DOCSLIB.ORG

The Steward of Christendom

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Steward of Christendom Brooklyn Academy of Music 1997 Spring Season Louise Bourgeios, Hamlet and Ophelia for BAM, 1996, lithograph, 29 1/4" x 41" The Steward of Christendom BAM 1997 Spring Season and 135th Anniversary Season are sponsored by Philip Morris Companies Inc. BAM Prefers I v1s1 l BAM 1997 Spring Season and 135th Anniversary Season are sponsored by Philip Morris Companies Inc. BAM Theater, Opera and Dance The Steward of Christendom Additional support provided by supporters: Major corporate sponsor: France Telecom North America The Andrew w. Mellon Foundation Mr. Socrates Nicholas and Mr. Gerard Bell The Harold and Mimi Steinberg TIME WARNER Fribourg Foundation, Inc. Charitable Trust American Friends or the Paris The Fan Fox and Leslie R. Samuels Additional support provided by Opera & Ballet Foundation, Inc. European American Bank The Norman and Rosita Winston British Airways-Official Airline Special support for Les Arts Florissants: Foundation, Inc. ~ kane• T•le<om PECHII'EY The Howard Gilman Foundation Amadigi Fondatwn The Harkness Foundations for Danoe Special support provided by -·- The Robert w. Wilson Foundation Inc. The British Council; Allied Irish Banks pic; Alliance Opera The Gladys Krieble Delmas Foundation Cultural Relations Committee, Francena T. Harrison Foundation Trust Department of Foreign Affairs, Ireland Russian Folk Festival Morgan Stanley Group Inc. Major supporters: Dow Jones Foundation St. Matthew Passion The Metro Tech Downtown Fund Major oorporate sponsor: The Billy Rose Foundation, Inc. Wendy vanden Heuvel NYNG. Brooklyn Delegation of the New York City Council Hippolyte et Aricie Brooklyn Borough President Howard Golden Leadership support provided by The Trust for Mutual Understanding New York City Department of Cu~ural Affairs The French Ministry of Foreign Affairs The Ministry of Culture of the Russian National Endowment for the Arts through Association Fran~ise d'Action Federation New York State Council on the Arts Artistique EiJ ::::f.i.m and the The Artslink Partnership Cultural Services of the French And the foiiCtNing endowed program funds: Embassy in New York Mark Morris Dance Group Michael Bancroft Goth Endowed Annual Major corporate sponsor: Performance Fund The Florence Gould Foundation ~ foRfsr(nyRATNER The Charles and Valerie Diker Danoe Endowment Fund The John Nuveen Company Additional support provided by The Marion Petschek Smith Fund for The Mary Flagler Cary Charitable Trust Choreographers ... •-....c8 Official Airline I#'I BAM Prefers I VISA j Major support provided by On the cover: Louise Bourgeois, I 996 The American Friends of Les Arts Flolissants Hamlet and Ophelia for BAM. Signed Anthony T. Dean, Arthur A. Hartman Lighting design for the BAM Lobby and edition or 50. Ms. Bourgeois' biography and Harvey Lichtenstein, Co-Chairmen Lepercq Space renovations has been appears at the back or this BAMbill. For The Eleanor Naylor Dana Charitable Trust underwritten by a grant from Samuel H. purchase information or other BAMart The lsak and Rose Weinman Scripps. offerings, contact Robert Bangiola, Foundation, Inc. 718.636.4182 Anne H. Bass Tony and Lawrie Dean Michael Palm E. Nakamichi Foundation Salomon Brothers Inc The Brooklyn Academy of Music Bruce C. Ratner Chairman of the Board Harvey Lichtenstein President & Executive Producer presents the Out of Joint production of The Steward of Christendom by Sebastian Barry Running time: BAM Majestic Theater approximately two and January 18, 1997 at 7pm one half hours, January 19 & 26 at 3pm including intermission January 20, 21, 23-25 & 28-31 at 8pm February 1, 4-8, 11-15 & 18- 22 at 8pm February 2, 9, 16 & 23 at 3pm Director Max Stafford-Clark