Modernism and Social Condition: a Study on Harold Pinter's The

Total Page:16

File Type:pdf, Size:1020Kb

Modernism and Social Condition: a Study on Harold Pinter's The ISSN 1923-1555[Print] Studies in Literature and Language ISSN 1923-1563[Online] Vol. 4, No. 3, 2012, pp. 40-45 www.cscanada.net DOI:10.3968/j.sll.1923156320120403.2355 www.cscanada.org Modernism and Social Condition: A Study on Harold Pinter’s The Homecoming Siamak Babaee[a]; Ruzbeh Babaee[b],*; Morteza Habibi Nesami[b] [a] Department of English Language and Literature, Kashan University, perspective that generally shaped our culture beginning Iran. in the fourth century. In this view God was the defining [b] Faculty of Modern Languages and Communication, University Putra Malaysia, Malaysia. reality out of which our understanding of Self, Others, and * Corresponding author. the universe was derived. The Self was subject to God, governed by virtue, alongside Others was concerned with Received 22 March 2012; accepted 25 May 2012 the relationships of self-giving and service, and served by creation. Then began a shift of worldviews, a lurching Abstract transition starting with the Renaissance and culminating The present study pursues the evolution of an organized during the time known as the Enlightenment. Over that system of play writing known as the modern and time humanity and the physical world began to loom contemporary social drama. It is believed that this ever larger, moving more and more into the center of the social drama has its roots in the condition of life in the picture, while God –– initially relegated to the fringes –– nineteenth century and in a larger sense, it is the inevitable was eventually lopped out of the picture altogether. When consequence of a long process which has begun with the dust settled, we found ourselves looking through the Renaissance. In relation to this inquiry, the present new glasses, standing within what came to be known study by focusing on Harold Pinter’s The Homecoming as the Modern worldview. A naturalistic worldview that (1965) attempts to clarify the social position of men and had no place for the supernatural, the Modern view was women in the modern drama. In this regard, the present dominated by Man and reason: Man, occupied center paper points briefly to the social condition of life in the stage, and reason, emerged as the new authority. Now the nineteenth century, and considers its inevitable effects on Self was alienated from God, governed by principles and our time and then depicts the reflection of that condition ethics, bound together in relationships of mutual benefit on modern social drama. with Others, and in a position of domination over the Key words: Social drama; Modernism; Nineteenth physical world. The effects of these two trends of social century; Social condition change are reflected in the modern and contemporary drama. According to Robert Brustein there are three Siamak Babaee, Ruzbeh Babaee, Morteza Habibi Nesami main categories in modern and contemporary drama as (2012). Modernism and Social Condition: A Study on Harold “messianic, social, and existential” (16). Pinter’s The Homecoming. Studies in Literature and Language, “Messianic drama occurs when the dramatis rebels 4 (3), 40-45. Available from URL: http://www.cscanada.net/ index.php/sll/article/view/j.sll.1923156320120403.2355 against God and tries to take his place. Social drama DOI: http://dx.doi.org/10.3968/j.sll.1923156320120403.2355 occurs when the dramatist rebels against the conventions, morals, and values of social organism. Existential drama occurs when the dramatis rebels against the conditions of his existence.” (Ibid.) What the present study is INTRODUCTION concerned with opening is to expose human degradation Up to the Modern history, western civilization has been and human corruption in modern and contemporary social shaped by two different major trends of making sense of drama. In the current language of psychology what the reality. The first, typically referred to as the Pre-Modern writer is seeking is an estimate of values, of changes in worldview, was the God-centered, biblically-based appreciation of what is worthwhile to humanity in modern Copyright © Canadian Academy of Oriental and Occidental Culture 40 41 Siamak Babaee; Ruzbeh Babaee; Morteza Habibi Nesami (2012). Studies in Literature and Language, 4(3), 40-45 world. This judgment is not an easy one, because there are be generally seen: our kindlier feelings toward the young yet many people in western world who believe in human lead us to allow our children all the enjoyment which is dignity, integrity, goodness, responsiveness, self-respect, within their reach (Findlay, 1960, p.146).” It is obvious and family organization. Therefore our generalization that the conflict between freedom and discipline cannot must be made with caution and truthfulness. This is be resolved by any formula; if it is good for human being particularly important when we attempt to include an to be “free” it is also good that he should accept control entire society in one drama, and as we approach our own and be trained to lead his desires in a right way. This time, the quicker becomes the change in society. In regard training must be done through the mass media, the press, to this judgment the present study points briefly to the the church, the politicians, and the manufacturers in the social condition of life in the nineteenth- century and its educational problems, and the people should acquire the definite effect on our time and then concerning the social arts of self-government. drama, Harold Pinter’s The Homecoming will be taken The nineteenth century with its new industrial system into consideration. and its assumption of control over human development committed a capital crime. In the old days young children were about the place