603-357-2100 ~ Dear Something's Rotten In

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603-357-2100 ~ Dear Something's Rotten In

Dear Something’s Rotten in the State of Denmark Cast, Outstanding auditions everyone! I am so impressed with the talent that was in the room. You should all be proud of your work. You developed unique characters, mastered some challenging text, and most importantly, made us all laugh! You may not have received the part(s) that you wanted and feeling disappointed is ok. You were each placed in the role that will best benefit the show, highlight your many talents, and challenge you. Feel proud of yourselves and your castmates because together you will make a wonderful show. Please be sure to bring a pencil to class. We are adding and redistributing lines so that all of you can showcase your talents. On Thursday, we will do a read through and I will let you know of some changes we’re making to lines. I look forward to working with all of you! Congratulations! Laura “Transforming lives through movement and creative expression.” MoCo Arts ~ 40 Roxbury Street ~ Keene NH 03431 ~ 603-357-2100 ~ www.moco.org Something’s Rotten in the State of Denmark Cast List Character Student Fortinbras Kaylee Wigart Director Ciera Bailey Tom/Hamlet Chase Johnson Sound Tech Kennedy Smith Fairie Kaylah Johnson Bernardo Abby Morse Francisco Sophie Headings Marcellus Lily Fitzpatrick Horatio Alex Clayton Ghost Alexis Harvey King Claudius Hannah Driscoll-Carignan Laertes Maggie Shepherd Queen Gertrude Iris Kilton Polonius Eben Watson Ophelia Mia Plaskiewicz Messenger Kiera Keating Player 1 (King Claudius Double) Kaylee Wigart Player 2 (Queen Gertrude Double) Kennedy Smith Player 3 (King Hamlet Double) Cora Haines Rabbit Kaylah Johnson Old Lady Ciera Bailey Child Lily Fitzpatrick Royal Attendants Cora Haines, Kennedy Smith Referee Kennedy Smith Kaylee Wigart, Ciera Bailey, Kaylah Johnson, Kiera Keating, Abby Morse, Court Lily Fitzpatrick, Sophie Headings .

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Something Rotten DISCUSSION GUIDE
Something Rotten DISCUSSION GUIDE “One thing was for sure. Something was rotten in Denmark, Tennessee, and it wasn't just the stink from the paper plant..” - Horatio Wilkes About the Book Denmark,Tennessee stinks.Bad.The smell hits Olivia Mendelsohn is determined to clean up the Horatio Wilkes the moment he pulls into town to river-and the Prince family that's been polluting it for visit his best friend, Hamilton Prince.And it's not just decades. Hamilton's mom,Trudy Prince, just married the paper plant and the polluted Copenhagen River her husband's brother, Claude, and signed over half that's stinking up Denmark: Hamilton's father has of the plant and profits.And then there's Ford N. been poisoned and the killer is still at large. Branff,Trudy's old flame, who's waging a hostile takeover of Elsinore Paper. Why? Because nobody believes Rex Prince was murdered. Nobody except Horatio and Hamilton. Motive, means, opportunity--they all have them. But They need to find the killer before someone else who among them has committed murder most foul? dies, but it won't be easy. It seems like everyone's a If high school junior Horatio Wilkes can just get past suspect. Hamilton's hot, tree-hugging ex-girlfriend the smell, he might get to the bottom of all this. Pre-reading Questions for Discussion Activity Comprehension Why is Horatio the main character in Something Rotten, and not Pulp Shakespeare Hamilton? The character of Horatio Wilkes is inspired by noir Horatio is big on promises.Which promises does he keep, and detectives like Philip Marlowe which does he abandon? What are his reasons? and Sam Spade.
