DOCSLIB.ORG

Cyrano De Bergerac

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Cyrano De Bergerac 40th Season • 391st Production SEGERSTROM STAGE / MAY 21 - JUNE 27, 2004 David Emmes Martin Benson PRODUCING ARTISTIC DIRECTOR ARTISTIC DIRECTOR presents CYRANO DE BERGERAC BY Edmond Rostand TRANSLATED AND ADAPTED BY Anthony Burgess SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN ORIGINAL MUSIC AND SOUND DESIGN Riccardo Hernandez Shigeru Yaji Chris Parry Steven Cahill FIGHT CHOREOGRAPHERS PRODUCTION MANAGER STAGE MANAGER Daniel R. Forcey/Aaron Angello Tom Aberger *Scott Harrison DIRECTED BY Mark Rucker HONORARY PRODUCERS CORPORATE PRODUCER Barbara and William Roberts Haskell & White LLP Cyrano de Bergerac • SOUTH COAST REPERTORY P1 CAST OF CHARACTERS (In order of appearance) Doorkeeper/Cadet .................................................................... John Sisk Guard/Cadet/Sentry ......................................................... Fredrik Hamel Pickpocket/Poet/Cadet ............................................... Brandon Murphy Boy .................................................. Jeffrey Budner, Mikey DeBenedetto Foodseller/Cook/Nun ........................................................ Elise St. Clair Flunkey/Cook/Cadet/Sentry ............................................. Brett Erickson Flunkey/Cook/Cadet/Musician/Spanish Officer ................. Sean Durrie Cavalryman/Cadet ............................................................. Edward Gusts Musketeer/Cadet ............................................................. *J. Todd Adams Flowergirl/Nymph/Actress/Nun ................................ Paula Christensen Citizen/Poet/Cadet ............................................................. *Louis Lotorto Citizen’s Son/Boy ............................. Mason Acevedo, Conner Thomsen Bellerose/Poet/Capuchin/Cadet .................................... *Hal Landon Jr. Jodelet/Poet/Bertrandou the Fluteplayer .............................. *Don Took Marquis/Poet/Cadet ..................................................... *Brad DePlanche Marquis/Cadet .................................................................... *Mark Brown Cuigy/Cadet ................................................................... Kerby Joe Grubb Brissaille/Musician/Spanish .......................................... Rick Margaritov Lingnière/Carbon de Castel-Jaloux ................................ *Richard Doyle Christian de Neuvillette ........................................................ *Ryan Bittle Lady/Exquisite/Nun ................................................... Courtney Stallings Lady/Exquisite/Nun ................................................... Katherine Fütterer Ragueneau ................................................................. *Micheal McShane Le Bret ...................................................................... *Jeffrey Hutchinson Roxane .................................................................. *Susannah Schulman Duenna later known as Sister Marthe ............................... *Nike Doukas Comte de Guiche .............................................................. *Gregory Itzin Vicomte de Valvert/Cadet .......................................... *Preston Maybank Montfleury/Mother Marquèrite de Jèsus ................ *Martha McFarland Nymph/Actress/Lise/Sister Claire ................................ *Jennifer Parsons Cyrano de Bergerac .......................................................... *Mark Harelik Please refrain from unwrapping candy or making other noises that may disturb surrounding patrons. The use of cameras and recorders in the theatre is prohibited. Smoking is not permitted anywhere in the theatre. Cellular phones, beepers and watch alarms should be turned off or set to non-audible mode during the performance. * Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers. P2 SOUTH COAST REPERTORY • Cyrano de Bergerac SCENES Act 1. A theatre in Paris. Act 2. Ragueneau’s pastry shop. Act 3. Outside Roxane’s house. Act 4. Seige at Arras. Set model for ‘Cyrano de Bergerac’ by Riccardo Hernandez. Act 5. A convent garden. LENGTH Approximately three hours, including two 10-minute intermissions. PRODUCTION STAFF Assistant Stage Manager ...................................................... *Emily F. McMullen Casting Director ......................................................................... Joanne DeNaut Dramaturgs ............................................... Jennifer Kiger, Linda Sullivan Baity Costume Design Assistant .................................................................. Julie Keen Music Supervisor ................................................................. Scott Ryan Johnson Makeup Artist .................................................................................... Kevin Wais Vocal Consultant ............................................................................ Ursula Meyer Movement Consultant ........................................................................ Art Manke Assistant to the Director .......................................................... Brad DePlanche Assistant Lighting Designer .......................................................... Sarah Maines Stage Management Intern .......................................................... Jennifer Butler Additional Costume Staff ................................... Becca Balistreri, Valerie Bart, Bronwen Burton, Su Lin Chen, Elizabeth Cox, Ruth Enriques-Baque, Merilee Ford, Tracy Gray, Yoshiko Ikezawa, Amber Johnson, Peggy Oquist, Stacey Nezda, Cynthia Shaffer Thomson, Tara Tran Deck Crew ..................................................................... David Gallo, Joe Smith ACKNOWLEDGEMENTS This play is presented by special arrangement with Applause Theatre & Cinema Books, P.O. Box 13819, Milwaukee, WI 53213. For more information on this and other works available for performance, write to the above or e-mail [email protected] The Producers wish to thank the University of Cincinnati College-Conservatory of Music for its assistance in this production. Official Airline Media Partner Cyrano de Bergerac • SOUTH COAST REPERTORY P3 Sketching Paris, circa 1640 he play Cyrano de Bergerac begins in the hall of the Hôtel de Bourgogne where a disparate crowd awaits Tthe opening of a new play. People from all social strata are gathered—valets, royal guards, pickpockets, students, artisans and food vendors. Standing in the parterre or pit, they eat, drink, play cards, flirt and pick fights. Two gal- leries of loges are reserved strictly for aristocratic pa- trons such as the Comte de Guiche and the Vicomte View of the Porte de Nesle taken from the Louvre 1635. de Valvert, who enter ceremoni- considered mere objects used by men, set about re- ously and make drawing the laws of a society that considered marriage their way to the no more than a financial arrangement. All cultured gen- upper level, while tlemen were required to understand and practice gal- noblemen of the lantry, and everyone was preoccupied with discussions highest rank are of idealized romantic love. permitted to sit on the stage. The Aristocracy. The Hôtel de he first member of the House Bourgogne was of Bourbon to achieve royal the first theatre in Trank was Henry IV, formerly Paris, built in Henry of Navarre, who ruled 1548. The King’s from 1589-1610. He was suc- Players, his first ceeded by his son, Louis XIII, Cyrano at the Hôtel de Bourgogne permanent compa- who became king at the tender before the Act I duel en ballade. ny of actors, was age of 11 and reigned under his installed in 1610 mother’s regency until 1617, when and reigned supreme for many years. The royal troupe he rebelled and had her imprisoned. featured legendary performers such as Bellerose and Louis XIII appointed Cardinal Richelieu as Montfleury—masters of the bombastic acting style so Chief Minister in 1624, and together they reconcentrated popular with audiences. power in the French throne. Members of noble class existed within a strict hierarchy based largely upon land L’esprit précieux du XVIIème siècle. holdings. Titles, which were either hereditary or be- here appeared in France during the 17th Century a stowed by the King, were (in descending order) duc, social and philosophical movement called préciosité marquis, comte, vicomte and baron. Chevalier (knight) Twhich established a code of polite behavior was a rank within the titled nobility and seigneur (lord) among aristocratic ladies and gentlemen. After was not a title, but referred only to the posses- many years of bloody civil war, les précieuses sor of a certain kind of property. Louis XIII’s sought to eliminate the vulgar language and successor was his eldest son, Louis XIV, crude behavior that had become common- whose legendary reign as the Sun King from place, replacing them with elegance, refine- 1643-1715 marked the apogee of royal abso- ment and graciousness. Although eventually lutism throughout Europe. deemed to be artificial and snobbish, pré- ciosité was celebrated by artists and poets, in- Above, Louis XIII, the second Bourbon King fluencing the fashions, speech and literature of of France. Left, les précieuses favored ex- the day. Women, who no longer wished to be travagance and artificiality in their cloth- ing. P4 SOUTH COAST REPERTORY • Cyrano de Bergerac A Divided France The Seige of Arras. River Scarpe and on sparrows—the only game available. n 1640, the Flemish city of Arras, along with most of Ultimately, the great Condé succeeded in breaking the ancient French province of Artois, was under through to Doullens to
Load more

Recommended publications
  • Plays and Pinot: Bedroom Farce
