DOCSLIB.ORG

Dear Liar by Jerome Kilty Based on the Correspondence of Bernard Shaw and Mrs

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Dear Liar by Jerome Kilty Based on the Correspondence of Bernard Shaw and Mrs Dear Liar by Jerome Kilty Based on the correspondence of Bernard Shaw and Mrs. Patrick Campbell June 3, 8, 11 , 12 Performed by De ANN MEARS and DAKIN MATTHEWS 8:00p.m. Kennedy Theatre Directed by .... ... ...... .. .. ... .... ..... .. James Edmondson June 6 Lighting by ................. ... ............ .. .. .. Joseph Appelt 2:00p.m. Kennedy Theatre De Ann Mear's costumes courtesy of Burry Frederick, Old Globe Theatre, San Diego. ACT I Covers the period 1899 to 1914 ACT II From 1914 to 1939 There will be a twelve-minute intermission. DON'T MISS ANOTHER PART OF THE FOREST! The American Conservatory Theatre presents Another Part of the Forest by Lillian Hellman on June 4, 5, 6, 9, 10, and 13 at 8 p.m. and on June 5, 12 and 13 at 2 p.m. An encore to last season's standing-room-only performances of The Little Foxes, Hellman's second play about the ruthless Hubbard clan takes Regina, Ben, Oscar and the other characters from Foxes back in time twenty years to 1880 when their parents are still alive, revealing the roots of their greed and fascinating nastiness. Tickets for this compelling drama laced with sardonic laughter are available at the Kennedy Theatre Box Office and all HITS locations (no service charge). Call 948-7655 for details. PROGRAM NOTES The great Irish pl aywright George Bernard Shaw once remarked that "a man should have one woman to prevent him from thinking about women in general." Most of his life, Shaw did confine his thoughts to one woman, or, if you count the wife to whom he was also devoted, two women. The "other woman" in Shaw's heart and mind was Stella Campbell, better known to audiences in Britain and America, where she was a leading stage actress, as Mrs. Patrick Campbell. In 1899, Mrs. Pat and Shaw began a correspondence that lasted over 40 years. Comprising hundreds of pages, the letters recall Mrs. Pat's performance as Eliza Doolittle in the original production of Pygmalion, the years during which Shaw ranted at the idiocy of a world at war, and the post-war years when Mrs. Pat found herself a star of the past. Jerome Kilty's Dear Liar captures these two divine Victorian egotists as they passionately lock horn s in epistolary combat. Premiering in Berlin in 1959, the play was brought to Broadway the following year in a production starring Kathari ne Cornell and Brian Ahearne and directed by the playwright. Mr. Kilty also directed his play for the American Conservatory Theatre's first San Francisco season in 1967. Over the years, Dear Liar has been performed around the world and in every European language including Flemish, Dutch, Welsh, Gaelic and Finnish. Dear Liar brings to life two ardent lovers and writers of letters, in in addition to providing an enchanted evening with Bernard Shaw and Mrs. Pat. The play brings to our attention a time when writing letters was the conventional means by wh ich people communicated over long distances. Even better than photography which reminds us of the past only by showing how it looked, letters allow our memories to speak, giving voice to those in whose handwritings we are addressed. DeAN N MEARS, a charter member of the American Conservatory Theatre, returned last season to playing the leading role in Tom Stoppard's Night and Day, Cassandra in The Trojan War Will Not Take Place, and Olga in The Three Sisters. She toured to Hawaii in 1979 in the leading role in A Month in the Country. Her New York credits include Abelard and Heloise, One Flew Over the Cuckoo's Nest, Dear Liar and A.C.T.'s Tiny Alice. She co-starred with Julie Harris in the National Company of And Miss Reardon Drinks a Little. A guest artist at leading American regional