with father or mother or sister or SOCIAL CONDITION IN THE servants, sometimes helping, sometimes working but always learning. After the Industrial Revolution, the NINETEENTH CENTURY young people were deprived of relationships with nature In the nineteenth century illiteracy became rarer with and had to find satisfaction in pictures and parks or in every decade. “The churches in contrast to the Catholic the cinemas; forbidden to employ their hands with wood world of medievalism, made direct effort to bring and earth and tools. They came to despise manual labor religious conviction within the inner circle of the and to look to clerical employment as a more worthy people’s experience, and their motives were to prepare mode of life. Moreover, the city of the twentieth century the people for their future, both in this temporal world needs inhabitants adapted to office, shop, warehouse, and their destiny beyond the grave” (Findlay, 1960, trades, most of which demand on the physical side far p.139). This effort has still remained, but the social milieu less muscular strength than their ancestors in the rural has changed. areas. The children brought up in this situation pay more Man is valued since the humanist movement of attention to sex because of the freer treatment of sexual the sixteenth century and the nineteenth century matters among their elders and in places of entertainment. is supplemented by an increasing desire to give Such freedom of license brings about difficulties that free play to the youngsters. There appeared the surround the society. general tendency towards an ideal of freedom for The crucial point in the disintegration of personality everybody called “sentiment of democracy (Find- starts when the system makes the children work from lay, 1960, p.143)”. As Rosseau has stated “that the their youth. In the old days the youth were always under child should be allowed to develop his natural powers, control. The years of early adolescence up to eighteen Wordsworth and other poets of his day gave an aesthetic were recognized as a period of development during which interpretation to the same philosophy (Findlay, 1960, both home and church and industry combined to keep p.144)”. Two trends of influence, one springing from the inexperienced youth within bounds. But the young love of liberty, the other from revolt against artifice and wage-earner is now emancipated. When girls and boys convention began to appear. received wages they became independent, and when Every living organism desires self-expression, desires to this was added superficial attractions of the crowd, to do as it likes, but in a generation before it was assumed the music hall, the streets, the bars, etc. the result was that this impulse must be repressed among human being extraordinary negative. until years of freedom were reached. Freedom to do as one It seems to us that the worst evils of the Industrial like involves the risk of doing what is evil, of indulging Revolution have been displayed in the release of self-regarding sentiments without restraint. The extension adolescence from that social control which civilization of this kind of freedom is a danger to democracy and it never abandoned until the nineteenth century. It is means confusion and anarchy. This revision of values in noticeable that after a few generations of boys and girls the society of the nineteenth century and its continuation passing through these critical years with encouragement in the twentieth century are the main sources that attract to independence, when grown to manhood, they find the modern and contemporary social dramatist’s attention. it hard to make a stable family by the perplexities Now, we intend to discuss more profoundly how this which now confront them, and they lose the sense abuse of freedom has operated on the minds of youths. of duty towards the family life. These are the main “In the old days social conventions led the parents to have points that cause the modern and contemporary social a warlike, hardy and disciplined attitude towards their dramatists concentrate on man in society, in conflict children.
Recommended publications
  • Fences Study Guide
    Pacific Conservatory Theatre Student Matinee Program Presents August Wilson’s Fences Generously sponsored by Franca Bongi-Lockard Nancy K. Johnson A Study Guide for Educators Welcome to the Pacific Conservatory Theatre A NOTE TO THE TEACHER Thank you for bringing your students to PCPA at Allan Hancock College. Here are some helpful hints for your visit to the Marian Theatre. The top priority of our staff is to provide an enjoyable day of live theatre for you and your students. We offer you this study guide as a tool to prepare your students prior to the performance. SUGGESTIONS FOR STUDENT ETIQUETTE Note-able behavior is a vital part of theater for youth. Going to the theater is not a casual event. It is a special occasion. If students are prepared properly, it will be a memorable, educational experience they will remember for years. 1. Have students enter the theater in a single file. Chaperones should be one adult for every ten students. Our ushers will assist you with locating your seats. Please wait until the usher has seated your party before any rearranging of seats to avoid injury and confusion. While seated, teachers should space themselves so they are visible, between every groups of ten students. Teachers and adults must remain with their group during the entire performance. 2. Once seated in the theater, students may go to the bathroom in small groups and with the teacher's permission. Please chaperone younger students. Once the show is over, please remain seated until the House Manager dismisses your school. 3. Please remind your students that we do not permit: - food, gum, drinks, smoking, hats, backpacks or large purses - disruptive talking.