Design Julian McGowan Lighting Design Johanna Town Music Shaun Davey Sound Design Paul Arditti Production Manager Rob Young Company Stage Manager Rob Young Deputy Stage Manager Sally McKenna American Stage Manager Robert Bennett Costume Supervisor Jenny Cook Production Assistant Sally Pearson Child Chaperon Jan Widger Press (for Out of Joint) Cameron Duncan Production Photographer John Haynes Producer (for Out of Joint) Sonia Friedman Original Co-production by Out of Joint and the Royal Cou rt Theatre Major Corporate Sponsor: TIME WARNER Special support provided by European American Bank British Ai rways-Official Airline BAM wishes to thank Theatre Development Fund for its support of this presentation. Out of Joint is the London based touring company founded by Max Stafford-Clark and Sonia Friedman in 1993. Max Stafford-Clark comes to Out of Joint from The Royal Court Theatre where he was Artistic Director from 1979 to 1993. Prior to this he founded Joint Stock Theatre Group with William Gaskill and Out of Joint's name celebrates this link. The company's aim has been to generate and produce new writing for the stage and to tour this work both nationally and internationally. On occasion a classic ha~ been paired with a new play and both have been performed in repertory. Out of Joint's inaugural production was Sue Townsend's The Queen and I, initially produced with Jim Cartwright's 1980s classic, Road. The Queen and I toured and played in the West End before touring Australia extensively earlier last year. Stephen Jeffreys' new play on the life of the Restoration rake and poet Earl of Rochester was called The Ubertine and played with a revival of Etherege's Restoration classic, The Man of Mode. Last year Timberlake Wertenbaker wrote The Break of Day which was produced in repertoire with Chekhov's Three Sisters. Three Sisters also played a memorable season in promenade at Rossway Park, a large country house outside London. The Steward of Christendom won much praise for Sebastian Barry, for Donal McCann and for the company. It has already run for two seasons at both the Royal Court Theatre in London and the Gate Theatre in Dublin. It has played to acclaim in Luxembourg, Australia and New Zealand. Out of Joint's most recent production, Shopping And Fucking, began life at the Royal Court in September 1996. It has already toured England and become a focus of national interest. It is currently being revived in the West End. Later this year it will embark on a world tour. Further ahead Out of Joint's production plans include new plays by Caryl Churchill, Sebastian Barry, April de Angelis and Mark Ravenhill. Out of Joint is a new voice in English theater, but has already become an · important producer of new writing and has shown that radical work generates animated audiences on tour as well as in London. Out of Joint: 1994-1995 1995-1996 1996- 1997 The Productions The Queen and I: The Steward of Shopping And Fucking: S. Townsend Christendom: S. Barry M. Ravenhill Road: J. Cartwright Three Sisters: The Positive Hour: The Ubertine: A. Chekhov A. de Angelis S. Jeffreys The Break of Day: Blue Heart: The Man of Mode: T. Wertenbaker C. Churchill G. Etherege Board of Directors For Out of Joint: Director Max Stafford-Clark Producer Sonia Friedman Linda Bassett, John Blackmore, Production Manager Rob Young Graham Cowley, Stephen Jeffreys, Administrative Assistant Sally Pearson Paul Jesson, Karl Sydow Literary Advisor Lee White Press Cameron Duncan Out of Joint Registered Charity number: 1033059 The Cast Thomas Dunne Donal McCann His daughters Maud Ali White Annie Tina Kellegher Dolly Aislin McGuckin Willie, his son Carl Brennan Matt, his son-in-law Rory Murray Mrs. O'Dea Maggie McCarthy Smith Kieran Ahern Recruit Rory Murray The play is set