelligent, and boundary-pushing. Our plays reflect the world around us through stories that can only be told on stage. Our audience Much like our work, the 60,000 people who join us each year are curious and adventurous. Playwrights is committed to engaging and developing audiences to sustain the future of American theater. That’s why we offer affordably priced tickets to every performance to young people and others, and provide engaging content — both onsite and online — to delight and inspire new play lovers in NYC, around the country, and throughout the world. Our process We meet the individual needs of each writer in order to develop their work further. Our New Works Lab produces readings and workshops to cultivate our artists’ new projects. Through our robust commissioning program and open script submission policy, we identify and cultivate the most exciting American talent and help bring their unique vision to life. Our downtown programs …reflect and deepen our mission in numerous ways, including the innovative curriculum at our Theater School, mutually beneficial collaborations with our Resident Companies, and welcoming myriad arts and education not-for-profits that operate their programs in our studios.
    [Show full text]
  • The First Critical Assessments of a Streetcar Named Desire: the Streetcar Tryouts and the Reviewers
    FALL 1991 45 The First Critical Assessments of A Streetcar Named Desire: The Streetcar Tryouts and the Reviewers Philip C. Kolin The first review of A Streetcar Named Desire in a New York City paper was not of the Broadway premiere of Williams's play on December 3, 1947, but of the world premiere in New Haven on October 30, 1947. Writing in Variety for November 5, 1947, Bone found Streetcar "a mixture of seduction, sordid revelations and incidental perversion which will be revolting to certain playgoers but devoured with avidity by others. Latter category will predomin­ ate." Continuing his predictions, he asserted that Streetcar was "important theatre" and that it would be one "trolley that should ring up plenty of fares on Broadway" ("Plays Out of Town"). Like Bone, almost everyone else interested in the history of Streetcar has looked forward to the play's reception on Broadway. Yet one of the most important chapters in Streetcar's stage history has been neglected, that is, the play's tryouts before that momentous Broadway debut. Oddly enough, bibliographies of Williams fail to include many of the Streetcar tryout reviews and surveys of the critical reception of the play commence with the pronouncements found in the New York Theatre Critics' Reviews for the week of December 3, 1947. Such neglect is unfortunate. Streetcar was performed more than a full month and in three different cities before it ever arrived on Broadway. Not only was the play new, so was its producer. Making her debut as a producer with Streetcar, Irene Selznick was one of the powerhouses behind the play.
    [Show full text]
  • “Kiss Today Goodbye, and Point Me Toward Tomorrow”
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Missouri: MOspace “KISS TODAY GOODBYE, AND POINT ME TOWARD TOMORROW”: REVIVING THE TIME-BOUND MUSICAL, 1968-1975 A Dissertation Presented to The Faculty of the Graduate School At the University of Missouri In Partial Fulfillment Of the Requirements for the Degree Doctor of Philosophy By BRYAN M. VANDEVENDER Dr. Cheryl Black, Dissertation Supervisor July 2014 © Copyright by Bryan M. Vandevender 2014 All Rights Reserved The undersigned, appointed by the dean of the Graduate School, have examined the dissertation entitled “KISS TODAY GOODBYE, AND POINT ME TOWARD TOMORROW”: REVIVING THE TIME-BOUND MUSICAL, 1968-1975 Presented by Bryan M. Vandevender A candidate for the degree of Doctor of Philosophy And hereby certify that, in their opinion, it is worthy of acceptance. Dr. Cheryl Black Dr. David Crespy Dr. Suzanne Burgoyne Dr. Judith Sebesta ACKNOWLEDGEMENTS I incurred several debts while working to complete my doctoral program and this dissertation. I would like to extend my heartfelt gratitude to several individuals who helped me along the way. In addition to serving as my dissertation advisor, Dr. Cheryl Black has been a selfless mentor to me for five years. I am deeply grateful to have been her student and collaborator. Dr. Judith Sebesta nurtured my interest in musical theatre scholarship in the early days of my doctoral program and continued to encourage my work from far away Texas. Her graduate course in American Musical Theatre History sparked the idea for this project, and our many conversations over the past six years helped it to take shape.