    [Show full text]
  • The 200 Plays That Every Theatre Major Should Read
    The 200 Plays That Every Theatre Major Should Read Aeschylus The Persians (472 BC) McCullers A Member of the Wedding The Orestia (458 BC) (1946) Prometheus Bound (456 BC) Miller Death of a Salesman (1949) Sophocles Antigone (442 BC) The Crucible (1953) Oedipus Rex (426 BC) A View From the Bridge (1955) Oedipus at Colonus (406 BC) The Price (1968) Euripdes Medea (431 BC) Ionesco The Bald Soprano (1950) Electra (417 BC) Rhinoceros (1960) The Trojan Women (415 BC) Inge Picnic (1953) The Bacchae (408 BC) Bus Stop (1955) Aristophanes The Birds (414 BC) Beckett Waiting for Godot (1953) Lysistrata (412 BC) Endgame (1957) The Frogs (405 BC) Osborne Look Back in Anger (1956) Plautus The Twin Menaechmi (195 BC) Frings Look Homeward Angel (1957) Terence The Brothers (160 BC) Pinter The Birthday Party (1958) Anonymous The Wakefield Creation The Homecoming (1965) (1350-1450) Hansberry A Raisin in the Sun (1959) Anonymous The Second Shepherd’s Play Weiss Marat/Sade (1959) (1350- 1450) Albee Zoo Story (1960 ) Anonymous Everyman (1500) Who’s Afraid of Virginia Woolf Machiavelli The Mandrake (1520) (1962) Udall Ralph Roister Doister Three Tall Women (1994) (1550-1553) Bolt A Man for All Seasons (1960) Stevenson Gammer Gurton’s Needle Orton What the Butler Saw (1969) (1552-1563) Marcus The Killing of Sister George Kyd The Spanish Tragedy (1586) (1965) Shakespeare Entire Collection of Plays Simon The Odd Couple (1965) Marlowe Dr. Faustus (1588) Brighton Beach Memoirs (1984 Jonson Volpone (1606) Biloxi Blues (1985) The Alchemist (1610) Broadway Bound (1986)
    [Show full text]
  • Plays to Read for Furman Theatre Arts Majors
    1 PLAYS TO READ FOR FURMAN THEATRE ARTS MAJORS Aeschylus Agamemnon Greek 458 BCE Euripides Medea Greek 431 BCE Sophocles Oedipus Rex Greek 429 BCE Aristophanes Lysistrata Greek 411 BCE Terence The Brothers Roman 160 BCE Kan-ami Matsukaze Japanese c 1300 anonymous Everyman Medieval 1495 Wakefield master The Second Shepherds' Play Medieval c 1500 Shakespeare, William Hamlet Elizabethan 1599 Shakespeare, William Twelfth Night Elizabethan 1601 Marlowe, Christopher Doctor Faustus Jacobean 1604 Jonson, Ben Volpone Jacobean 1606 Webster, John The Duchess of Malfi Jacobean 1612 Calderon, Pedro Life is a Dream Spanish Golden Age 1635 Moliere Tartuffe French Neoclassicism 1664 Wycherley, William The Country Wife Restoration 1675 Racine, Jean Baptiste Phedra French Neoclassicism 1677 Centlivre, Susanna A Bold Stroke for a Wife English 18th century 1717 Goldoni, Carlo The Servant of Two Masters Italian 18th century 1753 Gogol, Nikolai The Inspector General Russian 1842 Ibsen, Henrik A Doll's House Modern 1879 Strindberg, August Miss Julie Modern 1888 Shaw, George Bernard Mrs. Warren's Profession Modern Irish 1893 Wilde, Oscar The Importance of Being Earnest Modern Irish 1895 Chekhov, Anton The Cherry Orchard Russian 1904 Pirandello, Luigi Six Characters in Search of an Author Italian 20th century 1921 Wilder, Thorton Our Town Modern 1938 Brecht, Bertolt Mother Courage and Her Children Epic Theatre 1939 Rodgers, Richard & Oscar Hammerstein Oklahoma! Musical 1943 Sartre, Jean-Paul No Exit Anti-realism 1944 Williams, Tennessee The Glass Menagerie Modern
    [Show full text]
  • Othello and Its Rewritings, from Nineteenth-Century Burlesque to Post- Colonial Tragedy
