DOCSLIB.ORG

Miss Julie Program

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Miss Julie Program University of Southern Maine USM Digital Commons Theatre Programs 1970-1989 Theatre Programs 2-1984 Miss Julie Program University of Southern Maine Department of Theatre Follow this and additional works at: https://digitalcommons.usm.maine.edu/theatre-programs-1970-1989 Part of the Theatre History Commons Recommended Citation University of Southern Maine Department of Theatre, "Miss Julie Program" (1984). Theatre Programs 1970-1989. 24. https://digitalcommons.usm.maine.edu/theatre-programs-1970-1989/24 This Program is brought to you for free and open access by the Theatre Programs at USM Digital Commons. It has been accepted for inclusion in Theatre Programs 1970-1989 by an authorized administrator of USM Digital Commons. For more information, please contact [email protected]. Russell Square Players present august strindberg' s CDISS·J\JLIE: ,="=' ·"<J General Information Performances Lost Articles Thursday through Saturday at 8:00 Inquire at the Box Office. p.m.; Sunday matinee the first weekend the show runs at 2:00 p.m. Telephone Reservations Russell Square Players The Box Office is open Monday Mail Orders through Saturday from 10:00 a.m. to present All mail orders should be sent to: The 4:00 p.m. The Box Office phone number Russell Square Players, Russell Hall, Uni­ is 780-5483. versity of Southern Maine, Gorham, Maine 04038, with a check or money order pay­ Concessions able to University of Maine. General ad­ The concession area is in the main Miss Julie mission $5.00, students $3.00. Please lobby. No food or drink in the audi­ inquire about group discounts. torium. by Rest Rooms Photographs One flight down from the main The taking of photographs in this entrance. theatre is strictly prohibited. August Strindberg Directed by Schedule Change Walter Stump Due to an unforeseen situation, the Square Players' final production. Unfor­ Scenic Design management of the Russell Square tunately, History of the American Film by Players wish to announce changes in the has been removed from circulation by Charles Kading season's program. its publishers for an undisclosed period King Alfred's College will be making of time pending negotiations for film Costume Design an exchange tour with a production to rights. In its place, we are pleased to an­ by USM late in March. They have changed nounce its replacement, The Matchmaker Cil Cutter their selection, and their company will by Thornton Wilder. The Matchmaker is be performing The Royal Pardon by John a delightful comedy of love and philo­ Arden. This play, with a cast of 14, sophy set in New York at the turn of had a successful and extended run in the the century. It is a proper play to herald London theater. our coming spring. A second change deals with Russell The taking of photographs, smoking, drinking, or eating is expressly prohibited within the theatre. ··---------···------------------------------- The Footnote August Strindberg (1849-1912), in age for regarding them as angels. Event­ by extracting the nourishing juices from playwright saw an example of the way his grander moments, saw himself as the ually his plays would show signs of his foods before serving them to him. in which the disintegration of the ruling modern equivalent of the Renaissance stringent bias towards women. However, He suffered from a kind of morbid class was taking place. This class was man. He believed that he had delved into Strindberg was not at any time a woman neatness, and felt that he was constantly weakened and diluted chiefly through the the mysteries of the universe, had traf­ hater; on the contrary, women fascinated defeated in his efforts at housekeeping. looseness of its women. The class was ficked with the dark powers, and had him and he found it impossible to resist A single word was enough to precipitate therefore destined to be overthrown acquired insight into the workings of them. But he eventually found them more a quarrel that might last a week. sooner or later by pressures from below, elemental forces. He was a rebel who interesting as a source of pain than of In 1884, Strindberg published some just as Julie was destroyed by forces defied humanity and bore the marks pleasure, and he sought to marry the short stories, one of which included some emanating from the servile types to whom of his lifelong struggle with God. He the kind of woman who would aid him in unorthodox observations on the subject she was chiefly attracted. Her shame, her believed he was a great Ii berator of his desire to suffer. of Christianity. The author was summoned ruin and that of her father, and the ex­ his time, a martyr, and a messiah. His His first attempt to state a male view to appear on the charge of impiety. He tinction of the