Savoring the Classical Tradition in Drama
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Directing and Assisting Credits American Theatre
917-854-2086 American and Canadian citizen Member of SSDC www.joelfroomkin.com [email protected] Directing and Assisting Credits American Theatre Artistic Director The New Huntington Theatre, Huntington Indiana. The Supper Club (upscale cabaret venue housing musical revues) Director/Creator Productions include: Welcome to the Sixties, Hooray For Hollywood, That’s Amore, Sounds of the Seventies, Hoosier Sons, Puttin’ On the Ritz, Jekyll and Hyde, Treasure Island, Good Golly Miss Dolly, A Christmas Carol, Singing’ The King, Fly Me to the Moon, One Hit Wonders, I’m a Believer, Totally Awesome Eighties, Blowing in the Wind and six annual Holiday revues. Director (Page on Stage one-man ‘radio drama’ series): Sleepy Hollow, Treasure Island, A Christmas Carol, Jekyll and Hyde, Dracula, Sherlock Holmes, Different Stages (320 seat MainStage) The Sound of Music (Director/Scenic & Projection Design) Moonlight and Magnolias (Director/Scenic Design) Les Misérables (Director/Co-Scenic and Projection Design) Productions Lord of the Flies (Director) Manchester University The Laramie Project (Director) Manchester University The Foreigner (Director) Manchester University Infliction of Cruelty (Director/Dramaturg) Fringe NYC, 2006 *Winner of Fringe 2006 Outstanding Excellence in Direction Award Thumbs, by Rupert Holmes (Director) Cape Playhouse, MA *Cast including Kathie Lee Gifford, Diana Canova (Broadway’s Company, They’re Playing our Song), Sean McCourt (Bat Boy), and Brad Bellamy The Fastest Woman Alive (Director) Theatre Row, NY *NY premiere of recently published play by Outer Critics Circle nominee, Karen Sunde *published Broadway Musicals of 1928 (Director) Town Hall, NYC *Cast including Tony-winner Bob Martin, Nancy Anderson, Max Von Essen, Lari White. -
Orson Welles's Deconstruction of Traditional Historiographies In
“How this World is Given to Lying!”: Orson Welles’s Deconstruction of Traditional Historiographies in Chimes at Midnight Jeffrey Yeager, West Virginia University ew Shakespearean films were so underappreciated at their release as Orson Welles’s Chimes at Midnight.1 Compared F to Laurence Olivier’s morale boosting 1944 version of Henry V, Orson Welles’s adaptation has never reached a wide audience, partly because of its long history of being in copyright limbo.2 Since the film’s debut, a critical tendency has been to read it as a lament for “Merrie England.” In an interview, Welles claimed: “It is more than Falstaff who is dying. It’s the old England, dying and betrayed” (qtd. in Hoffman 88). Keith Baxter, the actor who plays Prince Hal, expressed the sentiment that Hal was the principal character: Welles “always saw it as a triangle basically, a love story of a Prince lost between two father figures. Who is the boy going to choose?” (qtd. in Lyons 268). Samuel Crowl later modified these differing assessments by adding his own interpretation of Falstaff as the central character: “it is Falstaff’s winter which dominates the texture of the film, not Hal’s summer of self-realization” (“The Long Good-bye” 373). Michael Anderegg concurs with the assessment of Falstaff as the central figure when he historicizes the film by noting the film’s “conflict between rhetoric and history” on the one hand and “the immediacy of a prelinguistic, prelapsarian, timeless physical world, on the other” (126). By placing the focus on Falstaff and cutting a great deal of text, Welles, Anderegg argues, deconstructs Shakespeare’s world by moving “away from history and toward satire” (127). -
J Ohn F. a Ndrews
