2015 TCG Delegation to Cuba Roster of Participants
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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. -
14PL120 Alley Theatre FINAL.Pdf
CITY OF HOUSTON Archaeological & Historical Commission Planning and Development Department PROTECTED LANDMARK DESIGNATION REPORT LANDMARK NAME: Alley Theatre AGENDA ITEM: C OWNER: Alley Theatre HPO FILE NO.: 14PL120 APPLICANT: Scott J. Atlas DATE ACCEPTED: Aug-21-2014 LOCATION: 615 Texas Avenue HAHC HEARING DATE: Sep-25-2014 SITE INFORMATION Lots 1, 2, 3, 6, 7, 8 & 12 & Tract 11, Block 60, SSBB, City of Houston, Harris County, Texas. TYPE OF APPROVAL REQUESTED: Protected Landmark Designation HISTORY AND SIGNIFICANCE SUMMARY The Alley Theatre was founded in 1947 by Nina Vance (1914-1980), one of the most outstanding theatrical directors in the U.S. and Texas in the mid twentieth century. The Alley is now one of the oldest non-profit, professional, resident theater companies in continuous operation in the United States. From its inception, the Alley Theatre staged productions in an “arena” or “in the round” spatial format, a practice associated with cutting-edge theatrical companies in the mid-twentieth-century period. In the Alley’s first season (1947-48), performances were held in a dance studio on Main Street. Audience members had to walk along a narrow outdoor passage to get to the performance space; this passage was the origin of the Alley’s name. In 1962, the Alley Theatre was given a half-block site in the 600 block of Texas Avenue by Houston Endowment and a $2 million grant from the Ford Foundation for a new building and operating expenses. The theater was to be part of a downtown performance and convention complex including Jones Hall, the home of the Houston Symphony, Houston Grand Opera, and Society for the Performing Arts. -
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 -
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. -
Ronald Davis Oral History Collection on the Performing Arts
Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability. -
Enacting Cultural Identity : Time and Memory in 20Th-Century African-American Theater by Female Playwrights
Enacting Cultural Identity: Time and Memory in 20th-Century African-American Theater by Female Playwrights Dissertation zur Erlangung des akademischen Grades des Doktors der Philosophie (Dr. phil.) vorgelegt von Simone Friederike Paulun an der Geisteswissenschaftliche Sektion Fachbereich Literaturwissenschaft Tag der mündlichen Prüfung: 13. Februar 2012 Referentin: Prof. Dr. Dr. h.c. Aleida Assmann Referentin: PD Dr. Monika Reif-Hülser Konstanzer Online-Publikations-System (KOPS) URL: http://nbn-resolving.de/urn:nbn:de:bsz:352-0-269861 Acknowledgements 1 Acknowledgements This dissertation would not have been possible without the guidance and support of several individuals who in one way or another contributed to the writing and completion of this study. It gives me a great pleasure to acknowledge the help of my supervisor Prof Dr. Aleida Assmann who has supported me throughout my thesis and whose knowledge, guidance, and encouragement undoubtedly highly benefited my project. I would also like to thank PD Dr. Monika Reif-Hülser for her sustained interest in my work. The feedback that I received from her and the other members of Prof. Assmann’s research colloquium was a very fruitful source of inspiration for my work. The seeds for this study were first planted by Prof. David Krasner’s course on African- American Theater, Drama, and Performance that I attended while I was an exchange student at Yale University, USA, in 2005/2006. I am immensely grateful to him for introducing me to this fascinating field of study and for sharing his expert knowledge when we met again in December 2010. A further semester of residence as a visiting scholar at the African American Department at Yale University in 2010 enabled me to receive invaluable advice from Prof. -
Download Judy's Resume