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By William Shakespeare | Directed by Annie Lareau
By William Shakespeare | Directed by Annie Lareau All original material copyright © Seattle Shakespeare Company 2015 WELCOME Dear Educators, Touring acting companies already had a long history in Shakespeare’s time. Before 1576, there were no theaters in England, and so all actors would travel from town to town to perform their plays. Travel was difficult in Elizabethan England. Not only was the travel slow, but there were dangers of getting attacked by thieves or of catching the plague! Traveling troupes of actors were sponsored by the nobility, who enjoyed the entertainment they provided. They would need a license from a Bailiff to be able to travel around England performing, and these licenses were only granted to the aristocracy for them to maintain their acting troupes. The actors also needed support from their patrons to be able to wear clothing of the nobility! England’s Sumptuary Laws prohibited anyone from wearing clothing above their rank unless they were given to them and approved by their noble patron. Today, much has changed in how we tour our Shakespearean plays, but there are still many similarities between our tour and those early acting troupes. We travel from town to town across the state of Washington, battling long drives, traffic, and snow in the mountain passes to get there safely and perform for the enjoyment of our audiences. We also could not do this tour without the generous support of our own sponsors, who help underwrite our travel, support scholarships for schools in need, and help us pay for costume and set upgrades. Just like the Elizabethan acting troupes, we could not do it without support from our generous, Shakespeare-loving patrons! Thank you for booking a Seattle Shakespeare Company touring show at your school.
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Poison and Revenge in Seventeenth Century English Drama
"Revenge Should Have No Bounds": Poison and Revenge in Seventeenth Century English Drama The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Woodring, Catherine. 2015. "Revenge Should Have No Bounds": Poison and Revenge in Seventeenth Century English Drama. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:17463987 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA “Revenge should have no bounds”: Poison and Revenge in Seventeenth Century English Drama A dissertation presented by Catherine L. Reedy Woodring to The Department of English in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of English Harvard University Cambridge, Massachusetts May 2015 © 2015 – Catherine L. Reedy Woodring All rights reserved. Professor Stephen Greenblatt Catherine L. Reedy Woodring “Revenge should have no bounds”: Poison and Revenge in Seventeenth Century English Drama Abstract The revenge- and poison- filled tragedies of seventeenth century England astound audiences with their language of contagion and disease. Understanding poison as the force behind epidemic disease, this dissertation considers the often-overlooked connections between stage revenge and poison. Poison was not only a material substance bought from a foreign market. It was the subject of countless revisions and debates in early modern England. Above all, writers argued about poison’s role in the most harrowing epidemic disease of the period, the pestilence, as both the cause and possible cure of this seemingly contagious disease.
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Hamlet As Shakespearean Tragedy: a Critical Study
SHAKESPEAREAN TRAGEDY HAMLET AS SHAKESPEAREAN TRAGEDY: A CRITICAL STUDY Rameshsingh M.Chauhan ISSN 2277-7733 Assistant Professor, Volume 8 Issue 1, Sardar Vallabhbhai Vanijya Mahavidyalaya,Ahmedabad June 2019 Abstract Hamlet is often called an "Elizabethan revenge play", the theme of revenge against an evil usurper driving the plot forward as in earlier stage works by Shakespeare's contemporaries, Kyd and Marlowe, as well as by the .As in those works avenging a moral injustice, an affront to both man and God. In this case, regicide (killing a king) is a particularly monstrous crime, and there is no doubt as to whose side our sympathies are disposed. The paper presents the criticism of Hamlet as Shakespearean tragedy. Keywords: Hamlet, Tragedy, Shakespeare, Shakespearean Tragedy As in many revenge plays, and, in fact, several of Shakespeare's other tragedies (and histories), a corrupt act, the killing of a king, undermines order throughout the realm that resonates to high heaven. We learn that there is something "rotten" in Denmark after old Hamlet's death in the very first scene, as Horatio compares the natural and civil disorders that occurred in Rome at the time of Julius Caesar's assassination to the disease that afflicts Denmark. These themes and their figurative expression are common to the Elizabethan revenge play genre in which good must triumph over evil.Throughout Hamlet we encounter a great deal of word play, Shakespeare using a vast number of multivalent terms ranging from gross puns to highly-nuanced words that evoke a host of diverse associations and images. While Hamlet can tell this difference between a "hawk and a handsaw," the play challenges the assumption that language itself can convey human experience or hold stable meaning.