    Plays and Pinot: Bedroom Farce Synopsis Trevor and Susannah, whose marriage is on the rocks, inflict their miseries on their nearest and dearest: three couples whose own relationships are tenuous at best. Taking place sequentially in the three beleaguered couples’ bedrooms during one endless Saturday night of co-dependence and dysfunction, beds, tempers, and domestic order are ruffled, leading all the players to a hilariously touching epiphany. About the Playwright Alan Ayckbourn, in full Sir Alan Ayckbourn, (born April 12, 1939, London, England), is a successful and prolific British playwright, whose works—mostly farces and comedies—deal with marital and class conflicts and point out the fears and weaknesses of the English lower-middle class. He wrote more than 80 plays and other entertainments, most of which were first staged at the Stephen Joseph Theatre in Scarborough, Yorkshire, England. At age 15 Ayckbourn acted in school productions of William Shakespeare, and he began his professional acting career with the Stephen Joseph Company in Scarborough. When Ayckbourn wanted better roles to play, Joseph told him to write a part for himself in a play that the company would mount if it had merit. Ayckbourn produced his earliest plays in 1959–61 under the pseudonym Roland Allen. His plays—many of which were performed years before they were published—included Relatively Speaking (1968), Mixed Doubles: An Entertainment on Marriage (1970), How the Other Half Loves (1971), the trilogy The Norman Conquests (1973), Absurd Person Singular (1974), Intimate Exchanges (1985), Mr. A’s Amazing Maze Plays (1989), Body Language (1990), Invisible Friends (1991), Communicating Doors (1995), Comic Potential (1999), The Boy Who Fell into a Book (2000), and the trilogy Damsels in Distress (2002).
    [Show full text]
  • The Dramaturgy of Edmond Rostand. Patricia Ann Elliott Louisiana State University and Agricultural & Mechanical College
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1968 The Dramaturgy of Edmond Rostand. Patricia Ann Elliott Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Elliott, Patricia Ann, "The Dramaturgy of Edmond Rostand." (1968). LSU Historical Dissertations and Theses. 1483. https://digitalcommons.lsu.edu/gradschool_disstheses/1483 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. This dissertation has been microiilmed exactly as received 69-4466 ELLIOTT, Patricia Ann, 1937- THE DRAMATURGY OF EDMOND ROSTAND. [Portions of Text in French]. Louisiana State University and Agricultural and Mechanical College, Ph.D., 1968 Language and Literature, modern University Microfilms, Inc., Ann Arbor, Michigan THE DRAMATURGY OF EDMOND ROSTAND A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy m The Department of Foreign Languages by Patricia Ann Elliott B.A., Catawba College, 1958 M.A., University of North Carolina at Chapel Hill, 1962 August, 1968 ACKNOWLEDGMENTS I wish to express my deep personal appreciation to Professor Elliott Dow Healy for his inspiration to me and guidance of my studies at Louisiana State University, and particularly for his direction of this dissertation. I am especially grateful to my parents for their encouragement throughout my studies.
    [Show full text]
  • Cyrano De Bergerac
    DOSSIER PÉDAGOGIQUE saison 2017-2018 CYRANO DE BERGERAC DE EDMOND ROSTAND PAR JEAN LIERMIER anthéa, théâtre d’Antibes 260, avenue Jules Grec 06600 Antibes • 04 83 76 13 00 [email protected] • www.anthea-antibes.fr Cher.e enseignant.e, Vos élèves et vous-même assisterez dans quelques semaines à un spectacle à anthéa, théâtre d’Antibes. L'expérience qu'auront les élèves du spectacle dépendra, en partie, de la préparation qui en sera faite. Ce dossier pédagogique a pour objectif de vous aider à préparer les jeunes RECOMMANDATIONS spectateurs dans la découverte de l’œuvre en vous apportant des informations et des • Le spectacle débute à l’heure pistes pédagogiques exploitables en classe, précise. Il est donc impératif d’arriver en amont de la représentation. Ainsi, le spectacle pourra être pleinement vécu. au moins 30 minutes à l’avance, D’autres activités et pistes de travail vous les portes sont fermées dès le début permettront de prolonger l’expérience de du spectacle. Afi n de gagner du spectateur après que le rideau soit retombé. temps, les élèves doivent laisser Cela permettra aux élèves de faire un retour en leurs sacs dans l’établissement. classe sur leurs ressentis et leurs émotions. • Pendant la représentation, il est demandé aux enseignants de veiller à ce que les élèves Au plaisir de vous demeurent silencieux. Il est interdit accueillir à anthéa ! de manger et de boire dans la salle, de prendre des photos ou d’enregistrer. Les téléphones portables doivent être éteints. Toute sortie de la salle sera défi nitive. • Nous rappelons aux enseignants et accompagnateurs que les élèves restent sous leur entière responsabilité pendant toute la durée de leur présence à anthéa et nous vous remercions de bien vouloir faire preuve d’autorité si nécessaire.