JUDY KUHN AEA SAG-AFTRA www.judykuhn.net Artists & Representatives Jeff Berger Management 630 Ninth Ave., Suite 220 301 W. 53rd St #10J New York, NY 10011 New York, NY 10019 (212) 505-1400 (212) 586-4978 Broadway Fiddler On The Roof Golde Dir. Bartlett Sher Fun Home (Tony, Drama League Noms) Helen Bechdel Dir. Sam Gold She Loves Me (Tony Nom) Amalia Dir. Scott Ellis/Roundabout Two Shakespearean Actors Miss Helen Burton Dir.Jack O’Brian/LCT Chess (Tony, Drama League Noms) Florence Dir. Trevor Nunn Les Miserables (Tony, Drama League Noms) Cossette Dirs. Tevor Nunn & John Caird Rags (Drama Desk Nom) Bella Dir. Gene Saks King David Michal Dir. Mike Ockrent The Mystery of Edwin Drood Ensemble/Rosa Dir. Wilford Leach/NYSF Drood u/s Off Broadway, London & Regional Fiddler on the Roof (London-Olivier Award Nom) Golde Dir. Trevor Nunn Fun Home (Lucille Lortel Award, OCC Nom) Helen Bechdel Dir. Sam Gold/ Public Theater The Visit Mathilde Dir.John Doyle/ Williamstown TF Passion (Drama League Award Nom) Fosca Dir. John Doyle/Classic Stage Co The Cradle Will Rock Sadie/Editor Daily Dir. Sam Gold/Encores! The Three Sisters Olga Dir. Bartlett Sher/Intiman Theater Passion Fosca Dir. Eric Schaeffer/ Kennedy Center The Ballad of Little Jo(Joseph Jeff Award Nom) Jo Dir. Tina Landau/ Steppenwolf Eli’ Comin’ (Obie Award) Emmie Dir. Diane Paulus/ Vineyard Theatre Dream True Madge Dir.Tina Landau/ Vineyard Theatre As Thousands Cheer Multiple roles Dir. Christopher Ashley/Drama Dept. Sunset Boulevard Betty Shaeffer Dir.Trevor Nunn/Los Angeles Metropolis (Laurence Olivier Award Nom) Maria/Futura Dir. -
Washington Theater Club*
INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page{s)” . If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand corner of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy. -
Lisa Portes, Artistic Director Presents
Lisa Portes, Artistic Director presents by Moses Goldberg Director – Ann Wakefield Choreographer – Kristina Fluty Mime Specialist – Pamela Chermansky Scenic Designer – Greg Pinseoault Costume Designer – Anne Stebbins Lighting Designer – Zak Malsich Sound Designer – Kevin Cushman Dramaturg – Julianne Shwartz Stage Manager – Abbie Betts October 12 – November 16, 2013 DePaul’s Merle Reskin Theatre 60 E. Balbo Drive, Chicago, IL 60605 Email: [email protected] http://theatreschool.depaul.edu (312) 922-1999 Hansel & Gretel 1 CAST PRODUCTION STAFF Kiko the Mime ..........................................................................................................................Erica Murphy Assistant Director .......................................................................................................................... Gen Zoufal Staggio/Witch ........................................................................................................................Tyler Esselman Assistant Stage Managers .................................... Julia Bates, Jake Zwiebach, and Mario E. Wolfe Bulbov/Father/Sandman/Creator of the Forest/Witch’s Rooster........................ George Booker Assistant Scenic Designer .........................................................................................Rachel Summerfield Sabrina/Mother/Creator of the Forest/Witch’s Cat .............................................. Madison McLean Assistant Costume Designer ...........................................................................................................Lara -
Edition 3 | 2019-2020
humanracetheatre.org 1 THE HUMAN RACE THEATRE COMPANY KAPPY KILBURN, Executive Director and KEVIN MOORE, Artistic Director present Directed by Marya Spring Cordes+ FEBRUARY 27-MARCH 15, 2020 Set Designer Lighting Designer Costume Designer Tamara L. Honesty John Rensel+ Ayn Kaethchen Original Projections Projection Designer Sound Designer Designed by John Riechers Jay Brunner+ Elaine J. McCarthy Stage Manager Producers Jacquelyn Duncan* Kevin Moore and Tara Lail Written by Emily Mann Original Off-Broadway production produced by Daryl Roth and directed by Diane Paulus. Commissioned by Lincoln Center Theater by special arrangement with Daryl Roth. With special thanks to the American Repertory Theater and McCarter Theatre Center. GLORIA: A LIFE is presented by special arrangement with Dramatists Play Service, Inc., New York. humanracetheatre.org 3 4 THE HUMAN RACE THEATRE COMPANY ARTISTIC DIRECTOR’S NOTE Playwright Emily Mann said, “I could not have the life I led without Gloria Steinem.” And many