in the county home in Baltinglass, County Wicklow, Ireland, in about 1932 . photo: John Haynes Out of Joint first performed The Steward of Christendom at the Royal Court Theatre Upstairs 30 March, 1995 First performed on tour 25 April, 1995 First performed at the Royal Court Theatre Downstairs 2 September, 1995 Copyright agent for the play: The Agency (London) Ltd. The ACTORS in The Steward of Christendom appear with the permission of Actors' Equity Association. The American Stage Manager is a member of Actors' Equity Association. From the Playwright The Steward of Christendom is the fifth in a series of plays looking for the lost, hidden or seldom mentioned people in one Irish family. The other plays are Boss Grady's Boys, Prayers of Sherkin, White Woman Street and The Only True History of Uzzie Finn. In a way, the approach to my great-grand­ father Thomas Dunne was the most worrying, because he was, according to whispered family history, the last Catholic head of the Dublin Metropolitan Police before its change in regime in 1922. In the folklore of Dublin working­ class life and Trades Union history he hardly holds an enviable place. He was the man with responsibility for Dublin Castle, the very hea rt of British rule in Ireland. Yet he was a cou ntryman, whose father was the steward of an old estate in Wicklow. His tastes were simple. He was a big strong person in his heyday. It was only when I began to think of him as an old man, alone in the county home in Baltinglass, boggy in the head and thinner and unpredictable enough to have his grandchildren kept away from him, that I was able to overcome a certain fear of his life and reach the man himself. I've had to recreate him from hints and largely imagine him. He is never going to be a comfortable ancestor. But he could not be denied his place among the plays for all that. - Sebastian Barry, 1995 Background Robert Emmet was an Irish revolutionary hero who inspired the abortive rising of 1803. He was the youngest son of the physician to the Lord Lieutenant and had a distinguished career as a student at Trinity College, Dublin before he became prominent in United Irishmen's activities. Emmet led the Dublin rising in 1803 which led to the murder of the Lord Chief Justice but, rec­ ognizing the rising was a fiasco, lived in hiding in the Wicklow mountains and, before being able to flee the country, was captured, tried for treason, found guilty and hanged in September 1803.
Load more

Recommended publications
  • MEREDITH MONK and ANN HAMILTON: Aaron Copland Fund for Music, Inc
    The House Foundation for the Arts, Inc. | 260 West Broadway, Suite 2, New York, NY 10013 | Tel: 212.904.1330 Fax: 212.904.1305 | Email: [email protected] Web: www.meredithmonk.org Incorporated in 1971, The House Foundation for the Arts provides production and management services for Meredith Monk, Meredith Monk & Vocal Ensemble, and The House Company. Meredith Monk, Artistic Director • Olivia Georgia, Executive Director • Amanda Cooper, Company Manager • Melissa Sandor, Development Consultant • Jahna Balk, Development Associate • Peter Sciscioli, Assistant Manager • Jeremy Thal, Bookkeeper Press representative: Ellen Jacobs Associates | Tel: 212.245.5100 • Fax: 212.397.1102 Exclusive U.S. Tour Representation: Rena Shagan Associates, Inc. | Tel: 212.873.9700 • Fax: 212.873.1708 • www.shaganarts.com International Booking: Thérèse Barbanel, Artsceniques | [email protected] impermanence(recorded on ECM New Series) and other Meredith Monk & Vocal Ensemble albums are available at www.meredithmonk.org MEREDITH MONK/The House Foundation for the Arts Board of Trustees: Linda Golding, Chair and President • Meredith Monk, Artistic Director • Arbie R. Thalacker, Treasurer • Linda R. Safran • Haruno Arai, Secretary • Barbara G. Sahlman • Cathy Appel • Carol Schuster • Robert Grimm • Gail Sinai • Sali Ann Kriegsman • Frederieke Sanders Taylor • Micki Wesson, President Emerita MEREDITH MONK/The House Foundation for the Arts is made possible, in part, with public and private funds from: MEREDITH MONK AND ANN HAMILTON: Aaron Copland Fund for