    [Show full text]
  • The Following Blue Star Theatres Are Listed in Alphabetical Order
    The following Blue Star Theatres are listed in alphabetical order. 2nd Story, Warren, RI Manhattan Theatre Center, New York, NY 7 Stages, Atlanta, GA McCarter Theatre, Princeton, NJ Actors Theatre of Louisville, Louisville, KY Northlight Theatre, Skokie, IL Adventure Stage, Chicago, IL Olney Theatre Center for the Arts, Olney, MD Alabama Shakespeare Festival, Montgomery, AL Penobscot Theatre Company, Bangor, ME Alley Theatre, Houston, TX People’s Light & Theatre, Malvern, PA Alliance Theatre, Atlanta, GA Performance Network Theatre, Ann Arbor, MI American Blues Theater, Chicago, IL Pittsburgh Public Theater, Pittsburgh, PA American Conservatory Theater, PlayMakers Repertory Company, Chapel Hill, NC San Francisco, CA Portland Center Stage, Portland, OR American Repertory Theater, Cambridge, MA Round House Theatre, Bethesda, MD Arena Stage, Washington, D.C. Roundabout Theatre Company, New York, NY Arkansas Repertory Theatre, Little Rock, AR Seattle Children’s Theatre, Seattle, WA Artists Repertory Theatre, Cambridge, MA Seattle Repertory Theatre, Seattle, WA Arvada Center Theatre, Arvada, CO Second Stage Theatre, New York, NY Asolo Repertory, Sarasota, FL Signature Theatre, Arlington, VA Berkeley Repertory Theatre, Berkeley, CA South Coast Repertory, Costa Mesa, CA Bloomsburg Ensemble Theatre, Bloomsburg, PA Stages Theatre Company, Hopkins, MN Boise Contemporary Theater, Boise, ID Stageworks Theatre, Tampa, FL Burning Coal Theatre Company, Raleigh, NC Steppenwolf Theatre Company, Chicago, IL California Shakespeare Theatre, Orinda, CA Studio Theatre, Washington, D.C. Center Theatre Group, Los Angeles, CA Syracuse Stage, Syracuse, NY CENTERSTAGE, Baltimore, MD The Contemporary American Theater Festival, Chesapeake Shakespeare Company, Ellicott City, MD Shepherdstown, WV Childsplay, Tempe, AZ The Old Globe, San Diego, CA Cincinnati Playhouse, Cincinnati, OH The Repertory Theatre of St.
    [Show full text]
  • Cyrano De Bergerac, by Edmond Rostand
    Cyrano de Bergerac, by Edmond Rostand In A Nutshell Cyrano de Bergerac is a play about an eloquent, talented, and brave, but physically unappealing, man and his love for a beautiful woman, Roxane. Playwright Edmond Rostand wrote Cyrano de Bergerac as a comedy, and something of a satire of the overly romanticized literature of France in the 1600s (literature such as Alexandre Dumas’s The Three Musketeers, which was published in 1844). As such, you’ll find it chock-full of historical references to writers, royalty, philosophers, dramatists, and scientists of the time. Light-hearted in nature, this work is full of frivolous pomp and overblown dialogue. Adding to its showy, intentionally grandiose quality is the form of the prose: rhyming couplets of twelve syllables per line in the original French. The translated meter you often see in English is iambic pentameter, which, we all know, is a party waiting to happen. Published in French in 1897, Cyrano de Bergerac hit the stages of Paris to instant acclaim. Under the flourishes of renowned stage actor Constant Coquelin (to whom Rostand dedicated his play), Cyrano came to life. Basing his main character on a historical figure of the same name, Rostand accurately recounts much of the real Cyrano’s life – as told by Le Bret and a number of other biographers – in his beloved play. The real Cyrano de Bergerac was a French dramatist who lived from 1619-1655, which means Rostand got his dates correct in writing his play. De Bergerac really did fight at the Siege of Arras in 1640 and died in 1655.