    Black Rams and Extravagant Strangers: Shakespeare’s Othello and its Rewritings, from Nineteenth-Century Burlesque to Post- Colonial Tragedy Catherine Ann Rosario Goldsmiths, University of London PhD thesis 1 Declaration I declare that the work presented in this thesis is my own. 2 Acknowledgements Firstly, I want to thank my supervisor John London for his immense generosity, as it is through countless discussions with him that I have been able to crystallise and evolve my ideas. I should also like to thank my family who, as ever, have been so supportive, and my parents, in particular, for engaging with my research, and Ebi for being Ebi. Talking things over with my friends, and getting feedback, has also been very helpful. My particular thanks go to Lucy Jenks, Jay Luxembourg, Carrie Byrne, Corin Depper, Andrew Bryant, Emma Pask, Tony Crowley and Gareth Krisman, and to Rob Lapsley whose brilliant Theory evening classes first inspired me to return to academia. Lastly, I should like to thank all the assistance that I have had from Goldsmiths Library, the British Library, Senate House Library, the Birmingham Shakespeare Collection at Birmingham Central Library, Shakespeare’s Birthplace Trust and the Shakespeare Centre Library and Archive. 3 Abstract The labyrinthine levels through which Othello moves, as Shakespeare draws on myriad theatrical forms in adapting a bald little tale, gives his characters a scintillating energy, a refusal to be domesticated in language. They remain as Derridian monsters, evading any enclosures, with the tragedy teetering perilously close to farce. Because of this fragility of identity, and Shakespeare’s radical decision to have a black tragic protagonist, Othello has attracted subsequent dramatists caught in their own identity struggles.
    [Show full text]
  • THE VISITOR March 24–May 10
    PRESS CONTACT: [email protected] // 212-539-8624 THE PUBLIC THEATER ANNOUNCES COMPLETE CASTING FOR WORLD PREMIERE MUSICAL THE VISITOR March 24–May 10 Music by Tom Kitt Lyrics by Brian Yorkey Book by Kwame Kwei-Armah & Brian Yorkey Choreography by Lorin Latarro Directed by Daniel Sullivan Joseph Papp Free Preview Performance Tuesday, March 24 February 13, 2020 – The Public Theater (Artistic Director, Oskar Eustis; Executive Director, Patrick Willingham) announced complete casting today for the world premiere musical THE VISITOR, with music by Pulitzer Prize winner Tom Kitt, lyrics by Pulitzer Prize winner Brian Yorkey, book by Kwame Kwei- Armah and Brian Yorkey, and choreography by Lorin Latarro. Directed by Tony Award winner Daniel Sullivan, this new musical will begin performances in the Newman Theater with a Joseph Papp Free Preview performance on Tuesday, March 24. THE VISITOR will run through Sunday, May 10, with an official press opening on Wednesday, April 15. The complete cast of THE VISITOR features Jacqueline Antaramian (Mouna), Robert Ariza (Ensemble), Anthony Chan (Ensemble), Delius Doherty (Ensemble), C.K. Edwards (Ensemble), Will Erat (Ensemble), Sean Ewing (Swing), Marla Louissaint (Ensemble), Ahmad Maksoud (Ensemble), Dimitri Joseph Moïse (Ensemble), Takafumi Nikaido (Ensemble/Drummer), Bex Odorisio (Ensemble), David Hyde Pierce (Walter), Paul Pontrelli (Ensemble), Lance Roberts (Ensemble), Ari’el Stachel (Tarek), and Stephanie Torns (Swing), with Alysha Deslorieux joining the company as Zainab, replacing the previously announced Joaquina Kalukango, who withdrew due to scheduling conflicts. With heart, humor, and lush new songs, Pulitzer Prize and Tony-winning team Tom Kitt and Brian Yorkey with Kwame Kwei-Armah bring their soul-stirring new musical based on the acclaimed independent film, THE VISITOR by Thomas McCarthy, to The Public for its world premiere.