    [Show full text]
  • April De Angelis Plays 1: Ironmistress; Hush; Playhouse Creatures; the Positive Hour Pdf
    FREE APRIL DE ANGELIS PLAYS 1: IRONMISTRESS; HUSH; PLAYHOUSE CREATURES; THE POSITIVE HOUR PDF April De Angelis | 336 pages | 01 Jun 2000 | FABER & FABER | 9780571197095 | English | London, United Kingdom April de Angelis Plays 1 | Faber & Faber De Angelis began her career in the s as an actress with the Monstrous Regiment theatre company. Her plays often feature historical figures. Playhouse Creatures and A Laughing Matter are set in the London theatrical milieu of the 17th and 18th centuries respectively. Wanderlust examines Victorian colonialism and Ironmistress is a verse play exploring Lady Charlotte Guest 's factory ownership. De Angelis tends to write to commission and several of her plays April de Angelis Plays 1: Ironmistress; Hush; Playhouse Creatures; The Positive Hour been produced by Max Stafford-Clark 's Out of Joint theatre company. From Wikipedia, the free encyclopedia. This biography of a living person needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediatelyespecially if potentially libelous or harmful. More duologues for all accents and ages. Psychology Press. Retrieved 10 April Categories : English women dramatists and playwrights Living people births English opera librettists English people of Sicilian descent Alumni of the University of Sussex Alumni of East 15 Acting School Women opera librettists 20th-century British dramatists and playwrights 20th-century English women writers 21st-century British dramatists and playwrights 21st-century English women writers. Namespaces Article Talk. Views Read Edit View history. Help Learn to edit Community portal Recent changes Upload file. Download as PDF Printable version.
    [Show full text]
  • FRI. AUGUST 2 6:00 P.M., Free Unnameable Books 600 Vanderbilt
    MUSIC Bird To Prey, Major Matt Mason USA POETRY Becca Klaver, BOOG CITY Megan McShea, Mike Topp A COMMUNITY NEWSPAPER FROM A GROUP OF ARTISTS AND WRITERS BASED IN AND AROUND NEW YORK CITY’S EAST VILLAGE ISSUE 82 FREE Jonathan Allen art Creative Writing from Columbia University and her M.F.A. in band that will be debuting its first material this fall. But until instructor and consultant. Her poetry has appeared or FRI. AUGUST 2 poetry from NYU. Her work has been featured or is forthcoming then he finds himself in a nostalgic summer detour, in New York is forthcoming in 1913; No, Dear magazine; Two Serious 6:00 P.M., Free in numerous publications, including Forklift, once again, home once again. Christina Coobatis photo. Ladies; Wag’s Revue; and elsewhere. Her chapbook, Russian Ohio; Painted Bride Quarterly; PANK; Vinyl • for Lovers, was published by Argos Books. She lives in Unnameable Books Poetry; and the anthology Why I Am Not His Creepster Freakster is one of those albums that Sheepshead Bay, Brooklyn and works as an adjunct A Painter, published by Argos Books. She just absorbs you and spits you out. But his later work with instructor. Luke Bumgarner photo. 600 Vanderbilt Ave. was a finalist this year for The Poetry Supernatural Christians and Injecting Strangers is taking it (bet. Prospect Place/St. Marks Avenue) Project’s Emerge-Surface-Be Fellowship. A all further. He is the nicest, sweetest, politest, most merciless Sarah Jeanne Peters 7:55 p.m. Prospect Heights, Cave Canem fellow, Parker lives with her dog Braeburn in artist you will ever come across.