    [Show full text]
  • The Displaced Hindu Gods Trilogy
    Excerpt terms and conditions This excerpt is available to assist you in the play selection process. Excerpts are not intended for performance, classroom or other academic use. In any of these cases you will need to purchase playbooks via our website or by phone, fax or mail. A short excerpt is not always indicative of the entire work, and we strongly suggest you read the whole play before planning a production or ordering a cast quantity. © Dramatic Publishing The Displaced Hindu Gods Trilogy Brahmani, a One-Hijra Stand-Up Comedy Show The Chronicles of Kalki Shiv A collection by ADITI BRENNAN KAPIL Dramatic Publishing Company Woodstock, Illinois ● Australia ● New Zealand ● South Africa © Dramatic Publishing *** NOTICE *** The amateur and stock acting rights to this work are controlled exclusively by THE DRAMATIC PUBLISHING COMPANY, INC., without whose permission in writing no performance of it may be given. Royalty must be paid every time a play is performed whether or not it is presented for profit and whether or not admission is charged. A play is performed any time it is acted before an audience. Current royalty rates, applications and restrictions may be found at our website: www.dramaticpublishing.com, or we may be contacted by mail at: THE DRAMATIC PUBLISHING COMPANY, INC., 311 Washington St., Woodstock, IL 60098. COPYRIGHT LAW GIVES THE AUTHOR OR THE AUTHOR’S AGENT THE EXCLUSIVE RIGHT TO MAKE COPIES. This law provides authors with a fair return for their creative efforts. Authors earn their living from the royalties they receive from book sales and from the performance of their work.
    [Show full text]
  • A Production Analysis of Arthur Miller's the Price
    BELL, LOUIS P. A Production of Arthur Miller's The Price. (1976) Directed by: Dr. Herman Middleton. Pp. 189 The purpose of this thesis is to study the background surrounding the playwright and the play itself in preparation for a production of the play, and then present a critical evaluation of the production. Chapter One deals with the following: (1) research of the playwright's background, (2) research of the play's back- ground, (3) character description and analysis, (4) analysis of the set, (5) the director's justification of script, and (6) the director's interpretation of that script. Chapter Two consists of the prompt book for the pro- duction, performed October 22, 23, 24, 25, 26, 27 and 28, in Taylor Theatre at the University of North Carolina at Greens- boro. Notations include: (1) movement, composition, and picturization, (2) details of characterization and stage business, (3) rhythm and tempo, and (4) lighting and sound cues, production photographs are also included. The third chapter consists of critical evaluations in four areas. They are: (1) achievement of Interpretation, (2) actor-director relationships, (3) audience response, and (4) personal comments. A PRODUCTION ANALYSIS OF ARTHUR MILLER'S THE PRICE by Louis Bell A Thesis Submitted to the Faculty of the Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Master of Fine Arts Greensboro 1976 Thesis Adviser APPROVAL PAGE This thesis has been approved by the following committee of the Faculty of the Graduate School at the University of North Carolina at Greensboro.
    [Show full text]
  • Asian American Plays for a New Generation
    Asian American Plays for a New Generation Asian American Plays for a New Generation Edited by Josephine Lee, Don Eitel, and R. A. Shiomi TEMple UNIVersITY Press PHIladelpHIA TEMple UNIVersITY Press Philadelphia, Pennsylvania 19122 www.temple.edu/tempress Copyright © 2011 by Temple University All rights reserved Published 2011 Library of Congress Cataloging-in-Publication Data Asian American plays for a new generation / edited by Josephine Lee, Don Eitel, and R. A. Shiomi. p. cm. Includes bibliographical references. ISBN 978-1-4399-0515-9 (cloth : alk. paper) — ISBN 978-1-4399-0516-6 (pbk. : alk. paper) — ISBN 978-1-4399-0517-3 (e-book) 1. American drama—Asian American authors. 2. American drama—20th century. 3. American drama—21st century. 4. Asian Americans—Drama. I. Lee, Josephine, 1960– II. Eitel, Don, 1975– III. Shiomi, R. A., 1947– PS628.A85A885 2011 812'.54080895073—dc22 2010042421 The paper used in this publication meets the requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI Z39.48—1992 Printed in the United States of America 2 4 6 8 9 7 5 3 1 CONTENTS Introduction • Josephine Lee 1 1 Indian Cowboy • Zaraawar Mistry 11 2 Walleye Kid: The Musical • Music and Lyrics: Kurt Miyashiro • Book: R. A. Shiomi and Sundraya Kase 33 3 Happy Valley • Aurorae Khoo 101 4 Asiamnesia • Sun Mee Chomet 173 5 Sia(b) • May Lee-Yang 205 6 Bahala Na (Let It Go) • Clarence Coo 223 7 Ching Chong Chinaman • Lauren Yee 265 Afterword • R. A. Shiomi 319 Contributors 325 Asian American Plays for a New Generation Introduction Josephine Lee Tam (as a Bible Belt preacher): Born? No! Crashed! Not born.