    [Show full text]
  • TAMANAWAS 1991-1992 P136-167 Published by the Associated Students of the College of Puget Sound Tacoma, Washington
    TAMANAWAS 1991-1992 P136-167 Published by the Associated Students of the College of Puget Sound Tacoma, Washington Campus Happenings Campus Life Begins... Prelude and Passages After a tiring day of unpacking, meeting roommates, waiting in lines, and saying good-bye to parents, the newly arrived Freshmen attended Chautauquas to meet their new dormmates. The next day they expe- rienced the rigors of diagnostic test- ing and the fun of the Anderson/ Langdon dance. On Sunday, the Freshman class began the nationally recognized ori- entation program, Prelude and Pas- sages. Half of the Freshmen de- parted for Passages, while the sec- ond half stayed on campus for Pre- lude. Three days were spent in class- rooms to prepare students for the type of classwork that they would be expected to perform in their courses. They also met with their advisors and , registered for classes. Prelude wasn't all work. It also had its fair share of fun and games. The group was treated to a hypnotist, a marimba band, "Dreams and Fan- tasies," and Playfair. This Page: Top: Some 90-91 freshmen discuss their writing in one of the Prelude work sessions. Bottom: Kara Wood and Kerry Dunbar work together in their Prelude group. Opposite Page: Top Left: A 90-91 Pas- sages group discusses the day's events. Middle Left: New friends get to know each other better during the 90-91 Passages. Bottom Left: Some 91-92 backpackers, Kevin Vaughan-Brubaker, Erik Olson, Eric Sholnick, and others rest after backpacking. Below: 91-91 freshmen, Vera Divenyi, Jen- nifer Jackson, Becky Kneubuhl and Seth Donsler pose for apicture after a swim in the frigid Puget Sound.
    [Show full text]
  • MHS Textbook Inventory Form
    AP Literature & Composition Summer Assignment – Part 2 Students in English 12 AP Literature and Composition are required to complete a Senior Thesis paper, a substantial research project on a work of great literary merit that the student reads outside of class. The thesis has multiple components due throughout the year. Since text selection is an extremely important part of this process, the AP teachers want you to think about a work you might like to read and study in depth. The attached list consists of books recognized by the English Department and used by the College Board for AP exam creation and are thus suitable for your thesis. You are not required to read an additional text over the summer. Look over the list and come to school with five (5) texts you would be willing to work with throughout the year. AP Senior Thesis Books A The Adventures of Huckleberry Finn by Mark Twain (80, 82, 85, 91, 92, 94, 95, 96, 99, 05, 06, 07, 08, 11, 13) The Aeneid by Virgil (06) All the King’s Men by Robert Penn Warren (00, 02, 04, 07, 08, 09, 11) All My Sons by Arthur Miller (85, 90) The American by Henry James (05, 07, 10) Angels in America by Tony Kushner (09) Anna Karenina by Leo Tolstoy (80, 91, 99, 03, 04, 06, 08, 09) Anthony and Cleopatra by William Shakespeare (80, 91) As You Like It by William Shakespeare (92 05, 06, 10) Atonement by Ian McEwan (07, 11, 13) B A Bend in the River by V.
    [Show full text]
  • Modern Kurt Jooss,” Modern Drama 51.3 (Fall 2008) R
    Kate Elswit, “The Some of the Parts: Prosthesis and Function in Bertolt Brecht, Oskar Schlemmer, and MODERN Kurt Jooss,” Modern Drama 51.3 (Fall 2008) R. Darren Gobert, “Cognitive Catharsis in The Caucasian Chalk Circle,” Modern Drama 49.1 (Spring 2006) Drama Kim Solga, “Mother Courage and Its Abject: Reading the Violence of Identification,” Modern Drama 46.3 (Fall 2003) ESSENTIAL READINGS ON Elliott Turley, “‘Devour Him!’: Appetites, Politics, and the Foundations of the Epic in Bertolt Brecht’s ESSENTIAL PLAYWRIGHTS Edward II,” Modern Drama 59.4 (Winter 2016) From the Past Twenty Years of Modern Drama ANTON CHEKHOV Ian Carruthers, “Suzuki Tadashi’s ‘The Chekhov’: Three Sisters, The Cherry Orchard, and Uncle Vania,” Modern Drama 43.2 (Summer 2000) Shawn Kairschner, “Coercive Somatographies: X-rays, Hypnosis, and Stanislavsky’s Production Plan for The Seagull,” Modern Drama 51.3 (Fall 2008) John McKellor Reid, “Ivanov: The Perils of Typicality,” Modern Drama 49.1 (Spring 2006) Peta Tait, “Performative Acts of Gendered Emotions and Bodies in Chekhov’s The Cherry Orchard,” Modern Drama 43.1 (Spring 2000) Stuart Young, “Making the ‘Unstageable’ Stageable: English Rewritings of Chekhov’s First Play,” Modern Drama 52.3 (Fall 2009) CARYL CHURCHILL Sián Adiseshiah, “Revolution and the End of History: SAMUEL BECKETT Caryl Churchill’s Mad Forest,” Richard Begam, “How to Do Nothing with Words, or Waiting for Modern Drama 52.3 (Fall 2009) Godot as Performativity,” Modern Drama 50.2 (Summer 2007) Candice Amich, “Bringing the Global Home: The S. E.