    [Show full text]
  • A STAR SPANGLED OFFICERS Harvey Lichtenstein President and Chief Executive Officer SALUTE to BROOKLYN Judith E
    L(30 '11 II. BROOKLYN ACADEMY OF MUSIC BOARD OF TRUSTEES Hon. Edward I. Koch, Hon. Howard Golden, Seth Faison, Paul Lepercq, Honorary Chairmen; Neil D. Chrisman, Chairman; Rita Hillman, I. Stanley Kriegel, Ame Vennema, Franklin R. Weissberg, Vice Chairmen; Harvey Lichtenstein, President and Chief Executive Officer; Harry W. Albright, Jr., Henry Bing, Jr., Warren B. Coburn, Charles M. Diker, Jeffrey K. Endervelt, Mallory Factor, Harold L. Fisher, Leonard Garment, Elisabeth Gotbaum, Judah Gribetz, Sidney Kantor, Eugene H. Luntey, Hamish Maxwell, Evelyn Ortner, John R. Price, Jr., Richard M. Rosan, Mrs. Marion Scotto, William Tobey, Curtis A. Wood, John E. Zuccotti; Hon. Henry Geldzahler, Member ex-officio. A STAR SPANGLED OFFICERS Harvey Lichtenstein President and Chief Executive Officer SALUTE TO BROOKLYN Judith E. Daykin Executive Vice President and General Manager Richard Balzano Vice President and Treasurer Karen Brooks Hopkins Vice President for Planning and Development IN HONOR OF THE 100th ANNIVERSARY Micheal House Vice President for Marketing and Promotion ADMINISTRATIVE OFFICE STAFF OF THE Ruth Goldblatt Assistant to President Sally Morgan Assistant to General Manager David Perry Mail Clerk BROOKLYN BRIDGE FINANCE Perry Singer Accountant Tuesday, November 30, 1982 Jack C. Nulsen Business Manager Pearl Light Payroll Manager MARKETING AND PROMOTION Marketing Nancy Rossell Assistant to Vice President Susan Levy Director of Audience Development Jerrilyn Brown Executive Assistant Jon Crow Graphics Margo Abbruscato Information Resource Coordinator Press Ellen Lampert General Press Representative Susan Hood Spier Associate Press Representative Diana Robinson Press Assistant PLANNING AND DEVELOPMENT Jacques Brunswick Director of Membership Denis Azaro Development Officer Philip Bither Development Officer Sharon Lea Lee Office Manager Aaron Frazier Administrative Assistant MANAGEMENT INFORMATION Jack L.
    [Show full text]
  • Imes I Wonder What "Wrang with Me. I Keep Hearing People Soy That They Have Changed Jobs Because Five Or Ten Years in a Job Is Enough
    BROOKLYN ACADEMY OF MUSIC Letter from the President ~imes I wonder what "wrang with me. I keep hearing people soy that they have changed jobs because five or ten years in a job is enough. And here I am after 25 years, still at it, and still, for the most part, enjoying the ride. BAM has changed over the years and yet remains steadily on course. The outpouring of new work by some of our "old-timers" and by young, developing artists trying their wings, and the pursuit of several new initiatives, plus the stimulation of my BAM colleagues, have managed to keep me (or part of me) virgin, available and interested. The first major attraction of my initial season at BAM was Sarah Caldwell's newly formed American National Opera Company, which featured the first staged production in New York of Alban Berg's LULU. The next season, in 1968, had the return of The living Theater in four productions new to New York. In 1969, we introduced Jerzy Grotowski's Polish laboratory Theatre in three productions, and also Twyla Tharp's company on the Opera House stage, with the audience also onstage, seated on three sides. Robert Wilson's LIFE AND TIMES OF SIGMUND FREUD also appeared at BAM in 1969. What is the point of view that informed those early years and that is still operative today? It may seem to be contemporary work by artists outside the mainstream. I think it is deeper and more inclusive than that. For me, it is the application of a critical approach informed by a contemporary sensibility, to what is being produced for the stage today.
    [Show full text]
  • SAVED by EDWARD BOND
    GCE / A LEVEL SAVED By EDWARD BOND SAVED EDWARD BOND GCE \ A LEVEL © WJEC CBAC Ltd 2016 SAVED By EDWARD BOND INTRODUCTION Edward Bond’s Saved, is a provocative and unflinching depiction of an alienated and disenfranchised South London working class of the 1960s. It was first staged at the Royal Court Theatre under the direction of William Gaskill on 3 November 1965. The play is inextricably connected to the theatre that first staged it. Since 1955, the Royal Court and the English Stage Company under George Devine (and later Max Stafford Clark) had gained a reputation for discovering and nurturing ‘hard-hitting, uncompromising writers’ that formed the new wave of British theatre in the 1950s and 1960s. It was a type of theatre that was challenging audiences as much as the social and political establishment that existed in post- war Britain. Although Bond had been nurtured by George Devine at the Royal Court, when he submitted Saved for consideration in 1964, only one of his previous scripts, The Pope’s Wedding, had been staged as an actual performance for one night only. Saved, however, remains one of the most controversial performances the theatre has ever staged, causing an outrage amongst some critics of the day. At this time, play scripts had to be licensed for performance after being scrutinised by the Lord Chamberlain’s Office, the official censor for virtually all theatre performed in Britain. Bond’s depiction of a listless group of youths, complete with hints of casual sex and a viscerally shocking scene of violence featuring the murder of a baby in a pram, fell foul of the censor’s pen.