    [Show full text]
  • 1 Education Resource Pack Adapted by Deborah Mcandrew from The
    Northern Broadsides Education Resource Pack Adapted by Deborah McAndrew From the original play Cyrano de Bergerac by Edmond Rostand Directed by Conrad Nelson Designer - Lis Evans Lighting Designer - Daniella Beattie Musical Director – Rebekah Hughes Presented in partnership with The New Vic Theatre, Newcastle-u-Lyme 1 About this pack We hope that teachers and students will enjoy our production and use this learning resource pack. It may be used in advance of seeing the performance – to prepare and inform students about the play; and afterwards – to respond to the play and explore in more depth. Teachers may select, from the broad range of material, which is most suitable for their students. The first section of this document is a detailed companion to our production: plot synopsis, who’s who in the play, and interviews with cast and creatives. It reveals the ways in which our company met with the many challenges of bringing CYRANO to the stage. The second section examines the background to the play. The original work by Edmond Rostand, and the real life Cyrano and his world; and the poetic content and context of the play. At the end of the second section are exercises and suggestions for study in the subjects of History, English and Drama. CYRANO by Deborah McAndrew, is published by Methuen and available to purchase from http://www.northern- broadsides.co.uk 2 CONTENTS PAGE INTRODUCTION 4 SECTION ONE Our play Characters 5 Plot synopsis Production Meet the team: In rehearsal – o Nose to nose with Christian Edwards o Eye to Eye with Francesca Mills A Stitch In Time – with the New Vic ‘Wardrobe’ Let there be light – with Daniella Beattie SECTION TWO Backstory Edmond Rostand The Real Cyrano Poet’s corner Verse and Cyrano SECTION THREE STUDY History, Literacy, Drama Credits and Links 40 3 INTRODUCTION The play CYRANO is a new English language adaptation of a French classic play by Edmond Rostand entitled Cyrano de Bergerac.
    [Show full text]
  • Your Call Goes Deep to Find Solutions for California's Water Crisis
    “A revolution to democratize water” Your Call goes deep to find solutions for California’s water crisis p.4 Wait Wait . Don’t Tell Me p.6 comes to Saturday mornings, starting in August The KALW Audio Academy’s Class of 2015 p. 7 “This place is confusingly utopian” FSFSF p. 3 Nato Green readies to take his local comedy feature weekly Women changing the status quo – hear their voices on Inflection Point p. 3 Summer 2015 KALW: By and for the community . COMMUNITY BROADCAST PARTNERS America Scores Bay Area • Association for Continuing Education • Berkeley Symphony Orchestra • Burton High School • East Bay Express • Global Exchange • INFORUM at The Commonwealth Club • Jewish Community Center of San Francisco • LitQuake • Mills College • New America Media • Other Minds • outLoud Radio • Radio Ambulante • San Francisco Arts Commission • San Francisco Conservatory of Music • San Quentin Prison Radio • SF Performances • Stanford Storytelling Project • StoryCorps • Youth Radio KALW VOLUNTEER PRODUCERS Dennis Aman, Lisa Bartfai, Dan Becker, David Boyer, Susie Britton, Sarah Cahill, Bob Campbell, Olivia Cuevas, Jack Detsch, Julie Dewitt, Matt Fidler, Chuck Finney, Marcy Fraser, Berenice Freedome, Richard Friedman, Catherine Girardeau, Chris Hambrick, Eric Jansen, Hannah Kingsley-Ma, Carol Kocivar, David Latulippe, Allison Lee, Tim Lou Ly, Martin MacClain, JoAnn Mar, Holly McDede, Marlo McKenzie, Rhian Miller, Sandy Miranda, Daniel Moore, Ted Muldoon, Emmanuel Nado, Marty Nemko, Erik Neumann, Emma Nobel, Edwin Okong’o, Kevin Oliver, Steve O’Neill,