J OHN F . A NDREWS OBE JOHN F. ANDREWS is an editor, educator, and cultural leader with wide experience as a writer, lecturer, consultant, and event producer. From 1974 to 1984 he enjoyed a decade as Director of Academic Programs at the FOLGER SHAKESPEARE LIBRARY. In that capacity he redesigned and augmented the scope and appeal of SHAKESPEARE QUARTERLY, supervised the Library’s book-publishing operation, and orchestrated a period of dynamic growth in the FOLGER INSTITUTE, a center for advanced studies in the Renaissance whose outreach he extended and whose consortium grew under his guidance from five co-sponsoring universities to twenty-two, with Duke, Georgetown, Johns Hopkins, North Carolina, North Carolina State, Penn, Penn State, Princeton, Rutgers, Virginia, and Yale among the additions. During his time at the Folger, Mr. Andrews also raised more than four million dollars in grant funds and helped organize and promote the library’s multifaceted eight- city touring exhibition, SHAKESPEARE: THE GLOBE AND THE WORLD, which opened in San Francisco in October 1979 and proceeded to popular engagements in Kansas City, Pittsburgh, Dallas, Atlanta, New York, Los Angeles, and Washington. Between 1979 and 1985 Mr. Andrews chaired America’s National Advisory Panel for THE SHAKESPEARE PLAYS, the BBC/TIME-LIFE TELEVISION canon. He then became one of the creative principals for THE SHAKESPEARE HOUR, a fifteen-week, five-play PBS recasting of the original series, with brief documentary segments in each installment to illuminate key themes; these one-hour programs aired in the spring of 1986 with Walter Matthau as host and Morgan Bank and NEH as primary sponsors. -
The Relevance of Tennessee Williams for the 21St- Century Actress
Ouachita Baptist University Scholarly Commons @ Ouachita Honors Theses Carl Goodson Honors Program 2009 Then & Now: The Relevance of Tennessee Williams for the 21st- Century Actress Marcie Danae Bealer Ouachita Baptist University Follow this and additional works at: https://scholarlycommons.obu.edu/honors_theses Part of the American Film Studies Commons, and the Theatre and Performance Studies Commons Recommended Citation Bealer, Marcie Danae, "Then & Now: The Relevance of Tennessee Williams for the 21st- Century Actress" (2009). Honors Theses. 24. https://scholarlycommons.obu.edu/honors_theses/24 This Thesis is brought to you for free and open access by the Carl Goodson Honors Program at Scholarly Commons @ Ouachita. It has been accepted for inclusion in Honors Theses by an authorized administrator of Scholarly Commons @ Ouachita. For more information, please contact [email protected]. Then & Now: The Relevance of Tennessee Williams for the 21st- Century Actress Marcie Danae Bealer Honors Thesis Ouachita Baptist University Spring 2009 Bealer 2 Finding a place to begin, discussing the role Tennessee Williams has played in the American Theatre is a daunting task. As a playwright Williams has "sustained dramatic power," which allow him to continue to be a large part of American Theatre, from small theatre groups to actor's workshops across the country. Williams holds a central location in the history of American Theatre (Roudane 1). Williams's impact is evidenced in that "there is no actress on earth who will not testify that Williams created the best women characters in the modem theatre" (Benedict, par 1). According to Gore Vidal, "it is widely believed that since Tennessee Williams liked to have sex with men (true), he hated women (untrue); as a result his women characters are thought to be malicious creatures, designed to subvert and destroy godly straightness" (Benedict, par. -
Orson Welles: CHIMES at MIDNIGHT (1965), 115 Min
