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TACT 2013-14 Brochure
Photo by Stephen Kunken Stephen by Photo Cynthia Harris in in Harris Cynthia Lost in Yonkers in Lost - WALL STREET JOURNAL STREET WALL - “COMPANY OF THE YEAR!” THE OF “COMPANY 2013/2014 SEASON 2013/2014 New York, NY 10003 NY York, New 900 Broadway, Suite 905 905 Suite Broadway, 900 2013/2014 SEASON PLAYS AS TIMELYAS THEY ARE TIMELESS “COMPANY OF THE YEAR!” - WALL STREET JOURNAL Lovers Cameron Scoggins & Justine Salata in Photo by Hunter Canning In its 20th anniversary season, TACT is named the Wall Street Journal’s “COMPANY OF THE YEAR!” HOW ou top that by picking an astounding roster of provocative Yand entertaining plays, you pack them with brilliant talent, DO and invite New York City’s smartest and most discerning theatre-goers to attend (that’s you, by the way). Our Mainstage season opens in September with a rare look at a YOU lost classic; William Inge’s intense and startlingly contemporary Natural Affection. Rarely seen anywhere since its brief Broad- way run in 1963, this urban domestic drama created controversy with its underlying incestuous and homosexual insinuations and TOP its dark implications of a dawning sexual revolution. We can’t think of a better way to kick-off our season than by celebrating the centennial of an iconic American playwright with the redis- THAT? covery of this overlooked and undervalued gem. We’re pairing this daring drama with an early masterpiece from the hilarious and outlandish Christopher Durang, whose most re- cent work, Vanya and Sonia and Masha and Spike, won the 2013 Tony Award for Best Play. -
Lisette Markham IMDB: Heyman Talent Agency 502-589-2540 [email protected]
Lisette Markham IMDB: www.imdb.me/lisettemarkham Heyman Talent Agency 502-589-2540 [email protected] Hair: Blonde Eyes: Blue Ht.: 5’1” Wt.: 168 FILM: The Ultimate Legacy Featured extra Hallmark Channel (Release 2016) Iyalana: Fix My Life Extra Harpo Studios (Release 2015) Intrusion: Disconnected Principal Frozen Mercury Productions (Release 2016) Wireface, “KNA-TV 13 News, September 27th, 2006”, Supporting Bob Rogers Group, prequel to movie 50 to 1 Extra Ten Furlongs Productions Secretariat Extra Walt Disney Productions In Mysterious Ways Supporting Inspiration Ink and Picture Company, Keep Your Distance Featured Blue and Grey Productions Grey Matters, Pilot Supporting Bryan Dobson, Director Republican Advice on Sex and Marriage Supporting Elliot Greenebaum Lunacy in Louisville Supporting Stu Pollard, Director Acts of God, Extra City on a Hill Productions, Not A Fan Extra City on a Hill Productions, H2O, “Clean” & “River” Supporting City on a Hill Productions, REGIONAL THEATER (Selected) The Christians Gospel Choir Actors Theater of Louisville Sound of Music Nun CenterStage Ain’t No Massa’ Over Me (4 productions) Miss Betsy/Mrs. SmithLouisville Entertainment Theatre Nutcracker-Sweet Murders Pistachia WhoDunnit Murder Mystery Theater Kiss Me Kate Ensemble As Yet Unnamed Theatre Company Pajama Game Mae Mummers and Minstrels Music Man (2 productions) Ethel Toffelmier / Maude Dunlap Music Theatre Louisville Mame Mrs. Upson Mummers and Minstrels Annie! (2 productions) Col. Francis Perkins Music Theatre Louisville Pirates of Penzance (2 -
Vanya and Sonia and Masha and Spike
VANYA AND SONIA AND MASHA AND SPIKE BY CHRISTOPHER DURANG DRAMATISTS PLAY SERVICE INC. VANYA AND SONIA AND MASHA AND SPIKE Copyright © 2014, Christopher Durang All Rights Reserved CAUTION: Professionals and amateurs are hereby warned that performance of VANYA AND SONIA AND MASHA AND SPIKE is subject to payment of a royalty. It is fully protected under the copyright laws of the United States of America, and of all countries covered by the International Copyright Union (including the Dominion of Canada and the rest of the British Commonwealth), and of all countries covered by the Pan-American Copyright Convention, the Universal Copyright Convention, the Berne Convention, and of all countries with which the United States has reciprocal copyright relations. All rights, including without limitation professional/amateur stage rights, motion