women echo her sentiments. We are thrilled to kick off 2020 with the regional premiere of Emily Mann’s new play, GLORIA: A LIFE – all about Ohio’s own, Gloria Steinem. Steinem has spent her lifetime fighting for the rights of all women – as a journalist and an activist. She believes that dialogue is the catalyst for change, which is reflected in both her life and this play. With the #MeToo movement at its peak, this play could not be more timely. (Credit must be given to our Executive Director, Kappy Kilburn, who worked on the New York production right before coming to join our staff. And those connections have made it possible for us the produce this show right now. -
LISA PORTES Curriculum Vitae
LISA PORTES Curriculum Vitae 2903 S Hillock Ave 773-501-7261 (c) Chicago, IL 60608 773-325-7993 (w) [email protected] University Experience Head of Directing, The Theatre School at DePaul University, 2005 - Current. Oversee and administer all aspects of an MFA directing program. Recently revised the MFA Directing production sequence and curriculum and implemented both revisions. Reorganized the sequencing of the BFA directing track. Vet and select a yearly season of ten (10) student directed studio productions and two (2) MFA thesis productions. Collaborate with Acting, Design, Dramaturgy and Playwriting faculty to provide rigorous and integrated production training across all areas. Heavy emphasis on mentorship and advising. Professor of Directing & Acting, The Theatre School at DePaul University, 2015 - Current Design and teach courses in MFA & BFA directing and acting. Provide ongoing and consistent mentorship to MFA/BFA directors. Rigorously and continuously evaluate student Directors in class and production projects. Provide ongoing, thorough evaluation of BFA and MFA actors in scene study and performance. Direct one university production per year. Associate Professor of Directing and Acting, The Theatre School, DePaul University, 2007 - 2015 Assistant Professor of Directing and Acting, The Theatre School at DePaul University, 2000 - 2006. Guest Lecturer, Practicum Supervisor, Duke University Department of Theatre, 1998 & 1999. Guest lectured in the Drama Department, and supervised three independent undergraduate directorial practicums on Directing in the Professional Theatre while directing at Theatre Previews at Duke in 1998 and 1999. Teacher’s Assistant, University of California, San Diego, 1990-92. Modern Theatre and History of Comedy. Teacher’s Assistant/Lecturer, Oberlin College, 1987-88. -
Down to the Wire… David Morgan (Front Row Staving Off a Financial Apocalypse
Newstablet Edition - 17/05/11 http://www.LibertyNewspost.com Down to the wire… David Morgan (Front Row staving off a financial apocalypse. Tired of politics and sex Washington) Ryan’s comments came a day scandals? There are also the Submitted at 5/17/2011 8:57:57 AM after Senate Republican Leader fortunes of war, both the lucrative Mitch McConnell advised CNN’s kind and the kind that remind us House Budget Committee viewers to see the approaching how warfare can be bad for your Chairman Paul Ryan expects his default deadline as a source of health. fellow Republicans to wait until opportunity. Reuters Photo Credits: Chip East the“last minute” to strike a Meanwhile, inflation worries (National Debt); Jason Reed (Paul deal that averts national default by buttressed by still-way-high gas Ryan); Stoyan Nenov (Alexander raising the $14.3 trillion limit on prices are driving U.S. states to the Great Coin); Lucas Jackson the U.S. debt. consider making silver and gold (body painter paints campaign Failure to reach a deal could coins legal tender. South Carolina Newt, currently on the defensive, primary state of South Carolina slogans during campaign fund- trigger a new global financial is the latest to consider legislation is being taken to the woodshed … and the out-of-the-running raiser); Phelan Ebenehack crisis, according to analysts and to that effect, joining over two- today by one of the strongest governor of Mississippi (Disney) Democrats including President dozen others in a trend that began conservative voices in the United who wants the reluctant governor Click here for more political Barack Obama.