    [Show full text]
  • Plays to Read for Furman Theatre Arts Majors
    1 PLAYS TO READ FOR FURMAN THEATRE ARTS MAJORS Aeschylus Agamemnon Greek 458 BCE Euripides Medea Greek 431 BCE Sophocles Oedipus Rex Greek 429 BCE Aristophanes Lysistrata Greek 411 BCE Menander The Dyskolos Greek 317 BCE Plautus Miles Gloriosus Roman c 200 BCE Terence The Brothers Roman 160 BCE Seneca Thyestes Roman 62 Kan-ami Matsukaze Japanese c 1300 anonymous Everyman Medieval 1495 Wakefield master The Second Shepherds' Play Medieval c 1500 Shakespeare, William Hamlet Elizabethan 1599 Shakespeare, William Twelfth Night Elizabethan 1601 Marlowe, Christopher Doctor Faustus Jacobean 1604 Jonson, Ben Volpone Jacobean 1606 Shakespeare, William The Tempest Jacobean 1610 Webster, John The Duchess of Malfi Jacobean 1612 Calderon, Pedro Life is a Dream Spanish Golden Age 1635 Moliere Tartuffe French Neoclassicism 1664 Wycherley, William The Country Wife Restoration 1675 Racine, Jean Baptiste Phedra French Neoclassicism 1677 Centlivre, Susanna A Bold Stroke for a Wife English 18th century 1717 Goldoni, Carlo The Servant of Two Masters Italian 18th century 1753 Gogol, Nikolai The Inspector General Russian 1842 Ibsen, Henrik A Doll's House Modern 1879 Strindberg, August Miss Julie Modern 1888 Shaw, George Bernard Mrs. Warren's Profession Modern Irish 1893 Wilde, Oscar The Importance of Being Earnest Modern Irish 1895 Chekhov, Anton The Cherry Orchard Russian 1904 Shaw, George Bernard Pygmalion Modern Irish 1912 Pirandello, Luigi Six Characters in Search of an Author Italian 20th century 1921 Wilder, Thorton Our Town Modern 1938 Brecht, Bertolt
    [Show full text]
  • Homecoming Festivities PAGES 2, 15
    THE News ................2-5 Features ...........6-9 A&E ............. 10-11 Opinion ........12-13 Sports .........14-15 Laker Living ......16 MerciadMERCYHURST UNIVERSITY | WEDNESDAY, OCTOBER 4, 2017 | VOL. 91 NO. 4 Homecoming festivities PAGES 2, 15 Online poll results What is your favorite fall activity? Pumpkin carving. (43%) Haunted houses and hayrides. (29%) 6: Mercyhurst’s Greg Baker speaks Corn mazes. (14%) about gender and spirituality What fall are you talking about? (14%) 11: Pilobolus to dance in the PAC This week’s What are you doing for INSIDE: $2 off coupon for Ghost fall break? Lake: 13 Levels of Fear POLL merciad.mercyhurst.edu PAGE 2 NEWS Wednesday, October 4, 2017 Mitch Marsh photo Students gather with faculty and alumni at the Homecoming pregame tailgate. Spirit hats, food and music from the athletic band got the crowd ready for the game versus Gannon. Hurst homecoming a hit By Lauren Rogus the boys. I don’t get to see them nominee, said, “My favorite thing Contributing writer very much. I live up in Canada about Homecoming is that fam- so I use my one weekend away ily can all come, too. I like that This past weekend, Mercy- to come away from work and it is not just a student thing, but hurst celebrated Homecoming back to school and enjoy with also a family thing and an alumni Weekend. Students, faculty, the kids,” said Kevan McDacen, thing and it is a big Mercyhurst staff and alumni alike crowded a marketing alumnus. family as well as your own family the campus for celebratory ac- Current students also felt that thing.” tivities.