theatres, Miss Mears starred with Michael Landon in the television movie, "The Loneliest Runner." DAKIN MATTHEWS is in his second season at the American Conservatory Theatre and has been seen in The Three Sisters, as well as this summer's Hawaii productions of Another Part of the Forest. He was a founding member of John Houseman's Acting Company and a teacher in the Juilliard Drama Division. He also was artistic director of the California Actors Theatre in the South Bay. Mr. Matthews has been a leading actor with the Berkeley Stage Company, the Pacific Conservatory of the Performing Arts, the Marin Shakespeare Festival, the Berkeley Shakespeare Festival and the San Diego Shakespeare Festival. He has been a frequent guest artist in Bay Area colleges and universities and is associate professor of English and Drama at California State University in Hayward. JAMES EDMONDSON (Director) is a guest director with the American Conservatory Theatre this season. He made his debut with the acclaimed productions of The Browning Version and Black Comedy. This past season, he directed Henry IV, Part One at the Oregon Shakespearean Festival. His previous credits include the Pacific Conservatory of the Performing Arts and the Colorado Shakespeare Festival. As an actor, he has appeared with the Oregon Shakespearean Festival in Death of a Saleman, Richard Ill, Of Mice and Men, The Merchant of Venice, and The Time of Your Life. FRIENDS OF TH E AMERICAN Mrs. Frank A. McKinley Monty Scharbow CONSERVATORY TH EATR E May Anne Megan Robert J. Sherwood H.L. Miller. Jr. Karen Shimane The contributions of th e following individuals and Eleanor A. Miyake Fred Shockey corporati ons make possible the outstanding Evelyn S. Miyake C.R. Short theatre you are seeing presented by the American Sharon Miyashita Richard Smart Conservatory Theatre of San Francisco. Laura Nakagawa John S. Spangler Special thanks go to the University of Hawaii Lee T. Nakamura Oliver Statler Margaret Naluai Betty I. Suenaga Foundation, lnterArts Hawaii , and the Glenn M. Nutt Mr. & Mrs. E. Takahashi State Foundation on Culture and the Arts. Harold H. Oshiro Andre S. Tatibouet We gratefully acknowledge all donations received Mr. & Mrs. R. Bryan Owen Jeffery M. Taylor by the time of this printing and thank all contributors T.C. & V. Owens Beatrice Tesch not herein noted because of printing deadlines. David P. Penhallow Ca th ie Jordan Tharp Mr. & Mrs. K. L. Peterson Rene Tillich Joan J. Pollio Sharman Torkildson Granville Abbott Arthur C. Hallan Zena Polly Mavis Tracy Marcell W. Ach Mr. & Mrs. W.H. Hamblin Patricia Reile Ellen M. Underwood Nancy K. Akamine Mrs. J.J. Harding John Reinecke Theodore R. Weber Peggy S. Akita Janet K. Hayes Dr. & Mrs. Kent A. Reinker Miss V. Westgate Mr. & Mrs. Igor All an Mark A. Hazlett M. Rice Alfred E. White Larry Anderson Lani Hearn Mrs. R.W. Ri pple Mrs. P.M. Whitney Robert J. Armbruster Mr. & Mrs. Arthur J.K. Hee Mr. & Mrs. G.A. Roberts Sara N. Wilkinson Marian B. Bahrenburg Beve rly Heener Rohr Development S.E. Woolley Laurence Biller Stanley C. Heywook Mildred S. Rohter Frances M. Yamaki Dorothy S. Billingsley Robert M. Hemings, Jr. Jean Rolles Charlene H. Yatsushiro Patricia H. Binkley Edward A. Holmstrom Caryn Roscoe Lynne Yoshimura Dr. Roger B. Brault Margaret Holton J.W. Russell Fred Yost Robert Brilliande Bernard L. Horman Ella Sathcart Mrs. Reynolds Burkland Dr. Helmuth Hormann Robert F. Burns Mrs. James E. Howard Mrs. Russell Cades John S. Howe, Jr. A.C.T . HAWAII ACKNOWLEDGMENTS Lu ci lle 0 . Caple Mr. & Mrs. Gilman Hu Communications-Pacific, Inc.; Lowell Greer; Dr. AI Carr Joanne M. lmada Hawaii Performing Arts Company; Hawaii State Bertha V. Chappell Harvey lwamura Theatre Council; HITS Tickets: Bruce Alexander, Mrs. Madeline B. Childs Patricia A. Jacobs Box Office Manager; Honolulu Advertiser; Sam Chung Dora Jacroux Honolulu Community Theatre; Honolulu