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Irreverence and Play in Shakespearean Adaptations
Irreverence and Play in Shakespearean Adaptations Edited by Marina Gerzic (The University of Western Australia) and Aidan Norrie (The University of Warwick) Four hundred years after William Shakespeare’s death, his work continues to not only fill playhouses around the world, but also be adapted for various forms of popular culture, including film, television, comics and graphic novels, digital media, and fan cultures. These adaptations introduce a whole new generation of audiences to the work of Shakespeare, and are often fun, playful, engaging, and “irreverent, broadly allusive, and richly reimagined takes on their source material” (Cartelli and Rowe, New Wave Shakespeare on Screen, 2007, 1). Proposals are invited for chapters that engage with the various ways irreverence and play are used in Shakespearean adaptations. Accepted authors will draw out existing humour in Shakespeare works and/or, and as a pedagogical aid used to help explain complex language, themes, and emotions found in Shakespeare’s works, and more generally make Shakespeare ‘relatable’, and entertaining for twenty-first century audiences. Topics could include, but are not limited to: • Irreverence and play in media related to the “Shakespeare 400” celebrations in 2016: e.g. Shakespeare Live! “To Be, or Not to Be” skit; Horrible Histories: ‘Sensational Shakespeare.’ • Irreverence and play in “biographical” Shakespeare adaptations on stage and screen: e.g. Shakespeare in Love (1998); Bill (2015); Something Rotten! (2015); Upstart Crow (2016). • Irreverence and play in Shakespearean adaptations for the theatre: e.g. Andy Griffith's, Just Macbeth!; The Listies’, Hamlet: Prince of Skidmark; Reduced Shakespeare Company; Shit Faced Shakespeare; Something Rotten! • Irreverence and play in Shakespeare adaptations in children's and YA literature: e.g.
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Touring Spring 2020 Across the State of Washington by William Shakespeare | Directed by Ana María Campoy
Touring Spring 2020 Across The State of Washington By William Shakespeare | Directed by Ana María Campoy All original material copyright © 2020 Seattle Shakespeare Company CONTENT HAMLET Welcome Letter..........................................................................1 Plot and Characters...................................................................2 Articles Why Bilingual Shakespeare?................................................................3 About William Shakespeare.................................................................4 Theater Audiences: Then and Now.....................................................5 Educator Resource Guide Resource Educator At a Glance Modern Shakespeare Adaptations......................................................7 About the Play.......................................................................................8 Themes in Hamlet.................................................................................9 Soliloquies....................................................................................11 Our Production Director’s Notes..................................................................................12 Central Components of a Día de los Muertos Ofrenda/Altar............14 Activities Cross the Line: Quotes........................................................................15 Compliments and Insults...................................................................16 Cross the Line: Themes......................................................................17
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'Hamlet' Classic Stage Study Guide
DEAR TEACHERS, This study guide from the CSC archives was created by Kathleen Dorman, former CSC Director of Education. It’s packed full of information about Shakespeare, his language, the play, and our 2015 production of Hamlet Feel free to photocopy pages for your students! We’ve also included bonus lessons that correspond with each of our workshops. For more updates on CSC, we encourage you and your students to follow us on Instagram, Twitter, and Facebook @classicstage TABLE OF CONTENTS PART ONE: SHAKESPEARE’S LIFE AND THEATER William Shakespeare: An Illustrated Biography.................................................4 Elizabethan England....................................................................................................5 Growing Up Shakespeare...........................................................................................6 London City Living.........................................................................................................7 The Globe Theatre........................................................................................................10 PART TWO: THE PLAY Illustrated Plot Synopsis.............................................................................................12 Who’s Who?.....................................................................................................................14 Notes on the Play..........................................................................................................15 Quiz: Who are you in HAMLET?...................................................................................17