October 18, 2016 (XXXIII:8) Orson Welles: CHIMES AT MIDNIGHT (1965), 115 min. Directed by Orson Welles Written by William Shakespeare (plays), Raphael Holinshed (book), Orson Welles (screenplay) Produced by Ángel Escolano, Emiliano Piedra, Harry Saltzman Music Angelo Francesco Lavagnino Cinematography Edmond Richard Film Editing Elena Jaumandreu , Frederick Muller, Peter Parasheles Production Design Mariano Erdoiza Set Decoration José Antonio de la Guerra Costume Design Orson Welles Cast Orson Welles…Falstaff Jeanne Moreau…Doll Tearsheet Worlds" panicked thousands of listeners. His made his Margaret Rutherford…Mistress Quickly first film Citizen Kane (1941), which tops nearly all lists John Gielgud ... Henry IV of the world's greatest films, when he was only 25. Marina Vlady ... Kate Percy Despite his reputation as an actor and master filmmaker, Walter Chiari ... Mr. Silence he maintained his memberships in the International Michael Aldridge ...Pistol Brotherhood of Magicians and the Society of American Tony Beckley ... Ned Poins and regularly practiced sleight-of-hand magic in case his Jeremy Rowe ... Prince John career came to an abrupt end. Welles occasionally Alan Webb ... Shallow performed at the annual conventions of each organization, Fernando Rey ... Worcester and was considered by fellow magicians to be extremely Keith Baxter...Prince Hal accomplished. Laurence Olivier had wanted to cast him as Norman Rodway ... Henry 'Hotspur' Percy Buckingham in Richard III (1955), his film of William José Nieto ... Northumberland Shakespeare's play "Richard III", but gave the role to Andrew Faulds ... Westmoreland Ralph Richardson, his oldest friend, because Richardson Patrick Bedford ... Bardolph (as Paddy Bedford) wanted it. In his autobiography, Olivier says he wishes he Beatrice Welles .. -
Board of Trustees the City University of New York
BOARD OF TRUSTEES THE CITY UNIVERSITY OF NEW YORK BOARD COMMITTEE ON FACULTY, AGENDA STAFF AND ADMINISTRATION JUNE 7, 2017 I. ACTION ITEMS A. Approval of the Minutes of April 3, 2017 B. POLICY CALENDAR 1. Amendments to the Guidelines for Presidential Searches (I-B-1) 2. Amendments to the Charter for the Governance of Hunter College (I-B-2) 3. Amendment to the Governance Plan of Lehman College (I-B-3) 4. Naming of the Hannelore S. and Robert M. Bloch Commons at Hunter College (I-B-4) 5. Naming of the Elizabeth Hemmerdinger Screening Center at Hunter College (I-B-5) 6. Naming of the Dina Axelrad Perry Pool at Queens College (I-B-6) C. CHANCELLOR’S UNIVERSITY REPORT 1. Appointment of Anne Lopes as Interim Provost and Senior Vice President of Academic Affairs at John Jay College of Criminal Justice (I-C-1) 2. Appointment of Reza Fakhari as Vice President for Workforce Development and Strategic Community Partnerships at Kingsborough Community College (I-C-2) 3. Appointment of Nireata Seals as Interim Vice President for Student Affairs at LaGuardia Community College (I-C-3) 4. Appointment of Gregory Mosher as Professor of Theatre at Hunter College with Waiver of §6.2.b. of the Bylaws (I-C-4) 5. Appointment of Carla Shedd as Associate Professor of Urban Education at the CUNY Graduate School and University Center with Waiver of §6.2.b. of the Bylaws (I-C-5) 6. Appointment of Jacqueline Clark as Vice President for Finance and Administration at Medgar Evers College (I-C-6) II. -
Show Programs
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Ballets Russes Press
A ZEITGEIST FILMS RELEASE THEY CAME. THEY DANCED. OUR WORLD WAS NEVER THE SAME. BALLETS RUSSES a film by Dayna Goldfine and Dan Geller Unearthing a treasure trove of archival footage, filmmakers Dan Geller and Dayna Goldfine have fashioned a dazzlingly entrancing ode to the rev- olutionary twentieth-century dance troupe known as the Ballets Russes. What began as a group of Russian refugees who never danced in Russia became not one but two rival dance troupes who fought the infamous “ballet battles” that consumed London society before World War II. BALLETS RUSSES maps the company’s Diaghilev-era beginnings in turn- of-the-century Paris—when artists such as Nijinsky, Balanchine, Picasso, Miró, Matisse, and Stravinsky united in an unparalleled collaboration—to its halcyon days of the 1930s and ’40s, when the Ballets Russes toured America, astonishing audiences schooled in vaudeville with artistry never before seen, to its demise in the 1950s and ’60s when rising costs, rock- eting egos, outside competition, and