Publishing Joan Clarke Martin E. Jansson Company; Honolulu Star·Bulletin; lnterArts Hawaii: B.E. Coleman Oscar Jasper Marian Kerr, Executive Director; Carl Hefner, Diane and Dennis Condray Donald D. Johnson M. Gay Conklin Leona Jona Assistant Director; Nancy Jakus; Kennedy Theatre: Dorothy D. Craven Deborah S. Jones Glenn Cannon, Takeo Miji; National Endowment R.D. Crocket1 Elissa Josephsohn for the Arts; Pacific Bindery; State Foundation on Michael W. Dabney Alice K. Kea Culture and the Arts: Sarah Ri chards, Executive Joseph M. Dacey Mrs. Robert Kim Director; Tongg Publishing Co., Ltd; University Alicia Davies Donna Kishi of Hawaii Foundation: Don Mair, Director Orrel Davis Sumiye Konoshima of Development; The Westin llikai: Thomas Dr. Harold H. Deabler Susan W. Kowen Gurtner, General Manager; KHON; and K·59 De Lone Krishna Kumar Helen L. DeZwarte Bennett M.K. Lau STAFF FOR THE AMERICAN CONSERVATORY Phoebe Ellett Mr. & Mrs. H.W. Lawrence THEATRE HAWAII RESIDENCY Barbara Engle 0 . Max Lehman Cdr. Jack L. Erickson Mary M. Lillie William Ball, General Director Barbara Farwell Sandy Long James B. McKenzie, Exe cutive Producer Thomas J. Ferguson David S. Lyman Benjamin Moore, General Manager Marion Francis Mrs. Boyd MacNaughton J.W. Frierson Esther Marks James Haire, Production Stage Manager Mrs. Kikue Fujita Eleanore Terry Mason Karen Van Zandt, Stage Manager Donna Fukuroku T.P. Mastin Ed Raymond, Master Carpenter Dr. Robert E. Gibson Margo H. Masuda Marion Glober Melvyn S. Masuda Daniel Michalske, Ma ster Electrician Ronald Goo Laura K. Matsuda Donald Long·Hurst, Wardrobe Supervisor Arien B. Grabbe Y.K. Mau Richard Echols, Wigmaster RAdm & Mrs. E. A. Grantham Di ane Saari McCall Dorothy E. Guenther Christopher E. McEwen Elissa Josephsohn, A. C. T. Hawaii Representative R.W. Gushman Graeme Mcintosh Pat Guy Marion McKay Mahalo to Vintage Australian Wine for opening night. INTERARTS COUNCIL Cecily F. Johnston Orvis Auditorium J. Russell & Charlotte Cades Harvey & Betsy Lee Denise Miyahana, Publicity Director Ann a Chung Helen Noh Lee Ruth Oh, Publicity Assistant George & Joanna Fan Ellen Masaki Leeward Community College Theatre James & Page Foster Alwyn & Helene Morisako Donald J.
Load more

Recommended publications
  • An Analysis and Evaluation of the Acting Career Of
    AN ANALYSIS AND EVALUATION OF THE ACTING CAREER OF TALLULAH BANKHEAD APPROVED: Major Professor m Minor Professor Directororf? DepartmenDepa t of Speech and Drama Dean of the Graduate School AN ANALYSIS AND EVALUATION OF THE ACTING CAREER OF TALLULAH BANKHEAD THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF SCIENCE By Jan Buttram Denton, Texas January, 1970 TABLE OF CONTENTS Chapter Page I. THE BEGINNING OF SUCCESS 1 II. ACTING, ACTORS AND THE THEATRE 15 III. THE ROLES SHE USUALLY SHOULD NOT HAVE ACCEPTED • 37 IV. SIX WITH MERIT 76 V. IN SUMMARY OF TALLULAH 103 APPENDIX 114 BIBLIOGRAPHY. 129 CHAPTER I THE BEGINNING OF SUCCESS Tallulah Bankhead's family tree was filled with ancestors who had served their country; but none, with the exception of Tallulah, had served in the theatre. Both her grandfather and her mother's grandfather were wealthy Alabamians. The common belief was that Tallulah received much of her acting talent from her father, but accounts of her mother1s younger days show proof that both of her parents were vivacious and talented. A stranger once told Tallulah, "Your mother was the most beautiful thing that ever lived. Many people have said you get your acting talent from your father, but I disagree. I was at school with Ada Eugenia and I knew Will well. Did you know that she could faint on 1 cue?11 Tallulahfs mother possessed grace and beauty and was quite flamboyant. She loved beautiful clothes and enjoyed creating a ruckus in her own Southern world.* Indeed, Tallulah inherited her mother's joy in turning social taboos upside down.