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Something Rotten! Educational Guide, Where Quills and Cre- KEVIN M
EDUCATIONAL GUIDE BOOK BY KAREY KIRKPATRICK B JOHN O'FARRELL MUSIC & LYRICS BY WAYNE KIRKPATRICK B KAREY KIRKPATRICK Conceived by Karey Kirkpatrick B Wayne Kirkpatrick Illustrations by Peter de Sève BOOK BY KAREY KIRKPATRICK B JOHN O’FARRELL MUSIC & LYRICS BY WAYNE KIRKPATRICK B KAREY KIRKPATRICK CONCEIVED BY KAREY KIRKPATRICK WAYNE KIRKPATRICK Kate Reinders and John Cariani B WRITTEN BY DEREK BOWLEY B VICHET CHUM CONTRIBUTING EDITORS MARTY JOHNSON MARIANNE PHELPS Welcome LAURA JO SCHUSTER PRODUCTION PHOTOS JOAN MARCUS DESIGN AND LAYOUT > HERE YE, HERE YE! Welcome to DANIELLE JOHNSON the Something Rotten! Educational Guide, where quills and cre- KEVIN M. JOHNSON ative minds rule, and there’s nothing wrong with going back SENIOR MANAGING EDITOR to school… in the Renaissance. Running eight performances a SUSAN FULLER week at the St. James Theatre on Broadway, Something Rotten! CREATED BY follows Nick and Nigel Bottom, a pair of writing brothers who are trying desperately to find the perfect story to put on the stage. The show imaginatively explores the intersection of Eliz- abethan drama and modern musicals while teaching lessons about overcoming obstacles and achieving true collaboration itheatrics.com and friendship. So, pack your quill and put on your tap shoes. Copyright iTheatrics 2015 Let’s head to the Renaissance! Brian d’Arcy James, Brad Oscar and company TABLE P CONTENTS > PREPRODUCTION > POSTPRODUCTION Theater Etiquette ......................................2 What Inspires the Something How to Use This Guide ............................2
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Something Rotten: Space, Place, and the Nation in Hamlet and As You Like It
Georgia College Knowledge Box English MA Theses Department of English Summer 6-28-2018 Something Rotten: Space, Place, and the Nation in Hamlet and As You Like It Mikaela LaFave Georgia College and State University, [email protected] Follow this and additional works at: https://kb.gcsu.edu/english Part of the Literature in English, British Isles Commons Recommended Citation LaFave, Mikaela, "Something Rotten: Space, Place, and the Nation in Hamlet and As You Like It" (2018). English MA Theses. 3. https://kb.gcsu.edu/english/3 This Thesis is brought to you for free and open access by the Department of English at Knowledge Box. It has been accepted for inclusion in English MA Theses by an authorized administrator of Knowledge Box. Georgia College Something Rotten: Space, Place, and the Nation in Hamlet and As You Like It By Mikaela LaFave M.A. Candidate A Thesis Submitted to the Graduate Faculty of The College of Arts and Sciences Department of English and Rhetoric Georgia College & State University June 2018 LaFave 2 LaFave 3 Acknowledgements “This above all: to thine own self be true.” Hamlet, 1.3.84 I would be remiss to pretend that this thesis simply sprang into being on its own (although at points, I sincerely wished it would). The contributions of mental (and emotional) effort from a great deal of people went into the creation of this thesis. I would first and foremost like to thank my advisor and mentor, Dr. Jenny Flaherty, for her insight and sage advice throughout this process, for keeping me focused on writing, for suggesting a myriad of edits, and for stopping me from writing the phrase "many critics" without shouting "WHAT CRITICS" into the void.
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The Contempt of Folly: Hamlet's View of Polonius
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1992 The Contempt of Folly: Hamlet's View of Polonius Louise Ann Long College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the English Language and Literature Commons, and the Theatre History Commons Recommended Citation Long, Louise Ann, "The Contempt of Folly: Hamlet's View of Polonius" (1992). Dissertations, Theses, and Masters Projects. Paper 1539625749. https://dx.doi.org/doi:10.21220/s2-9ach-1b65 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. THE CONTEMPT OF FOLLY: HAMLET'S VIEW OF POLONIUS A Thesis Presented to The Faculty of the Department of English The College of William and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master of Arts by Louise Long 1992 APPROVAL SHEET This thesis is submitted in partial fulfillment the requirements for the degree of Master of Arts Louise Long Approved, May 19 9 2 James B. Savage AsA a a /1^ Robert J. Fehrenbach Louis Lappin ACKNOWLEDGEMENTS The writer wishes to thank Professor James Savage, under whose guidance this investigation was conducted, for his enthusiasm, direction, and criticism throughout this project. Professor Savage's knowledge and ability to decipher the treasure map in Hamlet has led the author to a greater understanding and insight into Shakespeare.