line she was meant to scope was vast; his ambitions, cosmic. on the question of feminism came after stood trial and was acquitted. But his fear carry on were all representative incidents After becoming acquainted with reading Ibsen's A Doll's House. Nora, of persecution for his writings did not of the process through which the lower Nietzsche, he came to the realization its heroine, became an emancipated subside, and he became convinced that class would ultimately destroy and that he was a superman. He attributed woman when at the end of the play she the trial had been engineered by a secret supplant the nobility. the hostility he aroused in others as abandoned her husband and children organization of feminists who sought For his remaining twenty-five years, a necessary consequence of his pre­ rather than be a puppet who complied revenge for his earlier piece Sir Bengt's Strindberg led an uncomfortable, self­ eminence and his power. with her mate's whims. Strindberg Wife. These feminists, he suspected, tormented I ife just as he had while True, he was a genius, but a genius answered with the drama Sir Bengt's formed a vast international complex, writing Miss Julie. But regardless of his tormented into the creative act of writing. Wife, in which a woman, after being the ultimate goal of which was the en­ misogynistic attitudes and his paranoia, Each of his three major creative periods slapped by her husband for a childish slavement of men and the re-establish­ he was a playwright of genius who helped followed a separation from one of his act, leaves him only to return after ment of the prehistoric matriarchy. to lead his fellow dramatists first into three wives. To his mind, the human realizing that her duty and her real Strindberg wrote Miss Julie in 1888. theater of realism and later into theater female was a creature who literally desire are to live with him and her child. It was partially a product of his paranoia. of symbolism. defied the order of the universal plan. The play was controversial and raised In Julie's uncontrollable impulses, the In 1876, Strindberg married a young criticism. To answer his critics, Strindberg actress, Siri van Essen. Their union was wrote: "It is about time that people to be an enlightened, modern relation­ begin to trouble themselves-thanks to ship, a comradeship founded on equality a play by the celebrated Norwegian 29 Elm St. and independence. However, Siri's stage bluestocking (lbsen)-over that good career faltered, and she left the theater joke called the feminist question. Now (just off Main St.) after four years to devote herself to her all the soft minds suffer the monomania Gorham, Maine home and husband. Strindberg's plays of seeing oppressed females everywhere. of that period reflected the happy atmo­ As I refuse to be the dupe of this absurd 839-3354 sphere of his domestic life and a belief story, I am called a misogynist for the that the problems of existence found rest of my life." their solutions in love, work, and the home. With the skill of a born dramatist, But the atmosphere changed, and their he was able to arrange situations in real railroad the marriage began to disintegrate. However, life from which he could conclude that a •tation of 1800'•··· in 1882 Strindberg's attitude toward he was being drained intellectually and nou, a unique dininB esperience women was still reasonably objective. emotionally, that he was betrayed, He blamed the French libertinism of the insulted, robbed, and systematically eighteenth century for viewing women as driven into madness. For example, he dolls, and the blind gallantry of his own was convinced that his cook starved him Steaks • Seafood • Cocktails PORT BAKEHOUSE The Cast 773-2217 ~ Miss Julie ................................ Terry Drew ,g,oLLA.a ob Kristin. ..........Karen Rogers -v-V -~~ Jean .................................... Bill Duffy HONEST BREADS ... 'r59W ltl"° ~ i The Townspeople £., ~ ~ EXTRAORDINARY PASTRIES Gigi Antonakos 434 FORE STREET, PORTLAND Victoria A. Charity Sheila Curtis Seth Minton '4.t,l: ao'tf&'t) Kelly Reynolds THE Philip A. Smith BAKERS TABLE Harold Withee Enthusiastically Supports the Arts in Greater Portland * * * The action of the play takes place in the kitchen of the Count's 1111 manor house on Midsummer Eve in Sweden in the 1880s. ·775-0303 Creative cuisine GORHAM4@ Gt1111l c.ot1'Jtll\tt1<.l SAVINGS p·s L~~~~~~ 6 64 Main Street I Gorham. Maine I 839-3342 Of f6l\llt'S iitTl c.llll Standish Branch I Route 25 I 642-4200 I tU,\f,os11ots Oil tllll\ Off\tt. \'Jlt:.\'Jl628S r=OIC Member FDIC Production Staff The Producing Company Walter R. Stump (Director) A native of Theatre Manager .. .. Eileen T. Sanborn Southern California, Stump began his Business Manager .. .. Susan D. Beaulieu theatrical and writing careers at San Stage Manager ...