    [Show full text]
  • 1940-11-01 Pm
    THE PLYMOUTH M AIL Vol. 53. No. 8 Plymouth, Michigan Friday, November 1, 1940 $1.50 P er Year in Advance America Elects It s National Leaders Petition Seeks BoardAnnouncesMen First Change in Registrations Indicate Drawn in First Draft Zoning Ordinance Record Vote Nov. 5 Planning Commission Bedford Man Sets Public Hearing Of Select Members for Monday, Nov. 4 Republicans to Total 2,397 A petition requesting the first Holds First change in the city zoning ord­ Voters Register lOf Election Board inance since it was effected Nov­ em ber 28. 1939, was presented to Banquet Tonight Number Drawn A list of 31 election officials ‘he city planning commission in Plymouth for the general election Tuesday Monday night bv Allen Tillotson. 36 Men in This was announced bv City Manager The petition requests changing City Officials Advise Clarence H. Elliott this week. ’he southeast quarter of the District Among southeast quarter of section 2G. Study of Proposals Mrs. Maud Bennett .will pre­ nne-quarter mile souare located F irst 200 Drawn side as chairman for precinct No. ’n the extreme southeast comer Before Going to Polls 1; Lester Daly and Robert Zim­ nf the city bounded bv Ann Ar­ There were 36 men whose merman, inspectors; Mrs. Anna bor road and South Mill street, A total of 2397 voters now numbers were drawn among Richards, Mrs. Elizabeth Wills, from class A and B residential registered in Plymouth and Miss Winifred Jolliffe, Miss Ma­ '^nd local business areas to an th e first 2 0 0 from local board bel Spicer, clerks, and Charles eligible to vote in the general No.
    [Show full text]
  • Behind the Numbers 2019–2020 ANNUAL REPORT
    ANNUAL REPORT / THE WESTTOWN FUND Behind the Numbers 2019–2020 ANNUAL REPORT * Deceased | ● Granolithic Society Charter Member (2-4 years) | ■ Granolithic Society Milestone Member (5-19 years) | ◆ Granolithic Society Lifetime Member (20 years +) 1 ANNUAL REPORT / THE WESTTOWN FUND 2 WESTTOWN SCHOOL 2019–2020 ANNUAL REPORT Behind the Numbers 2019–2020 ANNUAL REPORT TABLE OF CONTENTS 02 DEAR FRIENDS Letter from Head of School Tori Jueds 03 GIVING BY THE NUMBERS 06 DONOR LISTS Please note: some of the photographs used in these pages were taken pre-pandemic. 01 ANNUAL REPORT Giving Dear Friends, by the THE 2019–20 SCHOOL YEAR began as usual at Westtown, with a joyful return to Numbers campus, the start of classes, athletic competitions, theater performances, student trips, and interactive projects. Then the pandemic launched our school into Gifts at a Glance uncharted territory. Since March, our school community has adapted to unprece- dented circumstances in many ways. As you read in the Summer/Fall 2020 issue of The Westonian, Westonians of all ages have risen beautifully to the challenges of this extraordinary time. Teachers, adminis- trators, staff, and students have all done their part. In addition, this report honors the 10.4% of total raised ($150,121) tremendous generosity of Westtown alums, parents, parents of alums, grandparents, were gifts up to $499 and other friends, who stepped forward — in some cases repeatedly — to ensure that our school could provide an education worthy of our mission at this difficult time. The pages that follow describe and honor the support given to Westtown in 2019–20, and the significant financial commitment of our generous donors.
