EPISODE #023 (Transcript)
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30 Years of Theatre 30 Years of Performance (1990-2020)
30 Years of Theatre 30 Years of Performance (1990-2020) In June of 1990, Next Act Theatre was created a long and successful relationship with Cecsarini and with the merger of Next Generation Theatre and the company. Kakuk brought many administrative Theatre Tesseract. After joining the two theatre talents to Next Act Theatre along with his winning companies, Next Act began its journey with a smile. subscriber base of 1,000. Leading the ambitious 1993 - 1995 new theatre company were Producer Jane Barclay Mandel, Artistic Director Jonathan Smoots, and The next two seasons saw encouraging growth Associate Artistic Director David Cecsarini. for Next Act as the theatre continued to stage three productions per year at the Stiemke Theater 1990 - 1992 in the Milwaukee Rep complex. Playing in the Public Library’s Centennial Hall, 1995 - 1998 the first two years were an exercise in patience for this young theatre company. The work was By the 1995-96 season, the company had regained critically acclaimed but the 8th and Wisconsin lo- sufficient strength to add a fourth production. This cation proved a challenge for attracting new made it necessary to secure an alternate space audiences. Near the end of its second year, for one production per season. The Broadway Smoots and Cecsarini realized that, to survive, Theatre Center’s Studio Theatre, the Humphrey they needed to move Next Act downtown and Masonic Center and Marquette’s Helfaer Theatre restructure the company. supplied that fourth venue through these years. Additional staff members were also brought on: 1992 - 1993 C. Michael Wright as Associate Artistic Director in In 1992, with the help of positive sales, strong 1996 and Jonathan West as Marketing and Devel- support from angel Jack Rosenberg and playing opment Manager in 1997. -
A BRIEF HISTORY 1974-2020 a THESIS in Theatre Presented to the Faculty of the University of Missouri-Kansa
THE UNICORN THEATRE: A BRIEF HISTORY 1974-2020 A THESIS IN Theatre Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree MASTER OF ARTS by SARAH JEAN HAYNES-HOHNE B.F.A., Missouri State University, 2013 Kansas City, Missouri 2020 © 2020 SARAH JEAN HAYNES-HOHNE ALL RIGHTS RESERVED THE UNICORN THEATRE: A BRIEF HISTORY 1974-2020 Sarah Jean Haynes-Hohne, Candidate for the Master of Arts Degree University of Missouri-Kansas City, 2020 ABSTRACT The Unicorn Theatre was originally founded under the name Theatre Workshop in 1974. It was a theatre company formed by three UMKC graduates, Jim Cairns, Rohn Dennis, and Liz Gordon who wanted to create an Off-Off-Broadway theatre in Kansas City. Their work focused on experimentation and using theatre as a political statement for social change. For years, the theatre operated as a community of people who wore many hats and performed many functions. In some ways, this still remains true. However, the theatre made a significant shift in its goals and future when they joined Actors’ Equity Association in 1984 shortly after Cynthia Levin was named Producing Artistic Director. The company has operated out of four different locations over the past 45+ years, but it has been in its current location at 3828 Main Street, Kansas City, MO since 1986. Many expansions and financial campaigns have contributed to the success of the theatre, which now houses two stages, The Levin Stage and The Jerome Stage. The Unicorn Theatre now operates under the vision of producing “Bold New Plays” and thrives on a mission that revolves around inclusion and diversity. -
New Albany High School
2 0 2 1 - 2 0 2 2 S C H O O L Y E A R NEW ALBANY HIGH SCHOOL School Supply List 2020-2021 New Albany High School Supply List Contents ART (Performing) ............................................................................................................................................................... 2 Art (Visual) ......................................................................................................................................................................... 4 English Language Arts ........................................................................................................................................................ 6 Global Languages ............................................................................................................................................................... 8 History ............................................................................................................................................................................... 9 Humanities ....................................................................................................................................................................... 11 Mathematics .................................................................................................................................................................... 12 Science ............................................................................................................................................................................ -