    [Show full text]
  • Two Tendencies Beyond Realism in Arthur Miller's Dramatic Works
    Inês Evangelista Marques 2º Ciclo de Estudos em Estudos Anglo-Americanos, variante de Literaturas e Culturas The Intimate and the Epic: Two Tendencies beyond Realism in Arthur Miller’s Dramatic Works A critical study of Death of a Salesman, A View from the Bridge, After the Fall and The American Clock 2013 Orientador: Professor Doutor Rui Carvalho Homem Coorientador: Professor Doutor Carlos Azevedo Classificação: Ciclo de estudos: Dissertação/relatório/Projeto/IPP: Versão definitiva 2 Abstract Almost 65 years after the successful Broadway run of Death of a Salesman, Arthur Miller is still deemed one of the most consistent and influential playwrights of the American dramatic canon. Even if his later plays proved less popular than the early classics, Miller’s dramatic output has received regular critical attention, while his long and eventful life keeps arousing the biographers’ curiosity. However, most of the academic works on Miller’s dramatic texts are much too anchored on a thematic perspective: they study the plays as deconstructions of the American Dream, as a rebuke of McCarthyism or any kind of political persecution, as reflections on the concepts of collective guilt and denial in relation to traumatizing events, such as the Great Depression or the Holocaust. Especially within the Anglo-American critical tradition, Miller’s plays are rarely studied as dramatic objects whose performative nature implies a certain range of formal specificities. Neither are they seen as part of the 20th century dramatic and theatrical attempts to overcome the canons of Realism. In this dissertation, I intend, first of all, to frame Miller’s dramatic output within the American dramatic tradition.
    [Show full text]
  • Honorary Entertainment Industry Board
    Honorary Entertainment Industry Board The Survivor Mitzvah Project’s Honorary Entertainment Industry Board, along with other artists from stage, screen, and the music industry, donates their time and talents to bring public awareness to the mission of The Survivor Mitzvah Project – to bring emergency aid to the last survivors of the Holocaust in Eastern Europe. EDWARD ASNER – Versatile, committed, eloquent and talented are all adjectives that describe Edward Asner. Best known for his comedic and dramatic crossover as the gruff but soft-hearted journalist Lou Grant, a role he originated on the landmark TV comedy The Mary Tyler Moore Show and continued in the drama Lou Grant, for which he won 5 Emmys and three Golden Globes, he received 2 more Emmy and Golden Globes for Rich Man, Poor Man and Roots. His career demonstrates a consummate ability to transcend the line between comedy and drama. One of the most honored actors in the history of television, Mr. Asner has 7 Emmy Awards and 16 nominations, as well as 5 Golden Globes. He served as National President of SAG and received the Guild’s Life Achievement Award for career achievement and humanitarian accomplishment and was inducted into the TV Academy Hall of Fame. He has advocated for human rights, world peace, environmental preservation and political freedom, receiving the Anne Frank Human Rights Award, among other honors. With more than 100 TV credits, his films include Fort Apache the Bronx, JFK and Elf, and he was the lead voice in UP!, which won two Golden Globes and two Academy Awards. Presently Mr.
