Doubt, a Parable” by John Patrick Shanley Is Presented by Arrangement with Dramatists Play Service, Inc., in New York

Total Page:16

File Type:pdf, Size:1020Kb

Doubt, a Parable” by John Patrick Shanley Is Presented by Arrangement with Dramatists Play Service, Inc., in New York 44th Season • 421st Production SEGERSTROM STAGE / OCTOBER 19 - NOVEMBER 18, 2007 David Emmes Martin Benson PRODUCING ARTISTIC DIRECTOR ARTISTIC DIRECTOR presents DOUBT A PARABLE BY John Patrick Shanley Thomas Buderwitz Angela Balogh Calin Lonnie Raphael Alcaraz SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN Tom Cavnar Jeff Gifford Randall K. Lum* SOUND DESIGN PRODUCTION MANAGER STAGE MANAGER DIRECTED BY Martin Benson Jean and Tim Weiss, HONORARY PRODUCERS Originally produced by the Manhattan Theatre Club on November 23, 2004 Originally produced on Broadway by Carole Shorenstein Hays, MTC Productions, Roger Berlind and Scott Rudin March 31, 2005 “Doubt, a parable” by John Patrick Shanley is presented by arrangement with Dramatists Play Service, Inc., in New York Doubt, a parable • SOUTH COAST REPERTORY P1 CAST OF CHARACTERS (In order of appearance) Father Brendan Flynn ........................................................ James Joseph O’Neil* Sister Aloysius Beauvier .......................................................... Linda Gehringer* Sister James ................................................................................. Rebecca Mozo* Mrs. Muller .................................................................................. Kimberly Scott* SETTING St. Nicholas, a Catholic church and school in the Bronx, New York, 1964. LENGTH Approximately one hour and 30 minutes with no intermission. PRODUCTION STAFF Dramaturg ....................................................................... Megan Monaghan Casting .................................................................................. Joanne DeNaut Assistant Stage Manager ..................................................... Chrissy Church* Assistant Director ........................................................................ Vince Tycer Production Assistant ........................................................... Kristin Calhoun Stage Management Intern ........................................................... Wendy Leef Assistant Lighting Designer ............................................... Karyn Lawrence Deck Crew ................................................................................. Emily Kettler 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. Media Partner Official Airline P2 SOUTH COAST REPERTORY • Doubt, a parable When In Doubt — or, When? In ‘Doubt’ BY MEGAN MONAGHAN Lyndon Johnson has been in the civil rights workers disappear in Philadelphia, Mississippi White House for nearly a year, on June 21; their murdered bodies are discovered on Au- 1964.waging his War on Poverty. gust 4, and responsibility for the crime is ultimately laid Hello, Dolly! is the latest Broadway hit, the game show at the feet of local law enforcement officials. On July 2 “Jeopardy!” and the holiday special “Rudolph the Red- President Johnson signs the Civil Rights Act outlawing Nosed Reindeer” make their TV debuts, and Beatlemania racial segregation in schools and other public places. is in full swing — with the brand new Rolling Stones Harlem erupts in race riots a few weeks later; they last for coming up fast behind them. The first Ford Mustangs six days, followed a month later by similar riots in are rolling off the Detroit assembly line. Cassius Clay is Philadelphia with hundreds injured and many more ar- the heavyweight champion of the world, and the St. rests. Louis Cardinals defeat the New York Yankees to win the Gender culture is also in a state of great upheaval. World Series. The Feminine Mystique, published in 1963, triggered the Walter Cronkite is in the CBS Evening News an- second wave of the feminist movement (following the chor chair. Among the stories he covers night by night: first wave that established female suffrage in the 1920s). Khruschev is deposed, and Brezhnev The second wave brought traditional replaces him as Soviet Premier. John- feminine roles permanently into ques- son, now on the campaign trail, out- tion and sought an end to gender- lines his vision of the Great Society. here are two based