    [Show full text]
  • AMADEUS Previews Begin Wednesday, September 4
    CONTACT: Nancy Richards – 917-873-6389 (cell) /[email protected] MEDIA PAGE: www.northcoastrep.org/press FOR IMMEDIATE RELEASE, PLEASE: NORTH COAST REPERTORY THEATRE SELECTS TONY WINNING MASTERPIECE AMADEUS TO BEGIN SEASON 38 ON A ROUSING NOTE By Peter Shaffer Performances Beginning Wednesday, September 4, 2019 NOW EXTENDED TO OCTOBER 6TH Directed by Richard Baird Solana Beach, Calif. – With the glorious music of Mozart as a backdrop, Peter Shaffer’s AMADEUS assures North Coast Repertory Theatre of a grand start to Season 38. The Tony winner for Best Play weaves the fascinating tale of composers Wolfgang Amadeus Mozart and Antonio Salieri. Told in a series of flashbacks laced with humor, intrigue and personal insight, AMADEUS examines two men – one consumed with jealousy; the other, blissfully unaware of his extraordinary gifts. Deemed “terrifically entertaining and highly theatrical” by The New York Times, this audience favorite deftly explores musical genius by a master playwright. Tickets are already going quickly, so order now. Richard Baird directs Tony Amendola,* Rafael Goldstein,* Kathryn Tkel,* Louis Lotorto,* Nick Kennedy, Andrew Oswald,*Andrew Barnicle,* Alice Sherman,* Christopher M. Williams,* and Leigh Ellen Akin in AMADEUS. The design team includes Marty Burnett (Scenic Design), Matthew Novotny (Lighting), Elisa Benzoni (Costumes), Philip Korth (Props) and Peter Herman (Hair and Wig Design). Aaron Rumley* is the Stage Manager. *The actor or stage manager appears through the courtesy of Actors’ Equity Association. For photos, go to www.northcoastrep.org/press. AMADEUS previews begin Wednesday, September 4. Opening Night on Saturday, September 7, at 8pm. A new Preview Matinee has been added on Friday, September 6 at 2pm and Wednesday, September 25 at 2pm.There will be a special talkback on Friday, September 13, with the cast and artistic director.
    [Show full text]
  • The Curious Incident of the Dog in the Night-Time
    PRESS CONTACTS: Jasmine Jiang, 240.670.8798 [email protected] Anna Mills Russell, 240.644.1386 [email protected] ROUND HOUSE THEATRE CONTINUES SEASON WITH ACCLAIMED COMING-OF-AGE JOURNEY THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME November 20 – December 22 at Round House Theatre Bethesda, Md. (October 7, 2019) – Round House Theatre continues its 2019-2020 Homecoming Season with Simon Stephens’ adaptation of Mark Haddon’s best-selling book, The Curious Incident of the Dog in the Night-Time (November 20 – December 22, 2019 in the newly renovated Round House Theatre), co-directed by Round House Artistic Director Ryan Rilette and Jared Mezzocchi. Please see below for complete program details and ticket information. Simon Stephens’ Olivier and Tony award–winning adaptation of Mark Haddon’s novel follows Christopher Boone, a 15-year-old mathematical genius who is exceptionally intelligent but has difficulty interpreting everyday life. He has never ventured alone beyond the end of his road, he detests being touched, and he distrusts strangers. When he falls under suspicion for killing his neighbor’s dog, however, Christopher sets out to identify the true culprit, leading to a thrilling journey of discovery about his family and his future. Curious Incident is a remarkable, visually stunning story that offers holiday audiences “a play that works on every level—crowd-pleasing, eye-opening, life-affirming and unmissable” (Time Magazine). The first of two productions in the Homecoming Season directed by Artistic Director Ryan Rilette, The Curious Incident of the Dog in the Night-Time also marks the return of Jared Mezzocchi, who previously designed projections for multiple Round House shows including last season’s hit political thriller Oslo, also directed by Rilette.
    [Show full text]