Movies Made for Television, 2005-2009
Movies Made for Television 2005–2009 Alvin H. Marill The Scarecrow Press, Inc. Lanham • Toronto • Plymouth, UK 2010 Published by Scarecrow Press, Inc. A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 http://www.scarecrowpress.com Estover Road, Plymouth PL6 7PY, United Kingdom Copyright © 2010 by Alvin H. Marill All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Marill, Alvin H. Movies made for television, 2005–2009 / Alvin H. Marill. p. cm. Includes indexes. ISBN 978-0-8108-7658-3 (hardback : alk. paper) — ISBN 978-0-8108-7659-0 (ebook) 1. Television mini-series—Catalogs. 2. Made-for-TV movies—Catalogs. I. Title. PN1992.8.F5M337 2010 791.45’7509051—dc22 2010022545 ϱ ™ The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992. Printed in the United States of America Contents Foreword by Ron Simon v Acknowledgments vii Introduction ix Movies Made for Television, 2005–2009 1 Chronological List of Titles, 2005–2009 111 Television Movies Adapted from Other Sources 117 Actor Index 125 Director Index 177 About the Author 181 iii Foreword Alvin Marill has had one of the longest relationships in media history. -
Stage III Playbill Richard Hopkins, Producing Artistic Director
Stage III Playbill Richard Hopkins, Producing Artistic Director by Jessica Blank and Erik Jensen This project is sponsored in part by the Department of State, Division of Cultural Affairs, the Florida Council on Arts and Culture and the State of Florida. THE EXONERATED by Jessica Blank & Erik Jensen CAST (in alphabetical order) David............................ Kenajuan Bentley* Ensemble...................... Kevin Cristaldi* Delbert......................... Lawrence Evans* Sunny........................... Susan Greenhill* Robert.......................... Warren Jackson* Ensemble...................... Robert D. Mowry Kerry............................ Jeffrey Plunkett* Gary............................. David Sitler* Georgia, Judge, Darla, State Prosecutor............ Karen Stephens* Sue, Sandra................... Katherine Michelle Tanner* Scenic Designer Costume Designer Bruce Price Susan Angermann Lighting Designer Sound Designer Sarah McGrath Jon Baker (under the direction of Bruce Price) (under the direction of Thom Korp) Stage Manager Marian Wallace* Directed by Kate Alexander Season Underwriters Georgia Court , The Herald-Tribune Media Group Dennis & Graci McGillicuddy, Anne H.S. Nethercott Originally produced in New York by The Culture Project, Dede Harris, Morton Swinsky, Bob Balaban, Harit Allan Buchman, Patrick Blake, David Elliot, Jane Bergere, Ruth Hendel and Cheryl Wiesenfeld. Poetry from Song Singing Songs by Delbert Tibbs. Used by permission. The Exonerated is presented by special arrangement with Dramatists Play Service, Inc., New York. The video or audio recording of this performance by any means is strictly prohibited. * Denotes member Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. ARTIST PROFILES KENAJUAN BENTLEY Repertory Theatre, freeFall Theatre, Caldwell (David) is pleased to be Theatre Company, Charlotte Repertory Theatre, returning to FST. Last seen North Carolina Black Repertory Company, Short as Brandon in Next Fall and North Stage. -
THE LINE WEDNESDAY, JULY 8 at 7:30 P.M
And arjun PRESS CONTACT: [email protected] // 212-539-8642 THE PUBLIC THEATER ANNOUNCES LIVE-STREAMED WORLD PREMIERE PLAY THE LINE WEDNESDAY, JULY 8 at 7:30 P.M. Written by Jessica Blank and Erik Jensen Directed by Jessica Blank Complete Cast Features Santino Fontana, Arjun Gupta, John Ortiz, Alison Pill, Nicholas Pinnock, Jamey Sheridan, and Lorraine Toussaint June 30, 2020 – The Public Theater (Artistic Director, Oskar Eustis; Executive Director, Patrick Willingham) announced the world premiere of THE LINE, written by Jessica Blank and Erik Jensen and directed by Blank, to debut on Wednesday, July 8 at 7:30 p.m. ET. The live-streamed play, bringing first-person stories of New York City’s first responders during the COVID-19 pandemic to the digital stage, will be available to watch for free via both YouTube and The Public’s website. Commissioned by The Public Theater and written specifically for the digital sphere, this new play will premiere on July 8, and remain available on demand until August 4 at 11:59 p.m. ET. “In spring 2020, we conducted anonymous interviews with NYC frontline medical workers battling the COVID-19 virus,” said THE LINE creators Jessica Blank and Erik Jensen. “Through these interviews, we began to see care as a radical response to institutionalized violence and the systems that perpetuate it. Created from quarantine in ‘rapid response’ to this national emergency, THE LINE presents a fundamental redefinition of what it means to protect and serve, examining the fault lines in our system through the words of the brave people who show up every day to care for us all.” THE LINE is a new play by Jessica Blank and Erik Jensen created in the award-winning documentary style that brought you The Exonerated, Aftermath, and Coal Country. -