discrimination. During this The U.S. and the U.S.S.R. are deeply ways to slide same year the Vatican condemns the engaged in the Space Race throughout easily through female oral contraceptive, commercial- 1964. Cronkite’s gravitas provides T ly available in the U.S. since 1960. some counterweight against the na- life; to believe Even the Roman Catholic tion’s uncertainty about its future, still everything or to Church is traversing unknown territory resonating from the epicenter of the doubt everything. in 1964. The Second Vatican Council November 1963 assassination of Presi- conducts its third session in the fall, dent Kennedy. The Warren Commis- Both ways save us under the new leadership of Pope Paul sion report on the Federal investiga- from thinking. VI following the death of Pope John tion of the assassination is released in – Alfred Korzybski, XXIII. Vatican II would institute major September 1964. One can only specu- philosopher and cultural changes, foremost among late about how many Americans found them the new practice of celebrating relief in the report’s explanations, and scientist, 1879-1950 Mass and all the sacraments in the ver- how many had their doubts further nacular language of the people instead aroused by its contents. of using its ancient Latin text. All ele- In the first major demonstrations against the Viet- ments and moments of the Mass were made more visible nam War on May 2, 1964, hundreds of students march to the people, to encourage their understanding and par- through Times Square and the streets of San Francisco, ticipation; formerly “secret” prayers were now spoken or with additional demonstrations in Seattle, Boston, and sung aloud. A ritual that had only changed incrementally Madison, Wisconsin displaying the nation’s mounting over two thousand years of Church history was suddenly doubt about the worth and outcome of that war. After revised overnight — or so it must have seemed to many the Gulf of Tonkin attacks, Congress grants President lay and ordained Catholics. Johnson broad war powers, setting a precedent we have In 1964, the building plans for the World Trade seen put to use in the present day. (In the following Center were unveiled and construction began. For many years, the veracity of the Gulf of Tonkin incident would of us reading this, the destruction of those towers be called into question.) By the end of the year, a total of marked a turning point in our own lives, stripping away 23,000 U.S. “military advisors” are stationed in Vietnam. any final belief in our safety and our nation’s security and There is no stability to be found in the changing establishing an irrevocable doubt that permeates our landscape of race relations in America in 1964. Three days. Doubt, a parable •SOUTH COAST REPERTORY P3 Artist Biographies in the Country and The Dresser at Antaeus The- LINDA GEHRINGER* atre Company. She also appeared in the Holly- Sister Aloysius Beauvier wood Food Chain production of I Capture the has appeared at SCR in Ham- Castle for which she was nominated for an Ova- let, The Piano Teacher, A tion Award for Best Actress. Film and television Naked Girl on the Appian credits include Zerophilia, Headless Horseman, Way, The Retreat from The Water Hole and “Medium.” She earned her Moscow, The Last Night of BFA from Rutgers University, and studied at The Ballyhoo, A Delicate Balance, Globe in London. Getting Frankie Married — and Afterwards, Rel- atively Speaking, All My Sons, Hold Please, Arca- JAMES JOSEPH O’NEIL* dia and Good as New, among others. She re- Father Brendan Flynn cently appeared at the Atlantic Theater Company in the New York premiere of The Intelligent De- is making his SCR debut. sign of Jenny Chow, which had its world pre- Theatre credits include Off- miere at SCR. She has played leading roles in Broadway productions of Te n theatres across the country including Arena Unknowns at Lincoln Center Stage, Huntington Theatre Company, Center Theater, Look Back in Anger Stage, Berkshire Theatre Festival, New York Stage at Classic Stage Company and and Film, Mark Taper Forum, La Jolla Playhouse, The Hired Man at 47th Street Theatre. Regional Laguna Playhouse, Ojai Playwrights Festival and credits include Present Laughter, A Month in the seven seasons at Dallas Theater Center. She County and Heartbreak House at Huntington holds an MFA from the University