    [Show full text]
  • Love Person Program
    Where artists emerge… Where artists explore… Where artists thrive… Where your support is key Make a gift to the BCA today 100% will support a working artist of tomorrow www.bcaonline.org VISUAL ARTS | PERFORMANCE | COMMUNITY Boston Center for the Arts | 539 Tremont Street, Boston, MA 02116 BY ADITI BRENNAN KAPIL DIRECTOR........................................................M. BEVIN O'GARA CAST FREE..........................................................................Sabrina DenniSon VIC...........................................................................SCARLETT REDMOND RAM.......................................................................................NAEL NACER* MAGGIE.................................................................JACQUELINE EmmarT DESIGNERS SET DESign...............................................................DAHLIA Al-HABIELI SoUnd DESign...............................................................JASON E. WEBER LigHTing DESign..........................................................ANNIE WIEGAND COSTUme deSign............................................Miranda KAU GIURLEO PROPERTIES DESIGN......................................aLEXANDRA HERRYMAN PROJECTION DESIGN..................................................AmeLia GOSSETT STAGE MANAGEMENT prodUCTion STage manager....................................ERIN CARLSON ASST. STage manager.........................................................EMILY HART ASST. STage Manager.................................................AnnIE MCGUire REHEARSAL
    [Show full text]
  • In Lucas Hnath's 'Dana H.,'
    13 WEEKS ONLY 99¢ TOPICS LOG IN Sale ends 6/25 SPECIAL OFFER | GET 13 WEEKS FOR 99¢ Costco shooting: Mother L.A. is losing its weird edges After college admissions wounded by LAPD officer to bland, boxy and scandal, UC rolls out who killed her son is still i… Instagram-friendly reforms to avoid more fraud ADVERTISEMENT ARTS & CULTURE ENTERTAINMENT By CHARLES MCNULTY THEATER CRITIC | JUN 03, 2019 Actress Deirdre O'Connell. lip-syncing to an audio interview of playwright Lucas Hnath's mother, recounts her kidnapping and captivity in "Dana H.," Center Theatre Group's world premiere at the Kirk Douglas Theatre. (Craig Schwartz) Lucas Hnath, part of a bumper crop of playwrights rethinking the parameters of American drama, has written a play about his mother that is rife with contradictions. “Dana H.,” which is having its world premiere at the Kirk Douglas Theatre while Hnath’s “Hillary and Clinton” is on Broadway and his wildly successful “A Doll’s House, Part 2” is being produced across the nation, is composed from interviews yet is stranger than most fiction. Hnath uses not only his mother’s actual words but also her recorded voice, yet her character remains elusive. ADVERTISEMENT But the most curious incongruity is the one that makes me want to see this fascinating 75-minute play a second time: It’s impossible to sort out fact from falsehood in Dana’s story, yet by the end a truth as profound as it is slippery is revealed. “Dana H.” tells a story of trauma, terror and the way victimization continues even after the threat of violence has subsided.
    [Show full text]
  • MPTA Legacy Reporting at a Glance
    Table of Contents Introduction .........................................................................................................................................3 MPTA Legacy Reporting at a Glance .................................................................................................4 WDSE•WRPT, Duluth/Superior/The Iron Range ................................................................................5 Twin Cities Public Television, Minneapolis/Saint Paul ........................................................................7 Prairie Public Broadcasting, Moorhead/Crookston ............................................................................9 Pioneer Public Television, Appleton/Worthington/Fergus Falls .......................................................11 Lakeland Public Television, Bemidji/Brainerd ...................................................................................13 KSMQ Public Service Media, Austin/Rochester ...............................................................................15 APPENDIX .......................................................................................................................................17 Appendix A - WDSE•WRPT, Duluth/Superior/The Iron Range ...........................................18 Financial Reports (07/01/2012 - 06/30/2013 and 07/01/2013 - 06/30/2015) ..............30 Appendix B - Twin Cities Public Television Raw Data ........................................................35 Financial Reports (07/01/2012 - 06/30/2013 and 07/01/2013
    [Show full text]
  • All My Sons, 1948
    University of Montana ScholarWorks at University of Montana Montana Masquers Event Programs, 1913-1978 University of Montana Publications 4-8-1948 All My Sons, 1948 Montana State University (Missoula, Mont.). Montana Masquers (Theater group) Follow this and additional works at: https://scholarworks.umt.edu/montanamasquersprograms Let us know how access to this document benefits ou.y Recommended Citation Montana State University (Missoula, Mont.). Montana Masquers (Theater group), "All My Sons, 1948" (1948). Montana Masquers Event Programs, 1913-1978. 66. https://scholarworks.umt.edu/montanamasquersprograms/66 This Program is brought to you for free and open access by the University of Montana Publications at ScholarWorks at University of Montana. It has been accepted for inclusion in Montana Masquers Event Programs, 1913-1978 by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. fijuunieJUL... When the Audience likes it. it’s a hit! Our Audience . generations of people like YOU . look first to The MER­ CANTILE . for long-run, top-hit clothes, gifts, furniture, homemaking aids. Drop in... see our Spring Premiere . .. Prelude to Summer ... in smart wear for the family. WESTERN MONTANA’S SHOPPING HALL — Tonight's Production ^xLL MY SONS by Arthur Miller was given the New York Drama Critics Circle Award of 1947. The citation read: “To ALL MY SONS because of a frank and uncompromising presentation of a timely and important theme, because of the hon­ esty of the writing and the cumulative power of the scenes, and because it reveals a genuine instinct for the theatre in an intelli­ gent and thoughtful new playwright.” The original setting of this contemporary play was designed by Mordeeai Gorelik.
    [Show full text]