internal mismanagement ultimately brought this revered company to its knees. Directed with consummate invention and infused with juicy anecdotal interviews from many of the company’s glamorous stars, BALLETS RUSSES treats modern audiences to a rare glimpse of the singularly remarkable merger of Russian, American, European, and Latin American dancers, choreographers, composers, and designers that transformed the face of ballet for generations to come. — Sundance Film Festival 2005 FILMMAKERS’ STATEMENT AND PRODUCTION NOTES In January 2000, our Co-Producers, Robert Hawk and Douglas Blair Turnbaugh, came to us with the idea of filming what they described as a once-in-a-lifetime event. -
My Fair Lady
TEACHER RESOURCE GUIDE Teacher Resource Guide by Sara Cooper LINCOLN CENTER THEATER AT THE VIVIAN BEAUMONT André Bishop Adam Siegel Producing Artistic Director Hattie K. Jutagir Managing Director Executive Director of Development & Planning in association with Nederlander Presentations, Inc. presents LERNER & LOEWE’S Book and Lyrics Music Alan Jay Lerner Frederick Loewe Adapted from George Bernard Shaw’s play and Gabriel Pascal’s motion picture “Pygmalion” with Lauren Ambrose Harry Hadden-Paton Norbert Leo Butz Diana Rigg Allan Corduner Jordan Donica Linda Mugleston Manu Narayan Cameron Adams Shereen Ahmed Kerstin Anderson Heather Botts John Treacy Egan Rebecca Eichenberger SuEllen Estey Christopher Faison Steven Trumon Gray Adam Grupper Michael Halling Joe Hart Sasha Hutchings Kate Marilley Liz McCartney Justin Lee Miller Rommel Pierre O’Choa Keven Quillon JoAnna Rhinehart Tony Roach Lance Roberts Blair Ross Christine Cornish Smith Paul Slade Smith Samantha Sturm Matt Wall Michael Williams Minami Yusui Lee Zarrett Sets Costumes Lighting Sound Michael Yeargan Catherine Zuber Donald Holder Marc Salzberg Musical Arrangements Dance Arrangements Robert Russell Bennett & Phil Lang Trude Rittmann Mindich Chair Casting Hair & Wigs Production Stage Manager Musical Theater Associate Producer Telsey + Company Tom Watson Jennifer Rae Moore Ira Weitzman General Manager Production Manager Director of Marketing General Press Agent Jessica Niebanck Paul Smithyman Linda Mason Ross Philip Rinaldi Music Direction Ted Sperling Choreography Christopher Gattelli Directed by Bartlett Sher The Jerome L. Greene Foundation is the Lead Sponsor of MY FAIR LADY. Major support is also generously provided by: The Blanche and Irving Laurie Foundation • Florence Kaufman The New York Community Trust - Mary P. Oenslager Foundation Fund • The Ted & Mary Jo Shen Charitable Gift Fund The Bernard Gersten LCT Productions Fund • The Peter Jay Sharp Foundation’s Special Fund for LCT with additional support from the National Endowment for the Arts. -
IN the NEXT ROOM Or the Vibrator Play
47th Season • 447th Production JULIANNE ARGYROS STAGE / SEPTEMBER 26 - OCTOBER 17, 2010 David Emmes Martin Benson PRODUCING aRTISTIC DIRECTOR aRTISTIC DIRECTOR presents IN THE NEXT ROOM or the vibrator play BY Sarah Ruhl John Arnone David Kay Mickelsen Daniel Ionazzi Jim Ragland SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN ORIGINaL MUSIC/SOUND DESIGN Philip D. Thompson Jackie S. Hill Kathryn Davies* DIaLECT COaCH PRODUCTION MaNaGER STaGE MaNaGER DIRECTED BY Casey Stangl Jean and Tim Weiss HONORaRY PRODUCERS Original Broadway Production by Lincoln Center Theater, New York City, 2009. IN THE NEXT ROOM or the vibrator play was originally commissioned and produced by Berkeley Repertory Theatre, Berkeley, CA, Tony Taccone, Artistic Director/Susan Medak, Managing Director. IN THE NEXT ROOM or the vibrator play was developed at New Dramatists. IN THE NEXT ROOM or the vibrator play is presented by special arrangement with SAMUEL FRENCH, INC. In the Next Room • SOUTH COAST REPERTORY P1 CAST OF CHARACTERS (In order of appearance) Catherine Givings .......................................................................... Kathleen Early* Dr. Givings ...................................................................................... Andrew Borba* Annie ...................................................................................................... Libby West* Sabrina Daldry ................................................................................. Rebecca Mozo* Mr. Daldry .......................................................................................... -