of Minnesota Theatre Company; iWitness at Mark Taper which she attended on a Guthrie Fellowship and Forum, King Lear and She Stoops to Conquer at has won numerous critical awards. Her televi- Center Stage; Antony & Cleopatra, As You Like It, sion roles include Fontana on “Evening Shade”; Romeo & Juliet, Henry IV, Dancing at Lughnasa, guest starring roles on “Women’s Murder Club,” Macbeth and The Taming of the Shrew at The “Without a Trace,” “Gilmore Girls,” “Cold Case,” Old Globe; and Much Ado about Nothing and “The West Wing,” “Frasier,” and “Law & Order: Hamlet at Alabama Shakespeare Festival. Film Criminal Intent”; recurring roles on “Ally and television credits include Zodiac, Acts of McBeal,” “The Division” and “Dallas” and the film Worship, “Numb3rs,” “Charmed,”
Recommended publications
  • 170101 ATC Flexpass Interim Bro Outside
    E SUBSCRIB / G R O . E R T A THE A ARIZON ! Y A TOD SUBSCRIBE 8 201 - - -- 7 201 Y FAMIL ATC THE JOIN ARIZONA THEATRE COMPANY OFFERS A VARIETY OF SUBSCRIPTION OPTIONS TO GIVE YOU THE BEST OPPORTUNITY TO SEE ALL THE SHOWS YOU WANT TO SEE, WHEN YOU WANT TO SEE THEM, FROM WHATEVER SEATS YOU CHOOSE. WHEN YOU SUBSCRIBE TO ATC, YOU’RE FAMILY! 6-PLAY FULL SEASON SUBSCRIPTION BUILD-YOUR-OWN SUBSCRIPTION FLEX PASSES The Rolls Royce of subscriptions! For the true Join the ATC family on your terms! If you know the Enjoy subscriber benefits without the commitment! theatre connoisseur, you get to sample everything shows and dates you’d like to attend, we have just WHEN YOU PURCHASE A FLEX PASS, YOU RECEIVE: that ATC has to offer! the package for you! Our 3, 4, and 5-Play packages offer almost all the benefits of our 6-Play - Best seats in ANY section at the time of pass WHEN YOU PURCHASE A 6-PLAY, YOU RECEIVE: Subscriptions, and you get to be part of the ATC redemption - Guaranteed best seats for the shows you can’t family for a fraction of the price of single tickets! - Flexibility to redeem passes in any combination wait to see you choose WHEN YOU PURCHASE A 3-PLAY, 4-PLAY, OR - Unlimited free exchanges - Locked-in pricing for any tickets for the entire 5-PLAY PACKAGE, YOU RECEIVE: - Lost ticket insurance season, at a significant savings over single - Guaranteed best seats for the shows you can’t ticket prices - Priority renewals and seating upgrades wait to see - Early-bird access to special add-on productions - The satisfaction of knowing you’re
    [Show full text]
  • ARNOLD MITTELMAN Producer/Director 799 Crandon
    ARNOLD MITTELMAN Producer/Director 799 Crandon Boulevard, #505 Key Biscayne, FL 33149 [email protected] ARNOLD MITTELMAN is a producer and director with 40 years of theatrical achievement that has resulted in the creation and production of more than 300 artistically diverse plays, musicals and special events. Prior to coming to the world famous Coconut Grove Playhouse in 1985, Mr. Mittelman directed and produced Alone Together at Broadway's Music Box Theatre. Succeeding the esteemed actor José Ferrer as the Producing Artistic Director of Coconut Grove Playhouse, he continued to bring national and international focus to this renowned theater. Mr. Mittelman helped create more than 200 plays, musicals, educational and special events on two stages during his 21-year tenure at the Playhouse. These plays and musicals were highlighted by 28 World or American premieres. This body of work includes three Pulitzer Prize-winning playwrights directing their own work for the first time in a major theatrical production: Edward Albee - Seascape; David Auburn - Proof; and Nilo Cruz - Anna In the Tropics. Musical legends Cy Coleman, Charles Strouse, Jerry Herman, Jimmy Buffett, John Kander and Fred Ebb were in residence at the Playhouse to develop world premiere productions. The Coconut Grove Playhouse has also been honored by the participation of librettist/writers Herman Wouk, Alfred Uhry, Jerome Weidman and Terrence McNally. Too numerous to mention are the world famous stars and Tony award-winning directors, designers and choreographers who have worked with Mr. Mittelman. Forty Playhouse productions, featuring some of the industry's greatest theatrical talents and innovative partnerships between the not-for-profit and for-profit sectors, have transferred directly to Broadway, off-Broadway, toured, or gone on to other national and international venues (see below).