    [Show full text]
  • Atlantic Yards Development Proposal Scoping Response to the Empire State Development Corporation
    Forest City Ratner Atlantic Yards Development Proposal Scoping Response to the Empire State Development Corporation Council of Brooklyn Neighborhoods October 25, 2005 201 Dekalb Avenue Brooklyn, NY 11205 718-408-3219 [email protected] www.CBrooklynNeighborhoods.homestead.com CBN Scoping Response to ESDC re: Atlantic Yards Page iii © 2005 Council of Brooklyn Neighborhoods All Rights Reserved Council of Brooklyn Neighborhoods 201 Dekalb Avenue Brooklyn, NY 11205 718-408-3219 Email us at: [email protected] Visit us on the web at: www.CBrooklynNeighborhoods.homestead.com © 2005 October 25, 2005 Page iv CBN Scoping Response to ESDC re: Atlantic Yards Acknowledgments The Council of Brooklyn Neighborhoods acknowledges the impetus provided by Brooklyn Boro Hall in our formation. CBN would also like to gratefully acknowledge the efforts of our representatives in Albany and their staffs, as well as our local City Council members and their staffs. We are deeply indebted to Dr. Tom Angotti who offered to us the benefit of his expertise in the drafting of this response document. Background information and ideas for this response were developed with the assistance of Hunter College graduate students Jennifer Brisbane, Susan Robinson and Todd Seidel. Reports by the Pratt Institute Center for Community Development, Brooklyn Community Boards 6 and 8, Good Jobs, NY, the Fiscal Policy Institute and Brian Ketcham of Community Consulting Services were valuable resources. Many other individuals contributed their input, including Christina Cope, Phil DePaolo, Ken Diamondstone, Marlene Donnelly, Daniel Goldstein, Patti Hagan, Leonie Haimson, Carolyn Konheim, Peter Krashes, Gustav Peebles, Jung Kim, Gary Popkin, Alan Rosner, and Cathy Wasselinko.
    [Show full text]
  • Text Pages Layout MCBEAN.Indd
    Introduction The great photographer Angus McBean has stage performers of this era an enduring power been celebrated over the past fifty years chiefly that carried far beyond the confines of their for his romantic portraiture and playful use of playhouses. surrealism. There is some reason. He iconised Certainly, in a single session with a Yankee Vivien Leigh fully three years before she became Cleopatra in 1945, he transformed the image of Scarlett O’Hara and his most breathtaking image Stratford overnight, conjuring from the Prospero’s was adapted for her first appearance in Gone cell of his small Covent Garden studio the dazzle with the Wind. He lit the touchpaper for Audrey of the West End into the West Midlands. (It is Hepburn’s career when he picked her out of a significant that the then Shakespeare Memorial chorus line and half-buried her in a fake desert Theatre began transferring its productions to advertise sun-lotion. Moreover he so pleased to London shortly afterwards.) In succeeding The Beatles when they came to his studio that seasons, acknowledged since as the Stratford he went on to immortalise them on their first stage’s ‘renaissance’, his black-and-white magic LP cover as four mop-top gods smiling down continued to endow this rebirth with a glamour from a glass Olympus that was actually just a that was crucial in its further rise to not just stairwell in Soho. national but international pre-eminence. However, McBean (the name is pronounced Even as his photographs were created, to rhyme with thane) also revolutionised British McBean’s Shakespeare became ubiquitous.