    [Show full text]
  • ROXANNE Is a 1987 American Romantic Comedy Film Starring Steve Camera Pan Martin and Daryl Hannah
    SITES TO VISIT continued ROXANNE is a 1987 American romantic comedy film starring Steve Camera Pan Martin and Daryl Hannah. It is a Continue on Silica Street to the Hendryx modern retelling of the Cyrano de Street stairway. A camera was raised on a 150 foot aerial platform to pan the Bergerac play, adapted by Steve residential hillside and show Steve Martin Martin. ( as C. D.) as he sauntered along swinging his tennis racket. Take the stairway down to ROXANNE was filmed in the summer Baker Street and turn right one block to Cedar Street. of 1986 in Nelson, British Columbia. Steve Martin chose to use The Duel Steve Martin (as C. D.) walks down the the local fire hall on Ward Street as the sidewalk stairs to meet his adversaries by primary set as well as many other the cedar stump. The stump is sadly now local sites. gone. Dixie's (Jackson's Hole & Grill) ROXANNE received an 89% approval At the end of the block is Dixie's Cafe (now rating on Rotten Tomatoes. Roger Jackson's Hole & Grill - 524 Vernon Street). All Ebert hailed interior filming was done on location. the film as a "gentle, whimsical comedy", giving it a 3 and half stars of Nelson four. It is still number #71 on Bravo's "100 Funniest Movies". Walking Tour This Walking Tour Map will lead you Map Steve Martin and Daryl Hannah through the picturesque streets of on location at Dixie's Cafe ( Jackson's Hole & Grill) Nelson to various film locations. Tour map produced by Touchstones Museum of Art & History 502 Vernon St., Nelson BC (250) 352-9813 www.touchstonesnelson.ca The Nightclub Walk a block down Ward Street to where Touchstones Nelson's side doorway was transformed into the nightclub entrance.
    [Show full text]
  • Anglo-Dutch Relations, a Political and Diplomatic Analysis of the Years
    1 ANGLO-DUTCH RELATIONS A Political and Diplomatic Analysis of the years 1625-1642 ’’Nations have no permanent friends or allies, they only have permanent interests’’ Lord Palmerston Britain’s Prime Minister 1855 and 1859-65 Anton Poot, M.A. Royal Holloway University of London March 2013 Supervised by Professor Pauline Croft, MA (Oxon) DPhil. FSA FRHistS, to be submitted in fulfilment of the degree of Doctor of Philosophy Declaration: I hereby declare that the work presented in this thesis, ANGLO-DUTCH RELATIONS A Political and Diplomatic Analysis of the years 1625-1642 is my own. Signed: Name: Anton Poot Date: 2013 For my wife Jesmond 2 ABSTRACT The aim of this thesis is to analyse Anglo-Dutch relations in this highly volatile period, as perceived and interpreted by both sides, and it also closes the gap between the notable theses of Grayson1 and Groenveld2. On 23 August 1625 Charles I and the Dutch Republic concluded a partnership agreement for joint warfare at sea and a month later a treaty for war against Spain. In December 1625 England, Denmark and the Republic signed treaties to establish the nucleus of an alliance against the Austrian Habsburgs. Charles wanted an active role in continental politics. Also to compel Spain to support his aim to restore his exiled sister Elizabeth and husband Count Elector Frederick V to their Palatinate estates and Frederick to his Electoral dignities in the Empire. The Dutch wanted England as an active partner in their war with Spain. It was a partnership of convenience, with different objectives but with the intention that success would serve the interests of both.