    [Show full text]
  • Horton Foote
    38th Season • 373rd Production MAINSTAGE / MARCH 29 THROUGH MAY 5, 2002 David Emmes Martin Benson Producing Artistic Director Artistic Director presents the World Premiere of by HORTON FOOTE Scenic Design Costume Design Lighting Design Composer MICHAEL DEVINE MAGGIE MORGAN TOM RUZIKA DENNIS MCCARTHY Dramaturgs Production Manager Stage Manager JENNIFER KIGER/LINDA S. BAITY TOM ABERGER *RANDALL K. LUM Directed by MARTIN BENSON Honorary Producers JEAN AND TIM WEISS, AT&T: ONSTAGE ADMINISTERED BY THEATRE COMMUNICATIONS GROUP PERFORMING ARTS NETWORK / SOUTH COAST REPERTORY P - 1 CAST OF CHARACTERS (In order of appearance) Constance ................................................................................................... *Annie LaRussa Laverne .................................................................................................... *Jennifer Parsons Mae ............................................................................................................ *Barbara Roberts Frankie ...................................................................................................... *Juliana Donald Fred ............................................................................................................... *Joel Anderson Georgia Dale ............................................................................................ *Linda Gehringer S.P. ............................................................................................................... *Hal Landon Jr. Mrs. Willis .......................................................................................................
    [Show full text]
  • The 200 Plays That Every Theatre Major Should Read
    The 200 Plays That Every Theatre Major Should Read Aeschylus The Persians (472 BC) McCullers A Member of the Wedding The Orestia (458 BC) (1946) Prometheus Bound (456 BC) Miller Death of a Salesman (1949) Sophocles Antigone (442 BC) The Crucible (1953) Oedipus Rex (426 BC) A View From the Bridge (1955) Oedipus at Colonus (406 BC) The Price (1968) Euripdes Medea (431 BC) Ionesco The Bald Soprano (1950) Electra (417 BC) Rhinoceros (1960) The Trojan Women (415 BC) Inge Picnic (1953) The Bacchae (408 BC) Bus Stop (1955) Aristophanes The Birds (414 BC) Beckett Waiting for Godot (1953) Lysistrata (412 BC) Endgame (1957) The Frogs (405 BC) Osborne Look Back in Anger (1956) Plautus The Twin Menaechmi (195 BC) Frings Look Homeward Angel (1957) Terence The Brothers (160 BC) Pinter The Birthday Party (1958) Anonymous The Wakefield Creation The Homecoming (1965) (1350-1450) Hansberry A Raisin in the Sun (1959) Anonymous The Second Shepherd’s Play Weiss Marat/Sade (1959) (1350- 1450) Albee Zoo Story (1960 ) Anonymous Everyman (1500) Who’s Afraid of Virginia Woolf Machiavelli The Mandrake (1520) (1962) Udall Ralph Roister Doister Three Tall Women (1994) (1550-1553) Bolt A Man for All Seasons (1960) Stevenson Gammer Gurton’s Needle Orton What the Butler Saw (1969) (1552-1563) Marcus The Killing of Sister George Kyd The Spanish Tragedy (1586) (1965) Shakespeare Entire Collection of Plays Simon The Odd Couple (1965) Marlowe Dr. Faustus (1588) Brighton Beach Memoirs (1984 Jonson Volpone (1606) Biloxi Blues (1985) The Alchemist (1610) Broadway Bound (1986)
    [Show full text]
  • Undergraduate Play Reading List