    [Show full text]
  • Qurrat Ann Kadwani: Still Calling Her Q!
    1 More Next Blog» Create Blog Sign In InfiniteBody art and creative consciousness by Eva Yaa Asantewaa Tuesday, May 6, 2014 Your Host Qurrat Ann Kadwani: Still calling her Q! Eva Yaa Asantewaa Follow View my complete profile My Pages Home About Eva Yaa Asantewaa Getting to know Eva (interview) Qurrat Ann Kadwani Eva's Tarot site (photo Bolti Studios) Interview on Tarot Talk Contact Eva Name Email * Message * Send Contribute to InfiniteBody Subscribe to IB's feed Click to subscribe to InfiniteBody RSS Get InfiniteBody by Email Talented and personable Qurrat Ann Kadwani (whose solo show, They Call Me Q!, I wrote about Email address... Submit here) is back and, I hope, every bit as "wicked smart and genuinely funny" as I observed back in September. Now she's bringing the show to the Off Broadway St. Luke's Theatre , May 19-June 4, Mondays at 7pm and Wednesdays at 8pm. THEY CALL ME Q is the story of an Indian girl growing up in the Boogie Down Bronx who gracefully seeks balance between the cultural pressures brought forth by her traditional InfiniteBody Archive parents and wanting acceptance into her new culture. Along the journey, Qurrat Ann Kadwani transforms into 13 characters that have shaped her life including her parents, ► 2015 (222) Caucasian teachers, Puerto Rican classmates, and African-American friends. Laden with ▼ 2014 (648) heart and abundant humor, THEY CALL ME Q speaks to the universal search for identity ► December (55) experienced by immigrants of all nationalities. ► November (55) Program, schedule and ticket information ► October (56) ► September (42) St.
    [Show full text]
  • Transforming Lives
    Brooklyn College Foundation Annual Report 2007–2008 Transforming Lives The First Step The doors to Brooklyn College are the doors to opportunity. Compared with other institutions of higher education, a great many of our students shoulder substantial responsibilities, and many are the first in their family to attend college. Diverse in background, interests, and ambition, they share the certainty that higher education is the way to a productive and rewarding future. For many, that future will be secured with the help of the Brooklyn College Foundation Dear Friends of Brooklyn College For students—past and present—Brooklyn College stands as a gateway to a rewarding life. They come because they want to become effective leaders in their chosen profession and engaged citizens of the world. They come because they have heard of our commitment to academic quality and to helping them reach their goals. This commitment is at the heart of who we are and what we do. We have held firm to this principle throughout my presidency and, as I leave Brooklyn College this summer, I am especially proud of what we have done together to give it life and to sustain it. Last fall, we admitted a freshman class larger and better than the year before and we were joined by forty new faculty members, bringing the number of scholars and artists we have recruited over the last nine years to 273, more than half the teaching faculty and more than we appointed in the previous three decades. We also welcomed a new Provost, Dr. William A. Tramontano, who brings proven leadership in initiating and implementing new academic programs.