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Elsie Walker
EnterText 1.2 ELSIE WALKER A “Harsh World” of Soundbite Shakespeare: Michael Almereyda’s Hamlet (2000) There has been an explosion of Shakespearean films since the mid-1990s: Richard Loncraine’s Richard III (1995), Oliver Parker’s Othello (1995), Adrian Noble’s A Midsummer Night’s Dream (1996), Baz Luhrmann’s Romeo + Juliet (1997), Michael Hoffman’s A Midsummer Night’s Dream (1999), Kenneth Branagh’s Hamlet (1997) and Love’s Labour’s Lost (2000), Julie Taymor’s Titus (2000) and Michael Almereyda’s Hamlet (2000) to name a few. Mark Thornton Burnett and Ramona Wray attribute this phenomenon in part to fin-de-siècle nostalgia.1 Some of these adaptations of ‘classic’ works are an antidote for the anxieties of the present: thus, many of the films (such as Hoffman’s Dream, Kenneth Branagh’s films) take place in an unspecified, romanticised past. However Luhrmann’s Walker: A “Harsh World” of Soundbite Shakespeare 317 EnterText 1.2 Romeo + Juliet and Almereyda’s Hamlet both feature a modern mise-en-scène, and they are more self-conscious re-evaluations of and dialogues with the past in the light of the present.2 In Luhrmann’s film, there is a central conflict between postmodernism and Romanticism. Luhrmann’s setting for Romeo + Juliet is an antagonistic, voracious city in which different cultures, texts, architectures, and personalities clash and jostle for supremacy. Romantic, metaphysical absolutes, like the love Romeo and Juliet seek to create and preserve, can not endure in this cinematic world. There is seemingly no possibility of an absolute, enduring ‘positive’ to counteract all the ‘negatives’ Luhrmann presents in his collage city of gangs, drugs, violence, oppressive media, intergenerational conflict, warring corporate owners, faithlessness, fragmentation, chaos and despair.3 Within Almereyda’s Hamlet there is a similar tension: Shakespeare’s words embody the kind of idealism and integrity that is impermissible or unbelievable in a broken, postmodern world.
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Cci6 1920.Pdf
CURTAIN CALL 1 2 CURTAIN CALL BEST LIVE THEATRE – Stamford Advocate 2018 ACE AWARD FOR EXCELLENCE IN THE ARTS – 2016 GOVERNOR’S AWARD FOR EXCELLENCE IN THE ARTS – 2011 Voted Fairfield County’s BEST LOCAL THEATRE GROUP – Ten Years Running! In Fairfield County Weekly Voted BEST PERFORMING ARTS GROUP – 2008 Through 2019 In StamfordPlus CURTAIN CALL, INC. 1349 Newfield Avenue, Stamford, CT 06905 203-329-8207 BOARD OF DIRECTORS TED YUDAIN, ESQ. CHAIR GORDON CASAGRANDE VICE CHAIR WILLIAM SQUIER SECRETARY JOHN ATKIN TREASURER DIANE ARDITTI TERRY BLANK GEORGE BRADT DOMINICK BRIA TOM DESALVO JOANN LATORRACA THOMAS M. ORMOND JAMI SHERWOOD KEVIN THOMPSON SEYMOUR WEINSTEIN, ESQ. LOU URSONE EXECUTIVE DIRECTOR PETER BARBIERI, JR. ASSOCIATE ARTISTIC DIRECTOR BRIAN BIANCO EDUCATION DIRECTOR MEGAN LATTE ORMOND RESIDENT WARDROBE MANAGER GAIL YUDAIN OFFICE MANAGER LISA DIDONATO, JEFF KARWOSKY BOX OFFICE MANAGERS MEREDITH WALKER BOX OFFICE STAFF JAMIE LAJOIE TECHNICAL DIRECTOR MARC URSONE PRODUCTION ASSISTANT STEPHEN EMERICK DIGITAL MEDIA MANAGER CURTAIN CALL 3 4 CURTAIN CALL EXECUTIVE DIRECTOR’S WELCOME “Something wicked this way comes.” William Shakespeare: Macbeth Something wickedly funny, if I do say so myself! Welcome to the Fairfield County premiere of this wonderfully funny new musical. I enjoyed this show on Broadway so much that I couldn’t wait for it to become available for us to produce, so I was thrilled that we were offered the early release on it, like we have had withMamma Mia, Elf, Kinky Boots and more. Knowing that the licensing agency trusts us to present their shows first, is very rewarding. Something Rotten gives us something to really laugh at...always good in the dark of winter..
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