    UND E R G R A DU A T E PL A Y R E A DIN G L ISTS ± MSU D EPT. O F T H E A T R E (Approved 2/2010) List I ± plays with which theatre major M E DI E V A L students should be familiar when they Everyman enter MSU Second 6KHSKHUGV¶ Play Hansberry, Lorraine A Raisin in the Sun R E N A ISSA N C E Ibsen, Henrik Calderón, Pedro $'ROO¶V+RXVH Life is a Dream Miller, Arthur de Vega, Lope Death of a Salesman Fuenteovejuna Shakespeare Goldoni, Carlo Macbeth The Servant of Two Masters Romeo & Juliet Marlowe, Christopher A Midsummer Night's Dream Dr. Faustus (1604) Hamlet Shakespeare Sophocles Julius Caesar Oedipus Rex The Merchant of Venice Wilder, Thorton Othello Our Town Williams, Tennessee R EST O R A T I O N & N E O-C L ASSI C A L The Glass Menagerie T H E A T R E Behn, Aphra The Rover List II ± Plays with which Theatre Major Congreve, Richard Students should be Familiar by The Way of the World G raduation Goldsmith, Oliver She Stoops to Conquer Moliere C L ASSI C A L T H E A T R E Tartuffe Aeschylus The Misanthrope Agamemnon Sheridan, Richard Aristophanes The Rivals Lysistrata Euripides NIN E T E E N T H C E N T UR Y Medea Ibsen, Henrik Seneca Hedda Gabler Thyestes Jarry, Alfred Sophocles Ubu Roi Antigone Strindberg, August Miss Julie NIN E T E E N T H C E N T UR Y (C O N T.) Sartre, Jean Shaw, George Bernard No Exit Pygmalion Major Barbara 20T H C E N T UR Y ± M ID C E N T UR Y 0UV:DUUHQ¶V3rofession Albee, Edward Stone, John Augustus The Zoo Story Metamora :KR¶V$IUDLGRI9LUJLQLD:RROI" Beckett, Samuel E A R L Y 20T H C E N T UR Y Waiting for Godot Glaspell, Susan Endgame The Verge Genet Jean The Verge Treadwell, Sophie The Maids Machinal Ionesco, Eugene Chekhov, Anton The Bald Soprano The Cherry Orchard Miller, Arthur Coward, Noel The Crucible Blithe Spirit All My Sons Feydeau, Georges Williams, Tennessee A Flea in her Ear A Streetcar Named Desire Synge, J.M.
    [Show full text]
  • 2013 Year in Review
    OPERA AMERICA 2013 GROWING ONSTAGE AND OFF OPTION 1 TABLE OF CONTENTS A SURGE OF INNOVATION 6 RESONATING IN NEW SPACES 14 A COMMUNITY OF VOICES 20 OPERA AMERICA FINANCIAL REPORT 28 ANNUAL FIELD REPORT 30 SUPPORT FOR OPERA AMERICA 55 COVER: Maria Aleida as Queen of the Night in Opera Carolina’s production of The Magic Flute. Photo by Jon Silla. LEFT: Nina Yoshida Nelsen, Ji Hyun Jang and Mihoko Kinoshita in Houston Grand Opera’s production of The Memory Stone by Marty Regan and Kenny Fries. Photo by Felix Sanchez. CONCEPT AND DESIGN FOR ANNUAL REPORT BY THE LETTER FROM THE CHAIRMAN Since its inception OPERA America has existed as a community of like-minded individuals committed to the artistic and financial strength of the field. This past year, our definition of community expanded: our conference, held in Vancouver, affirmed our commitment to all of North America, while our growing partnership with Opera Europa continued to bridge the continents through our shared dedication to an art form that knows no borders. Most profoundly, however, the opening of the National Opera Center in New York has created a new center for our community, a tangible space where individual and company members can gather for auditions, recitals and professional learning programs. The center’s technology capabilities enable us to share these offerings globally, even as its flexible amenities enable us to share our love for opera locally. We are delighted to present our global, national and local achievements of the past year through this Annual Report. To our members we offer gratitude for your support of these achievements.