    [Show full text]
  • National Arena
    I-. Broadway: A Critic Looks Back Lavery Drama, Hartman Revue Atkinson’s Scrapbook Recalls Dozen Years Coming Up By tht Associated Press of An Amusing Analytic Mind Emmett Lavery is the author of a new play premiering on Broad- By Jay Carmody way Tuesday evening at the Mans- One of the challenges flung to drama critics by persons who would field Theater. A revue, starring the Hartmans, much prefer flinging the critics over cliffs is: Why don’t you write fashionable comedy ballroom danc- something better? ing team, is the week's other hope- Some day in reply to this query, a modest, reticent little man in ful arrival. the drama reviewing trade will reach into his inner coat pocket and “The"Gentleman From Athens" is pull out a long list of titles which prove this already has been done. the name of Lavery’s drama, the He will start, perhaps, with Shaw’s “Critical Opinions and Essays,” action of which takes place in where the two volumes which have retained their popularity for half a century Washington, gentleman of the title is a member of Con- and which deal, in large part, with plays which otherwise would have gress. Sam Wanamaker is the di- been dead an interval. equal rector, Ralph Alswang is the de- There Are Dozens Such Books. signer, Martin Gosch is producing, He will go on from there to half a dozen titles by Max Beerbohm, in association with Eunice Healey. The cast includes a dozen and one half by George Jean Nathan, a handful by John Anthony Quinn, Edith Atwater, Alan Hewlitt, Feodor Mason Brown, Burns Mantle and a number of others.
    [Show full text]
  • Ronald Davis Oral History Collection on the Performing Arts
    Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability.
    [Show full text]
  • Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding Aid Prepared by Lisa Deboer, Lisa Castrogiovanni
    Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding aid prepared by Lisa DeBoer, Lisa Castrogiovanni and Lisa Studier and revised by Diana Bowers-Smith. This finding aid was produced using the Archivists' Toolkit September 04, 2019 Brooklyn Public Library - Brooklyn Collection , 2006; revised 2008 and 2018. 10 Grand Army Plaza Brooklyn, NY, 11238 718.230.2762 [email protected] Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Table of Contents Summary Information ................................................................................................................................. 7 Historical Note...............................................................................................................................................8 Scope and Contents....................................................................................................................................... 8 Arrangement...................................................................................................................................................9 Collection Highlights.....................................................................................................................................9 Administrative Information .......................................................................................................................10 Related Materials .....................................................................................................................................
    [Show full text]
  • To Download a Copy of This Newsletter
    S TRATFORD H ISTORICAL S OCIETY U PDATE he T CUPHEAG CORNER Capt. David Judson House c. 1750 VOLUME II, ISSUE 2 NOVEMBER 2019 Catharine B. Mitchell Museum M A R K T H E DATES: NOVEMBER’S GENERAL MEMBERSHIP MEETING Sunday, November 24th, 2:00 pm, Stratford Library Lovell Room, 2203 Main Street November’s Gen- eral Membership tratford Historical Society there’s enough to go around if we’ll Meeting: Sunday, S Presents: only learn to take care of it.” November 24th at Christopher Wigren as he discuss- Brown added: “Go out and keep 2:00 pm at the es Connecticut’s architectural your eyes open. Enjoy every bit of it, Stratford Library gems. whether it’s on somebody’s list or not. Governing Board Christopher Wigren doesn’t want And above all, guard it.” Meeting, Thursday, people to merely read his new Wigren dedicated his book to January 9th, 6pm, book, Connecticut Architecture: Brown, noting she had intended to Stratford Town Stories of 100 Places. He hopes write it. But after their decades of Hall, Room 213 we will go out and see for ourselves research together, she died in 2008. the state’s rich variety of sites and “I kind of inherited it,” Wigren says January’s General during our talk in his office at the Membership Meet- even discover some we never knew ing: Sunday, Janu- existed. Perhaps even some that Connecticut Trust for Historic Preser- ary 26th at 2:00 didn’t make it into the book. vation in Hamden. Wigren, an archi- pm at the Strat- While Wigren was working on this Christopher Wigren tectural historian, is the Trust’s depu- ford Library 304-page compilation, a project of ty director.