picture, recitation, lecturing, public reading, radio broadcasting, television, video or sound recording, all other forms of mechanical, electronic and digital reproduction, transmission and distribution, such as CD, DVD, the Internet, private and file-sharing networks, information storage and retrieval systems, photocopying, and the rights of translation into foreign languages are strictly reserved. Particular emphasis is placed upon the matter of readings, permission for which must be secured from the Author’s agent in writing. The English language stock and amateur stage performance rights in the United States, its territories, possessions and Canada for VANYA AND SONIA AND MASHA AND SPIKE are controlled exclusively by DRAMATISTS PLAY SERVICE, INC., 440 Park Avenue South, New York, NY 10016. No professional or nonprofessional performance of the Play may be given without obtaining in advance the written permission of DRAMATISTS PLAY SERVICE, INC., and paying the requisite fee. -
The Mikado Program
GENEVA CONCERTS presents TheThe MikadoMikado Albert Bergeret, Artistic Director Saturday, September 24, 2011 • 7:30 p.m. Smith Opera House 1 GENEVA CONCERTS, INC. 2011-2012 SEASON Saturday, 24 September 2011, 7:30 p.m. New York Gilbert & Sullivan Players The Mikado Sunday, 11 December 2011, 3:00 p.m. Imani Winds A Christmas Concert This tour engagement of Imani Winds is funded through the Mid Atlantic Tours program of Mid Atlantic Arts Foundation with support from the National Endowment for the Arts. Friday, 2 March 2012, 7:30 p.m. Rochester Philharmonic Orchestra Christoph Campestrini, conductor Juliana Athayde, violin Music of Barber and Brahms Friday, 30 March 2012, 7:30 p.m. Brian Sanders’ JUNK Patio Plastico Plus Saturday, 28 April 2012, 7:30 p.m. Cantus On the Shoulders of Giants Performed at the Smith Opera House, 82 Seneca Street, Geneva, New York These concerts are made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature, and a continuing subscription from Hobart and William Smith Colleges. 2 GENEVA CONCERTS, INC. Saturday, September 24, 2011 at 7:30 p.m. The Mikado or, The Town of Titipu Libretto by Sir William S. Gilbert Music by Sir Arthur Sullivan First Performed at the Savoy Theatre, London, England, March 14, 1885 Stage Direction: Albert Bergeret & David Auxier Music Director: Albert Bergeret; Asst. Music Director: Andrea Stryker-Rodda Conductor: Albert Bergeret Scenic Design: Albère Costume Design: Gail J. Wofford & Kayko Nakamura Lighting Design: Brian Presti Production Stage Manager: David Sigafoose* Assistant Stage Manager: Annette Dieli DRAMATIS PERSONAE The Mikado of Japan .....................................................................Quinto Ott* Nanki-Poo (His son, disguised as a wandering minstrel) . -
May Lane 1-30.Qk:Layout 1
MayCoverFinal.qxd:Layout 1 5/6/10 10:58 AM Page 991 EDUCATION AND WORKFORCE DEVELOPMENT The ® LaneReportKENTUCKY’S BUSINESS NEWS SOURCE FOR 25 YEARS MAY 2010 $4.50 lanereport.com LANE ONE-ON-ONE: ED LANE Publisher of The Lane Report MayCoverFinal.qxd:Layout 1 5/6/10 10:58 AM Page 992 May Lane 1-30.qk:Layout 1 5/6/10 10:59 AM Page 1 May Lane 1-30.qk:Layout 1 5/6/10 10:59 AM Page 2 May Lane 1-30.qk:Layout 1 5/6/10 10:59 AM Page 3 May Lane 1-30.qk:Layout 1 5/6/10 10:59 AM Page 17 May Lane 1-30.qk:Layout 1 5/6/10 10:59 AM Page 5 May Lane 1-30.qk:Layout 1 5/6/10 10:59 AM Page 6 MAY The 2010 Lane Report ® Kentucky’s Business News Source For 25 Years Volume 25 Number 5 FEATURES 34 HIGH-IMPACT EDUCATION Centre College sets the bar high and tops it with a culture of enthusiastic achievement 38 RE-ENGINEERING STAFFING 34 Recessionary layoffs allow healthcare companies to sharpen their business processes 42 DEVELOPING AN ADVANTAGE Mayfield’s Mid-Continent University’s adult education program grows Kentucky grads by sending faculty to the students 42 DEPARTMENTS 10 Perspective 12 Fast Lane 24 Interstate Lane 26 Kentucky Intelligencer 28 Corporate Moves 29 On the Boards 31 Lane One-on-One: Ed Lane Publisher of The Lane Report 44 Legislative Wrapup 46 Opinion 48 Commentary 50 Viewpoint 52 Economic Commentary 54 The Lane List 56 Exploring Kentucky 58 Passing Lane 60 Kentucky People ON THE COVER Various covers of The Lane Report over the 25-year history of the publication. -