Load more

Recommended publications
  • "Infidelity" As an "Act of Love": Patrick Marber's After Miss Julie (1995) As a Rewrite of August Strindberg's Miss Julie (1888)
    "Infidelity" as an "Act of Love": Patrick Marber's After Miss Julie (1995) as a Rewrite of August Strindberg's Miss Julie (1888). مسـرحيــة After Miss Julie للكاتب البريطاني باتريك ماربر كإعادة إبداع لمسرحية Miss Julie للكاتب السويدي أوجست ستريندبرج Dr. Reda Shehata associate professor Department of English - Zagazig University د. رضا شحاته أستاذ مساعد بقسم اللغة اﻹنجليزية كلية اﻵداب - جامعة الزقازيق "Infidelity" as an "Act of Love" Patrick Marber's After Miss Julie (1995) "Infidelity" as an "Act of Love": Patrick Marber's After Miss Julie (1995) as a Rewrite of August Strindberg's Miss Julie (1888). Abstract Depending on Linda Hutcheon's notion of adaptation as "a creative and interpretative act of appropriation" and David Lane's concept of the updated "context of the story world in which the characters are placed," this paper undertakes a critical examination of Patrick Marber's After Miss Julie (1995) as a creative rewrite of August Strindberg's Miss Julie (1888). The play appears to be both a faithful adaptation and appropriation of its model, reflecting "matches" for certain features of it and "mismatches" for others. So in spite of Marber's different language, his adjustment of the "temporal and spatial dimensions" of the original, and his several additions and omissions, he retains the same theme, characters, and—to a considerable extent, plot. To some extent, he manages to stick to his master's brand of Naturalism by retaining the special form of conflict upon which the action is based. In addition to its depiction of the failure of post-war class system, it shows strong relevancy to the spirit of the 1990s, both in its implicit critique of some aspects of feminism (especially its call for gender equality) and its bold address of the masculine concerns of that period.
    [Show full text]
  • Preliminary Pages
    Distribution Agreement In presenting this thesis as a partial fulfillment of the requirements for a degree from Emory University, I hereby grant to Emory University and its agents the non-exclusive license to archive, make accessible, and display my thesis in whole or in part in all forms of media, now or hereafter known, including display on the world wide web. I understand that I may select some access restrictions as part of the online submission of this thesis. I retain all ownership rights to the copyright of the thesis. I also retain the right to use in future works (such as articles or books) all or part of this thesis. Signature: Leesa Haspel April 14, 2010 Becoming Miss Julie: A Study in Practical Dramaturgy by Leesa Haspel Adviser Donald McManus Department of Theater Studies Donald McManus Adviser Lisa Paulsen Committee Member Joseph Skibell Committee Member April 14, 2010 Becoming Miss Julie: A Study in Practical Dramaturgy By Leesa Haspel Adviser Donald McManus An abstract of A thesis submitted to the Faculty of Emory College of Arts and Sciences of Emory University in partial fulfillment of the requirements of the degree of Bachelor of Arts with Honors Department of Theater Studies 2010 Abstract Becoming Miss Julie: A Study in Practical Dramaturgy By Leesa Haspel This paper serves to document and reflect upon an actor’s experience using research to inform and develop a role. Theater Emory’s 2009 production of Miss Julie serves as the case study, describing the process of creating the titular role. An overview of the history of dramaturgy, a dramaturgical protocol, exploration of relevant acting styles, analysis of the Theater Emory production, and personal reflection on the experience of developing Miss Julie cohere to create a guide advocating the use of practical dramaturgy in contemporary acting.