    [Show full text]
  • List of Play Sets
    Oxfordshire County Council List of Play Sets Available from the Oxford Central Library 2015 Oxford Central Library – W e s t g a t e – O x f o r d – O X 1 1 D J Author Title ISBN Copies Cast Genre Russell, Willy Shirley Valentine: A play T000020903 2 1f Comedy (Dramatic) Churchill, Caryl Drunk enough to say I love you? T000096352 3 2m Short Play, Drama Churchill, Caryl Number T000026201 3 2m Drama Fourie, Charles J. Parrot woman T000037314 3 1m, 1f Harris, Richard The business of murder T000348605 3 2m, 1f Mystery/Thriller Pinter, Harold The dumb waiter: a play T000029001 3 2m Short Play Plowman, Gillian Window cleaner: a play T000030648 3 1m, 1f Short Play Russell, Willy Educating Rita T000026217 3 1m, 1f Comedy (Dramatic) Russell, Willy Educating Rita T000026217 3 Simon, Neil They're playing our song T000024099 3 1m, 1f Musical; Comedy Tristram, David Inspector Drake and the Black Widow: a comedy T000035350 3 2m, 1f Comedy Ayckbourn, A., and others Mixed doubles: An entertainment on marriage T000963427 4 2m, 1f Anthology Ayckbourn, Alan Snake in the grass: a play T000026203 4 3f Drama Bennett, Alan Green forms (from Office suite) N000384797 4 1m, 2f Short Play; Comedy Brittney, Lynn Ask the family: a one act play T000035640 4 2m, 1f Short Play; Period (1910s) Author Title ISBN Copies Cast Genre Brittney, Lynn Different way to die: a one act play T000035647 4 2m, 2f Short Play Camoletti, Marc; Happy birthday 0573111723 4 2m, 3f Adaptation; Comedy Cross, Beverley Chappell, Eric Passing Strangers: a comedy T000348606 4 2m, 2f Comedy (Romantic)
    [Show full text]
  • An Interview with American Playwright August Wilson
    AUGUST WILSON/ Tibbetts/ 1! AN INTERVIEW WITH AMERICAN PLAYWRIGHT AUGUST WILSON By John C. Tibbetts Interviews on 30 April and 3 May 2002 Raphael Hotel and Hallmark Corporate Headquarters, Kansas City MO TIBBETTS INTRODUCTION TO INTERVIEW: August Wilson was born Frederick August Kittel in 1945 in Pittsburgh, Pennsylvania’s Hill District, an area famous for the many black performers who began their careers there—Lena Horne, Erroll Garner, Ahmad Jamal, Earl (Fatha) Hines, and Billy Eckstine. The fourth child of six children of a baker and a cleaning woman (whose maiden name was Wilson), he was an avid reader and displayed early on a gift and a passion for poetry. But the world of theatre eventually claimed him, and he co-founded the Black Horizons Theatre in 1968 and turned to playwriting in earnest. He moved to St. Paul, Minnesota in 1978, where he began writing Ma Rainey’s Black Bottom, a play about the struggle between black musicians and their white bosses in the 1920s, and Jitney, whose story was set at a taxi stand on the Hill. Wilson’s career was launched when his work came to the attention of Lloyd Richards, an experienced director and head of the Yale Drama School Thus began a creative partnership that has lasted to the present day. Ma Rainey debuted on Broadway in 1984 and was a sensational success. Despite the fact that there were many esteemed black playwrights working at the time—Amiri Baraka, Ron Milner, Richard Wesley, Ed Bullins, and Phillip Hayes Dean, to cite just a few—no African-American plays had hitherto been successful on Broadway.
    [Show full text]
  • 1989 Illinois Shakespeare Festival Program School of Theatre and Dance Illinois State University
    Illinois State University ISU ReD: Research and eData Illinois Shakespeare Festival Fine Arts Summer 1989 1989 Illinois Shakespeare Festival Program School of Theatre and Dance Illinois State University Follow this and additional works at: https://ir.library.illinoisstate.edu/isf Part of the Theatre and Performance Studies Commons Recommended Citation School of Theatre and Dance, "1989 Illinois Shakespeare Festival Program" (1989). Illinois Shakespeare Festival. 8. https://ir.library.illinoisstate.edu/isf/8 This Book is brought to you for free and open access by the Fine Arts at ISU ReD: Research and eData. It has been accepted for inclusion in Illinois Shakespeare Festival by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. The 1989 Illinois Shakespeare I Illinois State University Illinois Shakespeare Festival Dear friends and patrons, Welcome to the twelfth annual Illinois Shakespeare Festival. In honor of his great contributions to the Festival, we dedicate this season to the memory of Douglas Harris, our friend, colleague and teacher. Douglas died in a plane crash in the fall of 1988 after having directed an immensely successful production of Richard III last summer. His contributions and inspiration will be missed by many of us, staff and audience alike. We look forward to the opportunity to share this season's wonderful plays, including our first non-Shakespeare play. For 1989 and 1990 we intend to experiment with performing classical Illinois State University plays in addition to Shakespeare that are suited to our acting company and to our theatre space. Office of the President We are excited about the experiment and will STATE OF ILLINOIS look forward to your responses.
    [Show full text]