Danielle Erin Rhodes
Joshua Denning Height: 6' 0.5” Hair: Brown Weight: 167 Eyes: Brown NATIONAL AND INTERNATIONAL TOURS The Lion King (Germany) Simba (Adult) Julie Taymor, Dir. We Will Rock You (Switzerland) Britney Ben Elton, Dir. Dora The Explorer (1st National) Benny Nickelodeon/Clear Channel REGIONAL THEATER Priscilla Queen of the Desert Tick/Mitzi ZACH Theatre, Abe Reybold, Dir. Les Miserables Enjolras, u/s Jean Valjean ZACH Theatre, Matt Lenz, Dir. Next To Normal Dr. Fine/ Dr. Madden ZACH Theatre, Dave Steakley, Dir. Rent Angel ZACH Theatre, Dave Steakley, Dir. Hairspray Seaweed ZACH Theatre, Dave Steakley, Dir. Tommy The Lover ZACH Theatre, Dave Steakley, Dir. Gospel at Colonus Eteocles ZACH Theatre, Dave Steakley, Dir. White Christmas Ensemble ZACH Theatre, Nick Demos, Dir. Rent Benny Weston Playhouse, Bill Castellino, Dir. Carousel Billy Bigelow Mary Moody Northen Theatre, McKelvey, Dir. The Sound Of Music Captain Von Trapp Zilker Theatre Productions, M.S. Tatum, Dir. In The Blood Reverend D Black Arts Movement, Carla Nickerson, Dir. Jesus Christ Superstar Jesus Cultural Arts Playhouse, B. Grossman, Dir. Once On This Island Daniel Seaside Music Theatre, Harry Bright, Dir. Over Here! Sam Eifler Theatre, John Leffert, Dir. A Chorus Line Ritchie CCM Hot Summer Nights, Richard Hess, Dir. Oliver Ensemble CCM Hot Summer Nights, Richard Hess, Dir. Miss Saigon Ensemble Theatre Under The Stars, B. Lumpkin, Dir. West Side Story Pepe, u/s Bernardo Human Race Theatre Company, Moore, Dir. 7 Brides for 7 Brothers Caleb Music Theatre Louisville, John Leffert, Dir. Two By Two Ham Music Theatre Louisville, Jim Hesselman, Dir. Once Upon A Mattress The Jester Music Theatre Louisville, Jim Hesselman, Dir. -
2013-14Season Therapy Beyond
Scott Alan Evans, Cynthia Harris & Jenn Thompson Co-Artistic Directors VOLUME 21 No. 1 SUMMER 2013 the actors company theatre By COMPANY NEWS William Inge Directed By NEW SEASON ∙NEW LOOK ∙NEW SITE Jenn Thompson A violent love triangle that tests ACT’s 20th Anniversary season was the ties that bind. Ta benchmark in every way. The com- pany said “Happy Birthday” to itself with a special production of Happy Birthday by Anita Loos; it said “Goodbye” to Cathy By Bencivenga, its long-time and much be- Christopher loved General Manager; “Hello” to Christy Durang Ming-Trent its new General Manager; and Directed By Scott Alan Evans many many “Thank Yous” to the support- ers and contributors who helped make its Anniversary Spring Gala at the University BEYOND Club such an unmitigated success. It’s natural to use such a milestone year THERAPY as a pivot point to launch into the future. Life can be crazy. Therapy can help. The first revival of a long-lost classic. That is just what TACT is doing. We have a new logo and a new look – and will soon have a brand new website (coming late in the fall of 2014). And, of course, most important of all is the new season. Read all about it here, renew or become a new member, and check out what our compa- 2013-14 SEASON ny of actors has been up to. TACT welcomes Hilary Rainey to the staff Natural Affection, Beyond Therapy as our new Development Manager and Kathleen DeSilva, Danelle Feder, Andre Gonzalez, Caroline Kettig, Katherine Mc- Lennan, and Emma Thomasch, as mem- pposites attract, so they say. -
Anton Chekhov
PLAY GUIDE About ATC 1 Introduction to the Play 2 Meet the Characters 2 Meet the Playwright 3 Anton Chekhov 4 Chekhov: A Brief Overview 5 References and Glossary 8 Vanya and Sonia and Masha and Spike Play Guide written and compiled by Katherine Monberg, ATC Literary Associate, with assistance from April Jackson, Learning & Education Manager; Bryanna Patrick and Luke Young, Learning & Education Associates SUPPORT FOR ATC’S EDUCATION AND COMMUNITY PROGRAMMING HAS BEEN PROVIDED BY: APS Rosemont Copper Arizona Commission on the Arts Stonewall Foundation Bank of America Foundation Target Blue Cross Blue Shield Arizona The Boeing Company City Of Glendale The Donald Pitt Family Foundation