    [Show full text]
  • Fröken Julie: Teatrografias
    TÂNIA FILIPE E CAMPOS Fröken Julie: teatrografias. Importação de modelos teatrais e literários Tese de Doutoramento em Estudos Teatrais apresentada à Universidade de Évora, sob a orientação da Professora Doutora Christine Zurbach e co-orientação do Professor Doutor Gonçalo Vilas-Boas Évora / 2012 Esta tese inclui as críticas e sugestões feitas pelo júri Este programa de doutoramento foi apoiado com uma bolsa de investigação pela Fundação para a Ciência e a Tecnologia Contactos: Universidade de Évora Instituto de Investigação e Formação Avançada - IIFA Palácio do Vimioso | Largo Marquês de Marialva, Apart. 94 7002-554 Évora | Portugal Tel: (+351)1 266 706 581 Fax: (+351) 266 744 677 email: [email protected] Fröken Julie: teatrografias. 2 Índice Fröken Julie: theatrographies. Theatrical and literary importation of role models into Portugal. ABSTRACT This study intends to characterize the presence of August Strindberg’s dramaturgy in Portugal, through reception theory of Fröken Julie. It outlines the dynamics of Portuguese theatrical creation since the play was performed in 1960 until its last register on national stage, in 2011. It is also relevant to consider the play writing concerning its cultural context, as well as the impact it has had in Europe and in the USA. According to the specific nature of this master piece, some other transpositions were also considered in relevant approach. Analysing a specific set of Portuguese we were lead to conclusions concerning the ways of staging and creating drama in Portugal through direct or indirect importation of theatrical and literary models, distinguishing the cultural features of texts and the fact that source and target domains are both dependent, in a generic-level, on particular and specific elements.
    [Show full text]
  • Contemporary
    LISA FITZPATRICK RAPE ON THE Contemporary STAGE Rape on the Contemporary Stage Lisa Fitzpatrick Rape on the Contemporary Stage Lisa Fitzpatrick University of Ulster Derry, UK ISBN 978-3-319-70844-7 ISBN 978-3-319-70845-4 (eBook) https://doi.org/10.1007/978-3-319-70845-4 Library of Congress Control Number: 2017959599 © The Editor(s) (if applicable) and The Author(s) 2018 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the pub- lisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional
    [Show full text]
  • After Miss Julie” by Patrick Marber, 1995, After Strindberg
    Educational material: “After Miss Julie” By Patrick Marber, 1995, after Strindberg Lektor: Birgitte Holm Halkjær Birkerød Gymnasium, HF og IB That-theatre Company spring 2017 A study of the original “Miss Julie” Task: In pairs. Search google and find out who wrote “Miss Julie, 1888”? Task: In pairs. Search google and find out what did the original “Miss Julie” deal with? Write down a brief summary of the original “Miss Julie”. 1 Task: In pairs. Translate into Danish: “Strindberg´s work in the theatre was largely written in revolt against contemporary social conventions and was startlingly modern and radical for the time”. Try and apply that statement to Strindberg´s play “Miss Julie”. A study of the author of “After Miss Julie” Task: In pairs. Comment on the title of the play that you are about to read and work with in class. Why do you think the play is called “After Miss Julie”? While reading the play find out if there is any direct reference to the title? Task: In pairs, translate the following into Danish: “Patrick Albert Crispin Marber is an English comedian, playwright, director, puppeteer, actor and screenwriter. After working for a few years as a stand-up comedian, Marber was a writer and cast member on radio shows…”. In pairs, 2 search google and find out more about Marber and his life and works. Next, write a little more about Patrick. A study of Strindberg versus Marber Task: In pairs. Compare and contrast the play “Miss Julie” with the play “After Miss Julie”. How is the “free-spirit” of Strindberg´s play, “Miss Julie”, presented in Marber´s play “After Miss Julie” ? Any similarities/ differences between Strindberg´s play and Marber´s play? Both when it comes to content and form.