    [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]
  • At Play Fall-Winter 03.Qxd
    representing the american theatre by publishing and licensing the works of new and established playwrights JacquesBrelisAliveandWell Polly Pen on Writing Musicals Cowgirls’ Mary Murfitt Issue 9, Fall/Winter 2003 MUSICALS INTERVIEW WITH A BAT BOY Director of Professional Rights Robert Vaughan and Director of Publications Michael Fellmeth met with Bat Boy in the Palm Court of the Plaza Hotel in Manhattan to talk about growing up in a cave in Hope Falls, West Virginia, Bat Boy: The Musical, and his rise to global celebrity as the lead in a hit show about his own life. The pointy- eared, fanged star arrived with an entourage of bodyguards, personal assistants, agent, lawyer and publi- cist. Bat Boy, immaculately clad in Savile Row, seemed only vaguely aware of their presence. He greeted us warmly, sat down, lit a miniature cigar and ordered a bloody mary. continued on next page FELLMETH. Let me begin by saying how taken I EDGAR. Ahhh, Jenna. Jenna the Menace, that lips” motion.) Perhaps we’d best not discuss Dr. am with your voice, Bat Boy. Did you have any was my pet name for her. She was such a terror. Parker. That is a difficult subject for me. formal training? The media had it all wrong, though. It was she FELLMETH. Understandably so. A father who BAT BOY. Please don’t call me Bat Boy. My name who took to following me. After I finally got a abandoned you in infancy to be raised by bats is Edgar. restraining order she went on that binge in Texas and then — as if that weren’t enough — tried to FELLMETH.
    [Show full text]
  • Michael Schweikardt Design
    Michael Schweikardt Scenic Designer United Scenic Artists Local 829 624 Galen Drive State College, PA 16803 917.674.4146 [email protected] www.msportfolio.com Curriculum Vitae Education Degrees MFA Scenic Design, The Pennsylvania State University, School of Theatre, University Park, 2020. Monograph: On the Ontology and Afterlife of the Scenic Model Committee: Daniel Robinson; Milagros Ponce de Leon; Laura Robinson; Charlene Gross; Richard St. Clair Studied under: Dr. Jeanmarie Higgins; Sebastian Trainor; Dr. Susan Russell; Dr. William Doan; Rick Lombardo BFA Scenic and Costume Design, Rutgers University, Mason Gross School of the Arts, New Brunswick, NJ, 1993. Studied under: John Jensen; R. Michael Miller; Desmond Heeley; David Murin; Vickie Esposito Academic Appointments Graduate Assistant, The Pennsylvania State University, State College, PA School of Theatre, 2017-present Adjunct Professor, Bennington College, Bennington, VT School of Theatre, 2014 Publications and Academic Presentations Book Chapters “Deep Thought: Teaching Critical Theory to Designers” with Dr. Jeanmarie Higgins in Teaching Critical Performance Theory in Today’s Theatre Classroom, Studio, and Communities. Ed. Jeanmarie Higgins. London: Routledge, 2020. Journal Issues Schweikardt, Michael and Jeanmarie Higgins. “Dramaturgies of Home in On- and Off- Stage Spaces.” Etudes: An Online Theatre and Performance Studies Journal for Emerging Scholars. 5:1 (2019). Peer-Reviewed Journal Publications Schweikardt, Michael. “Deep When: A Basic Philosophy for Addressing Holidays in Historical Dramas.” Text and Presentation, 2019 (2020): 63-77. Other Publications Co-Editor, Design, The Theatre Times, 2017-present. “I Can’t Hear You in the Dark: How Scenic Designer Sean Fanning Negotiates the Deaf and Hearing Worlds”, 2019. “Designing for Site-Specific Theatre: An Interview with Designer Susan Tsu on her Costumes for King Lear at Quantum Theatre”, 2019.
    [Show full text]
  • Understanding Screenwriting'
    Course Materials for 'Understanding Screenwriting' FA/FILM 4501 12.0 Fall and Winter Terms 2002-2003 Evan Wm. Cameron Professor Emeritus Senior Scholar in Screenwriting Graduate Programmes, Film & Video and Philosophy York University [Overview, Outline, Readings and Guidelines (for students) with the Schedule of Lectures and Screenings (for private use of EWC) for an extraordinary double-weighted full- year course for advanced students of screenwriting, meeting for six hours weekly with each term of work constituting a full six-credit course, that the author was permitted to teach with the Graduate Programme of the Department of Film and Video, York University during the academic years 2001-2002 and 2002-2003 – the most enlightening experience with respect to designing movies that he was ever permitted to share with students.] Overview for Graduate Students [Preliminary Announcement of Course] Understanding Screenwriting FA/FILM 4501 12.0 Fall and Winter Terms 2002-2003 FA/FILM 4501 A 6.0 & FA/FILM 4501 B 6.0 Understanding Screenwriting: the Studio and Post-Studio Eras Fall/Winter, 2002-2003 Tuesdays & Thursdays, Room 108 9:30 a.m. – 1:30 p.m. Evan William Cameron We shall retrace within these courses the historical 'devolution' of screenwriting, as Robert Towne described it, providing advanced students of writing with the uncommon opportunity to deepen their understanding of the prior achievement of other writers, and to ponder without illusion the nature of the extraordinary task that lies before them should they decide to devote a part of their life to pursuing it. During the fall term we shall examine how a dozen or so writers wrote within the studio system before it collapsed in the late 1950s, including a sustained look at the work of Preston Sturges.