Community Foundation for Southern Arizona The Johnson Family Foundation, Inc Cox Charities The Lovell Foundation Downtown Tucson Partnership The Marshall Foundation Enterprise Holdings Foundation The Maurice and Meta Gross Foundation Ford Motor Company Fund The Max and Victoria Dreyfus Foundation Freeport-McMoRan Copper & Gold Foundation The Stocker Foundation JPMorgan Chase The William L and Ruth T Pendleton Memorial Fund John and Helen Murphy Foundation Tucson Medical Center National Endowment for the Arts Tucson Pima Arts Council Phoenix Office of Arts and Culture Wells Fargo PICOR Charitable Foundation ABOUT ATC Arizona Theatre Company is a professional, not-for-profit theatre company This means all of our artists, administrators and production staff are paid professionals, and the income we receive from ticket sales and contributions goes right back into -
FINDING HUMOUR in the PAIN Directing Christopher Durang and Albert Innaurato’S the Idiots Karamazov
FINDING HUMOUR IN THE PAIN Directing Christopher Durang and Albert Innaurato’s The Idiots Karamazov by Chris McGregor B.A. Drama, Bishop’s University, Lennoxville, Quebec 1987 A THESIS SUBMITTED N PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF FiNE ARTS in The Faculty of Graduate Studies (Theatre) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) August, 2009 © Chris McGregor, 2009 Abstract Finding Humour in the Pain-Directing Christopher Durang and Albert limaurato’s Play, The Idiots Karamazov examines the preparation, research, pre-production and rehearsal processes that went into staging The Idiots Karamazov at the University of British Columbia’s Frederic Wood Theatre from March l9to 28, 2009. This paper is broken down into 4 chapters detailing my goals to achieve a successful and relevant production for today’s audience. My rehearsal process was to inspire and guide all artists involved to act upon their creative impulses and to make this production a collaborative effort. Chapter 1 includes a biography of both playwrights, outlining their influences and a brief historical account ofhow The Idiots Karamazov evolved from an 8mm student film to a full-length professional production at Yale Repertory Theater. Chapter 2 provides a directorial analysis of the text and detailed methods and philosophies in directing from several well-known academics and theatre artists. Chapter 3 is a detailed journal chronicling the pre-production process including several e-mail correspondences with playwright, Christopher Durang. Also included in this chapter are several entries detailing early meetings with designers, daily accounts of the rehearsal process, production meetings, and fmally a description of three performances I attended during the run. -
The Invisible Hand at ACT Encore Arts Seattle
Kurt Beattie Carlo Scandiuzzi Artistic Director Executive Director ACT – A Contemporary Theatre presents Beginning October 17, 2014 • Opening Night October 23, 2014 CAST Sydney Andrews* Nina Cynthia Jones* Cassandra Marianne Owen* Sonia William Poole Spike Pamela Reed* Masha R. Hamilton Wright* Vanya CREATIVE TEAM Kurt Beattie Director Carey Wong Scenic Designer Catherine Hunt Costume Designer Michael Wellborn Lighting Designer Brendan Patrick Hogan Sound Designer Jeffrey K. Hanson* Stage Manager Erin B. Zatloka* Rehearsal Stage Manager Ruth Eitemiller Production Assistant Evan Christian Anderson Assistant Lighting Designer Kathryn Stewart Directing Intern Running Time: This performance runs approximately two hours. There will be one 15-minute intermission. *Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. Vanya and Sonia and Masha and Spike is presented by special arrangement with Dramatists Play Service, Inc., New York. Originally produced on Broadway by: Joey Parnes, Larry Hirschhorn, Joan Raffe/Jhett Tolentino, Martin Platt & David Elliot, Pat Flicker Addiss, Catherine Adler, John O’Boyle, Joshua Goodman, Jamie deRoy/Richard Winkler, Cricket Hooper, Jiranek/Michael Palitz, Mark S. Golub & David S. Golub, Radio Mouse Entertainment, Shawdowcatcher Entertainment, Mary Cassette/Barbara Manocherian, Megan Savage/Meredith Lynsey Schade, Hugh Hysell/Richard Jordan, Cheryl Wiesenfeld/Ron Simons, S.D. Wagner, John Johnson in association with McCarter Theater Center and Lincoln Center Theater Originally commissioned and produced by McCarter Center Theater, Princeton, N.J. Emily Mann, Artistic Director; Timothy J. Shields, Managing Director; Mara Isaacs, Producing Director; and produced by Lincoln Center Theater, New York City under the direction of Andre Bishop and Bernard Gersten in 2012. -