    [Show full text]
  • The Cambridge Companion to August Strindberg Edited by Michael Robinson Frontmatter More Information
    Cambridge University Press 978-0-521-60852-7 - The Cambridge Companion to August Strindberg Edited by Michael Robinson Frontmatter More information the cambridge companion to august strindberg August Strindberg is one of the most enduring of nineteenth-century dramatists, and is also an internationally recognized novelist, autobiographer and painter. This Companion presents contributions by leading international scholars on different aspects of Strindberg’s highly colourful life and work. The essays focus primarily on his most celebrated plays; these include the naturalist dramas, The Father and Miss Julie; the experimental dramas with which he created a true modernist theatre – To Damascus and A Dream Play; and the Chamber Plays of 1908 which, like so much of his work, exerted a powerful influence on later twentieth-century drama. His plays are contextualized for what they contribute both to the history of drama and developments in theatre practice, and other essays clarify the enormous importance to these dramas of his other work, most notably the autobiographical novel Inferno, and his lifelong interest in science, the occult, sexual politics and the visual arts. michael robinson is Professor Emeritus of Drama and Scandinavian Studies at the University of East Anglia, Norwich. He is the author of Strindberg and Autobiography (1986) and Studies in Strindberg (1998), and has translated a two-volume selection of Strindberg’s letters (1992), a collection of his essays (1996) and five of the plays (1998). He has edited five volumes of essays on Strindberg and Ibsen, and is also the General Editor of the Cambridge Plays in Production series. His three-volume International Annotated Bibliography of Strindberg Studies was published by the MHRA in 2008.
    [Show full text]
  • All Throughout Time Money Has Played a Central Part in the Lives of People
    All throughout time money has played a central part in the lives of people. Money is the commodity that sustains people, but also has the power to kill as well. This is clearly evident in the plays “A Dolls House” by Henrik Ibsen and “Miss Julie” by August Strindberg even though both plays were written by different authors and had no acquaintances with each other. In both plays even though money is portrayed in the same manner, but by analysis of the speech of the different characters one can see that Nora Helmer, the protagonist’s actions differ considerable from Jean, who is the antagonist even when their conducts are alike. One of the first things that one sees in both plays is the means both the major characters use to get the money. In Doll’s House, Nora has to lie to her husband about getting money as seen by her quote “and he was so ill, there was never any need to tell him (Ibsen 12).” When Nora states that she has borrowed money without Torvald knowing about it, her sentence structure clearly shows this. There as an increasing amount of repetition in her speech when she said “never (Ibsen 12)” three times. This repetition may be caused by her being nervous and also uncomfortable with it. On the other hand Jean in “Miss Julie” also uses mischievous means to get money from Miss Julie. In order to do this he has to lie and he does this feat quite comfortably when he states “I remember it was dangerous to sleep under an elder bush.