Documentary .Pages
THE 597 - Documentary Theatre COURSE SYLLABUS: SPRING 2020 Instructor: Joe Reynolds Office Phone: Cell: 323-314-9566 University Email Address: [email protected] Preferred Form of Communication: Email Communication Response Time: 24 hours or less COURSE INFORMATION Materials – Textbooks, Readings, Supplementary Readings Textbook(s) Required: (Amazon, used) Hammond, W. & Steward, D. (2009). Verbatim, Verbatim: Contemporary Documentary Theatre. Required Play Readings: Fires in the Mirror: Crown Heights, Brooklyn and Other Identities by Anna Deaver Smith The Permanent Way by David Hare I Am My Own Wife by Doug Wright Black Watch by Gregory Burke The Girlfriend Experience by Alecky Blythe The Laramie Project by Moisés Kaufman and members of the Tectonic Theater Project The Exonerated by Jessica Blank and Erik Jensen Suggested Reading: Ethnodrama: An Anthology of Reality Theatre by Johnny Saldaña, José Casas Acting in Documentary Theatre, Tom Cantrell Dramaturgy of the Real on the World Stage by Martin, Carol. (2012) Course Description This course explores playwrights, plays and theatre companies that create docudrama — theatre pieces based on a documents, interviews, and texts in the public record. Docudrama and Verbatim Theatre (the term used mostly in the United Kingdom) is not a form, it is a technique; it is a means rather than an end. We will investigate the process of playwrights such as Robin Soans, Anna Deavere Smith, Moisés Kaufman, Alecky Blythe and David Hare, among others. It involves the process of interviewing subjects and incorporating excerpts from the interview material to compose the central text of the play. The audience will expect a docudrama to be political. -
Convert Finding Aid To
Anne Jackson and Eli Wallach An Inventory of Their Papers at the Harry Ransom Center Descriptive Summary Creator: Jackson, Anne, 1925-2016 and Wallach, Eli, 1915-2014 Title: Anne Jackson and Eli Wallach Papers Dates: 1928-2016 Extent: 85 document boxes, 7 oversize boxes (osb) (39 linear feet), 9 oversize folders (osf), 2 galley files (gf) Abstract: The Anne Jackson and Eli Wallach Papers document the lives and careers of the prominent American acting couple from their early stage and television appearances in the 1940s through their final performances on film in the 2000s and include scripts, photographs, posters, theater programs, clippings, correspondence, and scrapbooks, as well as manuscripts and other material relating to their memoirs and other writings, all dating from 1928 to 2016. Call Number: Film Collection FI-05251 Language: English, Hebrew, Italian, and Spanish Access: Open for research. Researchers must create an online Research Account and agree to the Materials Use Policy before using archival materials. To request access to electronic files, please email Reference. Use Policies: Ransom Center collections may contain material with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations. Researchers are advised that the disclosure of certain information pertaining to identifiable living individuals represented in the collections without the consent of those individuals may have legal ramifications (e.g., a cause of action under common law for invasion of privacy may arise if facts concerning an individual's private life are published that would be deemed highly offensive to a reasonable person) for which the Ransom Center and The University of Texas at Austin assume no responsibility. -
New Albany High School School Supply List
NEW ALBANY HIGH SCHOOL SCHOOL SUPPLY LIST 2020-2021 School Year 2020-2021 New Albany High School Supply List Contents ART (Performing) ....................................................................................................................................................2 Art (Visual) .............................................................................................................................................................4 English Language Arts .............................................................................................................................................7 Global Languages .................................................................................................................................................. 10 History ................................................................................................................................................................. 11 Humanities ........................................................................................................................................................... 13 Mathematics ........................................................................................................................................................ 14 Science................................................................................................................................................................. 15 Senior Seminar .................................................................................................................................................... -