Joshua Denning Curriculum Vitae
Austin, TX 78756 T 502.338.3116 [email protected] joshuadenning.net OVERVIEW HEAD OF THEATRE AT MCCALLUM FINE ARTS ACADEMY (2011-PRESENT) • Responsibilities include developing curriculum, recruiting qualified faculty members, student recruitment, teaching upper and lower level classes in acting, musical theatre styles, script analysis, musical theatre dance styles, theatre history, directing, playwriting, musical theatre history and literature. • Artistic stewardship of main stage production season. Season selection. Guest artist assignments, marketing, audience relations, community outreach and events. • Representation and advocacy for the department to the campus fine arts coordinator, principal, and the Austin Independent School District's districtwide fine arts coordinator. • Alumni relations and college placement. • Orientation and mentorship of new faculty, faculty development including determination of instructional deficiencies as outlined by the Texas Essential Skills and Knowledge curriculum requirements for performance musical and technical theater. • Direct three main stage shows per season as well as University Interscholastic League one act play competition entry and National High School Musical Theatre Awards show entry. FACULTY AT ZACH PERFORMING ARTS SCHOOL (2010-2011) • Instructor and director in the preprofessional program. Courses taught: triple threat, intermediate musical theater dance, musical theater audition intensive, intermediate musical theater dance intensive. PROFESSIONAL ACTOR IN CLASSIC AND POPULAR PLAYS AND MUSICALS IN INTERNATIONAL, REGIONAL, SUMMER STOCK, AND UNIVERSITY VENUES • Over 30 professional credits. EDUCATION AND TRAINING WRIGHT STATE UNIVERSITY- BFA, ACTING WITH A MUSICAL THEATRE EMPHASIS • Studies include: Acting- Joe Deer, Rocco DalVera, Sandra Crews, Mary Donahoe, Speech- Joey Bates, Sandra Crews, Voice- Mary Elizabeth Southworth, Joey Bates, Dance (ballet, tap, jazz, theatre dance styles) Joe Deer, Suzanne Walker, Jon Rodriguez, Greg Hellems. -
American Playwrights on Beckett
AMERICAN PLAYWRIGHTS ON BECKETT Jonathan Kalb he following remarks by American playwrights on the subject of Samuel Beckett were gathered during January and February, 2006, in the course of researching a New York Times article on Beckett’s influence, published on TMarch 26, 2006, in anticipation of Beckett’s centenary on April 13. Most of the writers quoted here are prominent enough not to need lengthy introductions, but I have appended lists of their major works at the end. For me, the chief surprise of these exchanges was that nearly every playwright I contacted—even those whose work suggested little obvious affinity with Beckett—had thought about him a great deal and had much of value to say. Their comments deserved preservation beyond the brief excerpts that could be quoted in the Times. The playwrights were initially contacted via e-mail and asked to respond to the fol- lowing questions. Some chose to answer in recorded interviews, others by e-mail or fax. (1) What is Beckett’s importance to you? (What do you feel you learned from him?); (2) What can an aspiring young playwright learn from Beckett today? (What part should he play in a playwriting curriculum?); (3) Is Beckett’s value as a model for playwrights possibly limited by time or place? (Does the disparity matter, for instance, between Beckett’s stripped-down aesthetic, born of postwar desolation—his “art of impoverishment”—and expectations of plenty in the media age?) CHRISTOPHER DURANG My play The Actor’s Nightmare has semi-nightmare, semi-parody versions of Noel Coward, then Shakespeare, then Beckett.