    [Show full text]
  • After Miss Julie Project Is Offered As an Addendum to Inga-Stina Ewbank’S Reflections on the Treception of Strindberg in England
    Michael Robinson Maid in England: Anglicizing Miss Julie his brief presentation of the BBC After Miss Julie project is offered as an addendum to Inga-Stina Ewbank’s reflections on the Treception of Strindberg in England. My own discussion of this topic and Strindberg’s failure to find either an adequate translator early on in the century (many of the first Strindberg translations were made from Emil Schering’s German edition rather than from the original Swedish) or an intermediary who could introduce him in England as Bernard Shaw did Ibsen are to be found in the introduction to my recent volume of Studies in Strindberg (Norwich: Norvik Press, 1998) and (in Swedish) in Björn Meidal, ed., August Strindberg och hans översättare (Stockholm, 1995). No acting tradition has emerged for the performance of Strindberg in England as it has for Ibsen and Chekhov, and the sheer range and variety of his dramatic production has opened the way to accusations of a lack of artistic control in his writing, in contrast to what is seen as the admirably consistent approach to playwriting of his Norwegian and Russian contemporaries. The one practitioner who might have introduced Strindberg to England, in an informed way at least on paper, was of course Edward Gordon Craig, but Strindberg had insulted him when Craig sought him out in Stockholm in 1906, and thus, like so many other opportunities in the anglicizing of Strindberg, this, too, was stillborn. Few of the prose works are known there and his other work (e.g. as a painter) remains to be discovered; indeed, even today, Strindberg has got little further in England beyond the somewhat unwelcoming port of Gravesend, where © TijdSchrift voor Skandinavistiek vol.
    [Show full text]
  • After Miss Julie
    presents AFTER MISS JULIE By Patrick Marber Directed by Elly Green Through September 26, 2015 Thu, Fri & Sat 8pm · Sun 4pm Tickets $28 ($24 senior) Jon Cole Media SYNOPSIS The sexual polics of master/servant boil over in this new take on the Strindberg classic, set in 1945 England. The Jeff-nominated director of Stage Le's Rabbit and Trap Door Theatre's The Woman Before makes her Strawdog debut with a play London Telegraph called "a white -hot night of theatrical intensity," by the Tony-winning author of Closer. PRODUCTION TEAM PLAYWRIGHT BIO Author: Patrick Marber Patrick Marber (1964 -) is a Brish comedian, Director: Elly Green playwright, director, actor and screenwriter. Set Design: Mike Mroch * His theater wring is known for confronng the Light Design: Claire Chrzan audience with the use of explosive language and Costume Design: Briany Dee Bodley * limit-pushing subject maer; but Marber is also Props Design: Jamie Karas lauded for his complex characterizaons, his Sound Design: Heath Hays * wiy use of dialogue, and his skill with narrave Dialects: Adam Goldstein structure. Dramaturge: Cassandra Rose Stage Manager: Emily Dillard Plays: Dealer's Choice (1995) Aer Miss Julie Producon Manager: Emmaline Keddy- (1995) Closer (1997) Howard Katz (2001) The Hector Musicians (2004) Don Juan in Soho (2006) The Red Lion (2015) CHARACTERS/CAST Anita Deely * as Chrisne John Henry Roberts * as John Maggie Scrantom as Julie Understudies: Scoe Caldwell and Nick Bonges AUGUST STRINDBERG AND THE ORIGINAL MISS JULIE Marber’s play is a fresh take August Strindberg’s Miss Julie (1888) which resets the story from a Swedish estate in the late 19th century to a manor house in post-war England on the night of the Labour Party’s victory in 1945.
    [Show full text]
  • El Fouadi, Kamal (1989) the Scope of Naturalism in British Working- Class Drama, with Particular Reference to Joe Corrie, D.H
    El Fouadi, Kamal (1989) The scope of naturalism in British working- class drama, with particular reference to Joe Corrie, D.H. Lawrence and Sean O'Casey. PhD thesis. http://theses.gla.ac.uk/3197/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] The Sco e of Naturalism In British Working-class Draina, With Particular Reference to Joe Corrie, D. M. Lawrence and Sean O'Casey. Thesis submitted to the University of Glasgow By KAMAL EL FOUADI in fulfilment of the requirements of the degree of Doctor of Philosophy. © K. EI FOUADI, 1989 Department of Theatre, Film and Television Studies. February, 1989 I For My Mother and Father M: Acknowledgements Firstly, and primarily, I would like to thank, Mr. G. Giesekam, for his conscientious supervision, perceptive criticism, and for all the time he sacrificed to read and comment upon my dissertation. I am also indebted to Professor J. MacDonald and Dr. A. Cameron for their generous assistance and advice. Professor A. Dunccan, Professor I.