    [Show full text]
  • Eva Le Gallienne Led a Private Life Troubled by Her Personal Struggle with Les- Bianism
    Harbin_Text.qxd 12/3/2004 12:50 PM Page 252 Laurents’s ability to direct is more often lauded than his writing. He regularly unites all elements of the production—music, voice, setting, movement, and picturization—to create vibrant dramatic moments. The understanding of structure and character honed in his writing assists in drawing out fully human characterizations. His ability to ‹nd new or Laurents underutilized talent—Jane Fonda in Invitation to a March, Lansbury in 252 Anyone Can Whistle, George Hearn in La Cage aux Folles—signi‹es an astute eye and ensures his lasting in›uence. A very sexual man—his ‹rst gay experience was at thirteen and he was more interested in quantity of partners than quality for many years— Laurents struggled with his homosexuality in psychotherapy, keeping it out of his play Heartsong (1946) and claiming that he would have excluded it as a subtext from Home of the Brave (Laurents, 65, 53). At the same time, he accepted his homosexuality and is proud of how “truth- fully” it was treated in his ‹rst movie, Rope (131). There are biographical aspects of his work to explore (particularly in The Enclave), as well as the- matic obsessions, such as the ‹gure of the complicated, boyish blond (i.e., the major in Home of the Brave, the disillusioned artist in Time of the Cuckoo, the characters played by Hatcher, and Robert Redford’s Hubbell in The Way We Were). Laurents has identi‹ed his own recurrent themes as discovery, acceptance, prejudice, and betrayal (4)—themes with which any homosexual can empathize.
    [Show full text]
  • CORT THEATER, 138-146 West 48Th Street, Manhattan
    Landmarks Preservation Commission November 17, 1987; Designation List 196 LP-1328 CORT THEATER, 138-146 West 48th Street, Manhattan. Built 1912-13; architect, Thomas Lamb . Landmark Site: Borough of Manhattan Tax Map Block 1000, Lot 49. On June 14 and 15, 1982, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the Cort Theater and the proposed designation of the related Landmark Site (Item No. 24). The hearing was continued to October 19, 1982. Both hearings had been duly advertised in accordance with the provisions of law. Eighty witnesses spoke or had statements read into the record in favor of designation. One witness spoke in opposition to designation. The owner, with his representatives, appeared at the hearing, and indicated that he had not formulated an opinion regarding designation. The Commission has received many letters and other expressions of support in favor of this designation. DESCRIPTION AND ANALYSIS The Cort Theater survives today as one of the historic theaters that symbolize American theater for both New York and the nation. Built in 1912- 13, the Cort is among the oldest surviving theaters in New York. It was designed by arc hi teet Thomas Lamb to house the productions of John Cort , one of the country's major producers and theater owners. The Cort Theater represents a special aspect of the nation's theatrical history. Beyond its historical importance, it is an exceptionally handsome theater, with a facade mode l e d on the Petit Trianon in Versailles. Its triple-story, marble-faced Corinthian colonnade is very unusual among the Broadway theater s.