Coal Country (1) MC COMPANY (In Order of Appearance)
OSKAR EUSTIS PATRICK WILLINGHAM THE PUBLIC THEATER ARTISTIC DIRECTOR EXECUTIVE DIRECTOR Presents COAL CO By & U JESSICA BLANK ERIK JENSENN Original Music by STEVE EARLE TRY Directed by JESSICA BLANK With MARY BACON, AMELIA CAMPBELL, MICHAEL GASTON, EZRA KNIGHT, THOMAS KOPACHE, MICHAEL LAURENCE, DEIRDRE MADIGAN, MELINDA TANNER Scenic Design RICHARD HOOVER Costume Design JESSICA JAHN Lighting Design DAVID LANDER Sound Design DARRON L WEST Music Director STEVE EARLE Movement Director ADESOLA OSAKALUMI Production Stage Manager JANELLE CASO Casting JORDAN THALER/KATE MURRAY Line Producer GARLIA CORNELIA JONES Company Manager HEATHER FICHTHORN Production Manager CAITY JOY SMITH Associate Artistic Director / Director of Public Theater Productions Managing Director General Manager MANDY HACKETT JEREMY ADAMS ANGELA DELANEY KIRCHER Associate Producer Directors of Casting Director of New Work Development YUVIKA TOLANI JORDAN THALER JEANIE O’HARE HEIDI GRIFFITHS Production Executive RUTH E. STERNBERG Originally commissioned and developed by THE PUBLIC THEATER. Season support provided by THE BLAVATNIK FAMILY FOUNDATION. THE LUESTHER T. MERTZ CHARITABLE TRUST provides leadership support for The Public Theater’s year-round activities. Public/Anspacher Coal Country (1) MC COMPANY (in order of appearance) Judge Berger ............................................................................................MELINDA TANNER Gary ........................................................................................................ THOMAS KOPACHE Tommy -
The Inventory of the Robin Williams Collection #1787
The Inventory of the Robin Williams Collection #1787 Howard Gotlieb Archival Research Center BOSTON UNIVERSITY Williams, Robin #1787 8/29/11, 8/31/11, 9/01/11, 9/13/11, 11/14/11, 11/23/11, 11/28/11, 1/10/12 Preliminary Listing I. Manuscripts. A. Files; includes TS and TS scripts, some with holograph corrections, files may include production schedules, storyboards, sheet music, color prints, correspondence. Box 1 1. “Aladdin Production 0514 Recording Script- Genie, 9/18/91.” [F. 1] 2. “August Rush,” 2006, includes photographs: [F. 2] a. Color print of Jonathan Rhys Meyers and Keri Russell, 2006. b. Color print of Freddie Highmore (in profile), 2006. c. Color print of Jonathan Rhys Meyers, Freddie Highmore, Keri Russell, and RW, 2006. d. Color print of RW, 2006. e. Color print of Jonathan Rhys Meyers and Keri Russell, 2006. f. Color print of Freddie Highmore, 2006. g. Color print of Jonathan Rhys Meyers and Freddie Highmore, 2006. h. Color print of Jonathan Rhys Meyers and others, 2006. i. Color print of Freddie Highmore, 2006. j. Color print of RW and Freddie Highmore from ‘August Rush’, 2006. 3. “Awakenings,” 10/02/89-12/15/89. [F. 3-4] 4. “Father’s Day,” 1996. [F. 5-6] 4. “Good Morning Vietnam,” 1987. [F. 7] 5. “Hamlet,” 1996. [F. 8] 6. “Night at the Museum,” 2006. [F. 9] 7. “Old Dogs,” 2007. [F. 10-11] 8. “Seize the Day,” 1985. [F. 12] B. Screenplays. 1. “The Adventures of Baron Munchausen” by Charles McKeown and Terry Gilliam, "draft 8 ½ a," TS, 116 p., 11/6/87. -
Sample Chapter
PROOF Contents List of Illustrations v i i i Acknowledgements ix I n t r o d u c t i o n 1 1 Talking to Terrorists 1 5 2 My Name is Rachel Corrie 5 5 3 Called to Account 8 9 4 The Girlfriend Experience 1 3 9 N o t e s 171 B i b l i o g r a p h y 175 I n d e x 191 vii PROOF Introduction This book places actors centre stage in debates surrounding perform- ance, and demonstrates both their creative tenacity in the rehearsal room and on stage, and their reflective capacity to articulate these often private processes in interview. Playing real individuals on stage, and speaking a text created solely from those individuals’ own words, presents actors with numerous challenges. By analysing these actors’ processes in relation to the teaching and theories of actor trainers, we are able to identify the ways in which they adapt current rehearsal and per- formance techniques and invent new strategies in the service of playing a real person. Academic studies have tended to overlook actors when using first-hand interview material, preferring instead to talk to direct- ors and writers. It is this imbalance that this book aims to redress. Documentary Theatre The popularity of documentary theatre shows little sign of abating. In the arsenal of political theatre, documentary forms have become the weapon of choice. Only 25 years ago, when Derek Paget first wrote of the use of tape recorders to make documentary theatre, he noted that documentary forms were situated at the ‘edges of the professional theatre’ (1987: 317).