In 193X, Constance Rourke's Book American Humor Was Reviewed In
OUR LIVELY ARTS: AMERICAN CULTURE AS THEATRICAL CULTURE, 1922-1931 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Jennifer Schlueter, M.A. ***** The Ohio State University 2007 Dissertation Committee: Approved by Professor Thomas Postlewait, Adviser Professor Lesley Ferris Adviser Associate Professor Alan Woods Graduate Program in Theatre Copyright by Jennifer Schlueter c. 2007 ABSTRACT In the first decades of the twentieth century, critics like H.L. Mencken and Van Wyck Brooks vociferously expounded a deep and profound disenchantment with American art and culture. At a time when American popular entertainments were expanding exponentially, and at a time when European high modernism was in full flower, American culture appeared to these critics to be at best a quagmire of philistinism and at worst an oxymoron. Today there is still general agreement that American arts “came of age” or “arrived” in the 1920s, thanks in part to this flogging criticism, but also because of the powerful influence of European modernism. Yet, this assessment was not, at the time, unanimous, and its conclusions should not, I argue, be taken as foregone. In this dissertation, I present crucial case studies of Constance Rourke (1885-1941) and Gilbert Seldes (1893-1970), two astute but understudied cultural critics who saw the same popular culture denigrated by Brooks or Mencken as vibrant evidence of exactly the modern American culture they were seeking. In their writings of the 1920s and 1930s, Rourke and Seldes argued that our “lively arts” (Seldes’ formulation) of performance—vaudeville, minstrelsy, burlesque, jazz, radio, and film—contained both the roots of our own unique culture as well as the seeds of a burgeoning modernism. -
Speaking of Shakespeare OPENS at the CHICAGO SHAKESPEARE THEATER
Actor-Director-Playwright Keith Baxter To Talk About His Life in Theatre & Film Speaking of FEBRUARY 2000 FEBRUARY 2000 One of England’s Finest Dramatic Artists Will Reflect Upon ■ Shakespeare His Associations with Gielgud, Scofield, Welles, and Others DIALOGUES ABOUT THE PLAYWRIGHT A few weeks ago, in London’s historic MIDDLE TEMPLE HALL, our next guest on SPEAKING OF SHAKESPEARE held a 450-member audience spellbound as he AND HIS PLACE IN OUR LIVES TODAY recalled what it was like to work with Sir JOHN GIELGUD in 1966 in a justly famous Shakespearean film. At moments KEITH BAXTER seemed to become Presented by The Shakespeare Guild the actor who’d played his father in that evocative cinema. He recited the in league with The British Council, VOLUME 2, NUMBER 6 6 VOLUME 2, NUMBER ■ speech in Henry IV, Part 2, that ends with the old King saying “Uneasy lies The English-Speaking Union, the Head that wears a Crown,” and then he read a letter from Sir John to and The National Press Club, KENNETH BRANAGH, the young actor, director, and producer who was about and with generous support from the to receive the fifth annual GIELGUD AWARD. Naomi & Nehemiah Cohen Foundation In May, Mr. Baxter had played a similar role at Broadway’s BARRYMORE THEATRE, when he brought a congratulatory message from the trophy’s namesake to the 1999 Golden Quill laureate, Dame JUDI DENCH. At that WASHINGTON EDITION WASHINGTON ■ point Mr. Baxter was rehearsing Antonio for the SHAKESPEARE THEATRE pro- duction of The Merchant of Venice. This time he’ll be in rehearsal again, as director for the Theatre’s presentation of William Wycherley’s The Country Wife.