    [Show full text]
  • Catalogue of New Plays 2016–2017
    PRESORTED STANDARD U.S. POSTAGE PAID GRAND RAPIDS, MI PERMIT #1 Catalogue of New Plays 2016–2017 ISBN: 978-0-8222-3542-2 DISCOUNTS See page 6 for details on DISCOUNTS for Educators, Libraries, and Bookstores 9 7 8 0 8 2 2 2 3 5 4 2 2 Bold new plays. Recipient of the Obie Award for Commitment to the Publication of New Work Timeless classics. Since 1936. 440 Park Avenue South, New York, NY 10016 Tel. 212-683-8960 Fax 212-213-1539 [email protected] OFFICERS Peter Hagan, President Mary Harden, Vice President Patrick Herold, Secretary David Moore, Treasurer Stephen Sultan, President Emeritus BOARD OF DIRECTORS Peter Hagan Mary Harden DPS proudly represents the Patrick Herold ® Joyce Ketay 2016 Tony Award winner and nominees Jonathan Lomma Donald Margulies for BEST PLAY Lynn Nottage Polly Pen John Patrick Shanley Representing the American theatre by publishing and licensing the works of new and established playwrights Formed in 1936 by a number of prominent playwrights and theatre agents, Dramatists Play Service, Inc. was created to foster opportunity and provide support for playwrights by publishing acting editions of their plays and handling the nonprofessional and professional leasing rights to these works. Catalogue of New Plays 2016–2017 © 2016 Dramatists Play Service, Inc. CATALOGUE 16-17.indd 1 10/3/2016 3:49:22 PM Dramatists Play Service, Inc. A Letter from the President Dear Subscriber: A lot happened in 1936. Jesse Owens triumphed at the Berlin Olympics. Edward VIII abdicated to marry Wallis Simpson. The Hindenburg took its maiden voyage. And Dramatists Play Service was founded by the Dramatists Guild of America and an intrepid group of agents.
    [Show full text]
  • Madama Butterfly
    LYRIC OPERA OF CHICAGO MADAMATHE THREE BUTTERFLY QUEENS 2019|20 SEASON In this issue Dan Rest Madama Butterfly | pp. 16-32 6 WELCOME TO YOUR LYRIC 40 RYAN OPERA CENTER 8 From the Chairman and the 42 Ryan Opera Center General Director alumni around the world 10 Board of Directors 42 Program staff 12 The power of opera 43 Ryan Opera Center contributors 16 PERFORMANCES 44 THANK YOU FOR 18 Title page and cast YOUR SUPPORT 19 Introduction 46 Production sponsors 20 Artist profiles 47 Aria Society 24 Orchestra & Chorus 59 Supporting our future — Todd Rosenberg Todd 28 Opera notes endowments at Lyric The power of opera | pp. 12-15 32 After the curtain falls 60 Faces of Lyric 63 Gift planning 34 BEYOND THE STAGE 66 Corporate partners 36 Lyric Unlimited – 68 Annual individual learning & creative engagement and foundation support 74 Commemorative gifts 76 THE COMPANY 76 Artistic roster 78 Lyric staff 80 Backstage life Lyric Opera of Chicago | 2 Paid ad Lyric Opera of Chicago | 3 Since 1991 Gail McGrath Tahira Merchant You can view this program Publisher & President Graphic Designer on your mobile device at Sheldon Levin lyricopera.org/programs Publisher & Director Joy Morawez of Finance Accounting For advertising information LISA MIDDLETON A. J. Levin Willie Smith call 847-770-4620. To see Executive Editor Director of Operations Supervisor Operations our Terms and Conditions Earl Love relating to advertising ROGER PINES Rand Brichta Operations orders, visit our website at Editor Arnie Hoffman Wilfredo Silva performancemedia.us. Account Managers Operations All contents copyrighted. MAGDA KRANCE Michael Hedge Steve Dunn All rights reserved.
    [Show full text]