    [Show full text]
  • Dancing at Lughnasa
    1 Dancing at Lughnasa ACT ONE When the play opens MICHAEL is standing downstage left in a pool of light. The rest of the stage is in darkness. Immediately MICHAEL begins speaking slowly bring up the lights on the rest of the stage. Around the stage and at a distance from MICHAEL the other characters stand motionless in formal tableau. MAGGIE is at the kitchen window (right). CHRIS is at the front door. KATE at extreme stage right. ROSE and GERRY sit on the garden seat. JACK stands beside ROSE. AGNES is upstage left. They hold these positions while MICHAEL talks to the audience. MICHAEL. When I cast my mind back to that summer of 1936 different kinds of memories offer themselves to me. We got our first wireless set that summer – well, a sort of set; and it obsessed us. And because it arrived as August was about too begin, my Aunt Maggie – She was the joker of the family – she suggested we give it a name. She wanted to call it Lugh* after the old Celtic God of the Harvest. Because in the old days August the First was La Lughnasa, the feast day of the pagan god, Lugh; and the days and weeks of harvesting that followed were called the Festival of Lughnasa. But Aunt Kate – she was a national schoolteacher and a very proper woman --she said it would be sinful to christen an inanimate object with any kind of name, not to talk of a pagan god. So we just called it Marconi because that was the name emblazoned on the set.
    [Show full text]
  • ERICA ANDERSON.Indd
    ERICA ANDERSON GRADUATE 2014 ACTING PHOTO: TIM LEYES TIM PHOTO: National Theatre School OF Canada 5030 St. Denis Street, Montréal, Qc, Canada H2J 2L8 ACTING 514 842-7954 [email protected] www.ent-nts.ca ERICA ANDERSON [email protected] Height: 5' 6'' Hair colour: BLONDE Weight: 115 lbs. Eye colour: HazEL Vocal range: SOpranO Languages: EngLISH, BASIC FREncH ROLES AT THE NATIONAL THEATRE SCHOOL Year Role Play Author Director 2014 TBA New Words Festival – The Circle Geoffrey Simon Brown Ann-Marie Kerr TBA New Words Festival – Prey Britney Tangedal Ann Hodges Isabella, Diaphanta The Changeling Thomas Middleton / William Rowley David Latham 2013 Duckling, Lt. Will Dawes Our Country’s Good Timberlake Wertenbaker Tadeusz Bradecki Sue, Jill, Virgin Mary, Lion in the Streets Judith Thompson Ravi Jain understudy for Isobel Hermia, Mustardseed, A Midsummer Night’s Dream William Shakespeare Joseph Ziegler Moonshine Victoria Solo Show – The List Erica Anderson Adam Lazarus / Jodi Essery Yakov The Seagull Anton Chekhov / Martin Crimp Tanja Jacobs Irina, Natalia, Olga Scene Study – Three Sisters Anton Chekhov Laszlo Marton 2012 Courteous Safari David Yee Nina Lee Aquino Miss Julie Scene Study – After Miss Julie Patrick Marber Yael Farber Various Vocal Masque – Independence Erica Anderson Paul Dunn / Damien Atkins Reagan King Lear William Shakespeare Jonathan Goad 2011 Hedda, Thea Scene Study – Hedda Gabler Henrik Ibsen Martha Burns TRAINING AT THE NATIONAL THEATRE SCHOOL – under the direction of Alisa Palmer and Sherry Bie Acting: Nina Lee Aquino,
    [Show full text]