    [Show full text]
  • Timeline: Royal Court International (1989–2013) Compiled by Elaine Aston and Elyse Dodgson
    Timeline: Royal Court International (1989–2013) Compiled by Elaine Aston and Elyse Dodgson The Timeline charts the Royal Court’s London-based presentations of international plays and related events from 1989–2013. It also records the years in which fi rst research trips overseas were made and exchanges begun. Writers are listed alphabetically within recorded events; translators for the Court are named throughout; directors are listed for full productions and major events. Full productions are marked with an asterisk (*) – other play listings are staged readings. 1989: First international Summer School hosted by the Royal Court 1992: Court inaugurates exchange with Germany 1993: Summer School gains support from the British Council Austrian & German Play Readings (plays selected and commissioned by the Goethe-Institut; presented in October) Rabenthal Jorg Graser; Soliman Ludwig Fels; In den Augen eines Fremdung Wolfgang Maria Bauer; Tatowierung Dea Loher; A Liebs Kind Harald Kislinger; Alpenglühen Peter Turrini 1994: First UK writers exchange at the Baracke, Deutsches Theater, Berlin, coordinated by Michael Eberth. British writers were Martin Crimp, David Greig, Kevin Elyot, Meredith Oakes and David Spencer. Elyse Dodgson, Stephen Daldry and Robin Hooper took part in panel discussions 1995: Daldry and Dodgson make initial contacts in Palestine Plays from a Changing Country – Germany (3–6 October) Sugar Dollies Klaus Chatten, trans. Anthony Vivis; The Table Laid Anna Langhoff, trans. David Spencer; Stranger’s House Dea Loher, trans. David Tushingham; Waiting Room Germany Klaus Pohl, trans. David Tushingham; Jennifer Klemm or Comfort and Misery of the Last Germans D. Rust, trans. Rosee Riggs Waiting Room Germany Klaus Pohl, Downstairs, director Mary Peate, 1 to 18 November* 1996: Founding of the International Department by Daldry; Dodgson appointed Head.
    [Show full text]
  • United States District Court for Online Publication Only Eastern District of New York
    Case 1:11-cv-05550-CBA-SMG Document 131 Filed 10/27/14 Page 1 of 24 PageID #: <pageID> UNITED STATES DISTRICT COURT FOR ONLINE PUBLICATION ONLY EASTERN DISTRICT OF NEW YORK ANDREW APPLE; PASCAL ARMSTRONG; ELGIN BECKFORD; EMERIE BECKFORD; SEWAYNE DALEY; MAURICE GRIFFIN; JEANETTE HENRIQUES; ALFONZA LEWIS; LLOYD BERNARD MATTHEWS; MEMORANDUM CAROL NEILS; KATHLEEN NOREIGA; AND ORDER ALONZO PHILLIPS; KIMRON PRIME; 11-CV-5550 (JG) WAYNE ST. LOUIS; JONATHAN SILVA; ANDRE SMALL; CLARENCE STEWART; JAY WHITLEY; JEFFREY WILLIAMS; and DEVIN WRIGHT, Plaintiffs, - versus - ATLANTIC YARDS DEVELOPMENT COMPANY, LLC; BROOKLYN ARENA LLC; BROOKLYN UNITED FOR INNOVATIVE LOCAL DEVELOPMENT; JAMES CALDWELL; FOREST CITY RATNER COMPANIES, LLC; FOREST CITY ENTERPRISES, INC.; GAUSIA JONES; JANE MARSHALL; ORBIN’S BIG GREEN MACHINE; and BRUCE RATNER, Defendants, MICHAEL THOMAS, Proposed Intervenor. A P P E A R A N C E S : EMERY CELLI BRINCKERHOFF & ABADY LLP 75 Rockefeller Plaza 20th Floor New York, New York 10019 By: Matthew D. Brinckerhoff Case 1:11-cv-05550-CBA-SMG Document 131 Filed 10/27/14 Page 2 of 24 PageID #: <pageID> – and – SOUTH BROOKLYN LEGAL SERVICES 105 Court Street 3rd Floor Brooklyn, New York 11201 By: Gary Steven Stone Molly Anne Thomas-Jensen Nicole E. Salk Sarah E. Dranoff Attorneys for Plaintiffs KRAMER LEVIN NAFTALIS & FRANKEL LLP 1177 Avenue of the Americas New York, New York 10036 By: Harold P. Weinberger Robert N. Holtzman Eileen M. Patt Sarah N. Rosen Kristin N. Difrancesco Selina M. Ellis Attorneys for Defendants Atlantic Yards Development Company, LLC; Brooklyn Arena LLC; Brooklyn United for Innovative Local Development; James Caldwell; Forest City Ratner Companies, LLC; Forest City Enterprises, Inc.; Jane Marshall and Bruce Ratner SHER TREMONTE LLP 80 Broad Street Suite 1301 New York, New York 10004 By: Michael Tremonte Justin J.
    [Show full text]