    [Show full text]
  • 2012 Annual Report
    Martha’s Vineyard Museum Annual Report 2012 Table of Contents Year In Review...........................Page 4 Financial Report........................Page 6 Treasurer’s Report....................Page 7 Contributors.............................. Page 8 Accessions.................................. Page 16 Volunteers.................................. Page 18 Board & Staff............................ Page 19 3 2012 Year in Review The momentum of the past few years began to pay range of topics and media, from the Civil War to off in 2012. It was a year marked by planning and shipwrecks, from local theater history to contempo- progress toward our goal of becoming a “must-see” rary portraiture, and from Eisenstaedt photographs to tourist attraction and a cultural community center for Island decoys. We the entire Island. Board, staff, and volunteers joined also inaugurated our together in some extraordinary ways to help chart a Spotlight Gallery realistic path to both a more responsible present and a space, which allows transformational future. for smaller-scale and more rapidly One major accomplishment in 2012 was the develop- changing shows, ment of our new five-year strategic plan. Most of the with or without Executive Committee and all staff members labored themes. In this together from January through August, meeting Gallery, our cur- monthly or more often, to paint a detailed picture of atorial staff can the Museum as it is today, what and where it wants to present new ac- be in 2017, and the critical steps and milestones in the quisitions, feature journey ahead. rarely seen objects, or share some sur- Some highlights of our strategic plan include a more prising discoveries. active charge in our mission language: we now seek In September we to “engage and connect the public to the Island’s his- opened Enchanted tory, art, and culture.” This new energy brought about Isle, a permanent Lithograph by John Held Jr.
    [Show full text]
  • Frances Parkinson Keyes
    The Library of America • Story of the Week From The American Stage: Writing on Theater from Washington Irving to Tony Kushner (The Library of America, 2010 ), pages 521 –535 . Originally published in Atlantic Monthly (April 1953 ). FRANCES PARKINSON KEYES One of the remarkable features of the American theatre in the 1920 s and ’ 30 s was the number of women in charge: Eva Le Gallienne and Katharine Cornell heading their own companies, Alla Nazimova in Hollywood and Jessie Bonstelle in Detroit, Cheryl Crawford at the Group Theatre, Hallie Flanagan at the Federal Theatre Project. In advance of them all was Theresa Helburn, an other product of George Pierce Baker’s Harvard class. After serving a brief stint as a reviewer for The Nation , she became the iron-willed administrator of the The - atre Guild, an offshoot of the Washington Square Players, which championed Shaw and the New Stagecraft. To keep it on a financially even keel, she provided glamour by inviting Alfred Lunt and Lynn Fontanne into the company and produced both the groundbreaking musical comedy Oklahoma! and Paul Robeson’s Othello . There is something piquant in the fact that, by a fluke of childhood friendship, the career of this no-nonsense lesbian should be chronicled by Frances Parkinson Keyes ( 1885 – 1970 ). Keyes, a convert to Roman Catholicism, a firm believer in virginity before marriage, married to a stodgy Republican senator, was a popular purveyor of “women’s fic - tion.” Her first writing had been a series of articles about life in Wash - ington for Good Housekeeping . In the 1950 s, she became a fixture of New Orleans society, which loosened her up.
    [Show full text]
  • First Co Mplete Recording of Sha W's Saint Joan
    --•-• ENT ERTA I N than Orleans, she is on her own terms precisely the coaxer and the hustler, the born boss at ease among all classes, that Shaw intended. If anything, she surpasses FIRST COMPLETE RECORDING her own fierce Joan of the prize-winning 1956 New York OF SHA W'S SAINT JOAN Phoenix Theatre production. Sackler, as usual, makes all move with the precision and flow of music, weaving voices of varying pitch and weight to save the texture of A glittering cast under director Howard Sackler makes the most of an eloquent script a wordy script from the slightest monotony. The high treble of Robert Stephen's petulant, spoiled Dauphin con- trasts superbly with the serene eloquence of Jeremy Brett's EORGE BERNARD SHAW wrote his play about Joan of Dunois, the good-natured and capable commander whom Arc at the time she was canonized by the Catholic G Joan urges to action against the British. Sir Felix Ayl- Church in 1921. The church granted her sainthood and mer's rightous Bishop of Beauvais, Donald Pleasence's immortality; the playwright restored her to humanity. authoritarian Inquisitor, and Nigel Davenport's expansive "We may accept and admire Joan," he wrote in his pref- but businesslike Warwick offer model examples in the ace to the play, "as a sane and shrewd country girl of art of turning set speeches into the explosive stuff of ting- extraordinary strength of mind and hardihood of body. ling theater. Accompanying the records is enough mate- Everything she did was thoroughly calculated; and though rial to supply a conscientious student with the makings of the process was so rapid that she was hardly conscious of a Ph.D.
    [Show full text]