2019 Jewell Mainstage Play Guide Welcome
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PLAYNOTES Season: 43 Issue: 04
PLAYNOTES SEASON: 43 ISSUE: 04 PORTLANDSTAGE BACKGROUND INFORMATION The Theater of Maine INTERVIEWS & COMMENTARY www.portlandstage.org AUTHOR BIOGRAPHY Discussion Series The Artistic Perspective, hosted by Artistic Director Anita Stewart, is an opportunity for audience members to delve deeper into the themes of the show through conversation with special guests. A different scholar, visiting artist, playwright, or other expert will join the discussion each time. The Artistic Perspective discussions are held after the first Sunday matinee performance. Page to Stage discussions are presented in partnership with the Portland Public Library. These discussions, led by Portland Stage artistic staff, actors, directors, and designers answer questions, share stories and explore the challenges of bringing a particular play to the stage. Page to Stage occurs at noon on the Tuesday after a show opens at the Portland Public Library’s Main Branch. Feel free to bring your lunch! Curtain Call discussions offer a rare opportunity for audience members to talk about the production with the performers. Through this forum, the audience and cast explore topics that range from the process of rehearsing and producing the text to character development to issues raised by the work Curtain Call discussions are held after the second Sunday matinee performance. All discussions are free and open to the public. Show attendance is not required. To subscribe to a discussion series performance, please call the Box Office at 207.774.0465. Portland Stage Company Educational Programs are generously supported through the annual donations of hundreds of individuals and businesses, as well as special funding from: The Davis Family Foundation Funded in part by a grant from our Educational Partner, the Maine Arts Commission, an independent state agency supported by the National Endowment for the Arts. -
Arsenic and Old Lace the Articles in This Study Guide Are Not Meant to Mirror Or Interpret Any Productions at the Utah Shakespeare Festival
Insights A Study Guide to the Utah Shakespeare Festival Arsenic and Old Lace The articles in this study guide are not meant to mirror or interpret any productions at the Utah Shakespeare Festival. They are meant, instead, to be an educational jumping-off point to understanding and enjoying the plays (in any production at any theatre) a bit more thoroughly. Therefore the stories of the plays and the interpretative articles (and even characters, at times) may differ dramatically from what is ultimately produced on the Festival’s stages. The Study Guide is published by the Utah Shakespeare Festival, 351 West Center Street; Cedar City, UT 84720. Bruce C. Lee, communications director and editor; Phil Hermansen, art director. Copyright © 2011, Utah Shakespeare Festival. Please feel free to download and print The Study Guide, as long as you do not remove any identifying mark of the Utah Shakespeare Festival. For more information about Festival education programs: Utah Shakespeare Festival 351 West Center Street Cedar City, Utah 84720 435-586-7880 www.bard.org. Cover photo: Leslie Brott (left) and Laurie Birmingham in Arsenic and Old Lace, 2001 Contents ArsenicInformation and on Old the Play Lace Synopsis 4 Characters 5 About the Playwright 6 Scholarly Articles on the Play A Play about Plays 8 Would-Be Serious Play into a Zany Farce 10 Utah Shakespeare Festival 3 351 West Center Street • Cedar City, Utah 84720 • 435-586-7880 Synopsis: Arsenic and Old Lace Arsenic and Old Lace opens in the living room of the Brewster home, inhabited by two spinster aunts, Abby and Martha Brewster, and their nephew, Teddy. -
By Joseph Kesselring January/February 2019 Volume 15, No
JANUARY 2019 PROFESSIONAL THEATRE IN A NEIGHBORHOOD SETTING THE 2019 JEWELL ARSENIC AND OLD LACE WE WILL NOT BE SILENT KIM’S CONVENIENCE BRIGHT STAR NECESSARY SACRIFICES MAINSTAGE SEASON: JAN 23 - MAR 2 MAR 20 - APR 27 MAY 15 - JUN 22 JUL 10 - AUG 17 SEP 18 - OCT 26 DIRECTED BY MARIANNE SAVELL JANUARY 23 - MARCH 2 by Joseph Kesselring January/February 2019 Volume 15, No. 4 JAN/FEB 2019 Paul Heppner President Mike Hathaway Contents Senior Vice President Feature Kajsa Puckett 3 Millennial Audiences Vice President, Sales & Marketing Dialogue Genay Genereux Accounting & Office Manager 9 Round Table Discussion Production with the TeenTix Press Susan Peterson Corps Vice President, Production Intermission Brain Transmission Jennifer Sugden Assistant Production Manager 15 Test yourself with our trivia quiz! Ana Alvira, Stevie VanBronkhorst Production Artists and Graphic Designers Sales Amelia Heppner, Marilyn Kallins, Terri Reed San Francisco/Bay Area Account Executives Encore Stages is an Encore Arts Devin Bannon, Brieanna Hansen, Ann Manning Program that features stories about Seattle Area Account Executives our local arts community alongside information about performances. Carol Yip Encore Arts Programs are publications Sales Coordinator of Encore Media Group. We also publish Marketing specialty publications, including the Shaun Swick Official Seattle Pride Guide and the Senior Designer & Digital Lead SIFF Guide and Catalog. Learn more Ciara Caya at encoremediagroup.com Marketing Coordinator Encore Media Group 425 North 85th Street Encore Stages features the Seattle, WA 98103 following organizations: p 800.308.2898 | 206.443.0445 f 206.443.1246 [email protected] www.encoremediagroup.com Encore Arts Programs and Encore Stages are published monthly by Encore Media Group to serve musical and theatrical events in the Puget Sound and San Francisco Bay Areas. -
DIFFERENT STAGES' REPERTORY Begun As Small
DIFFERENT STAGES’ REPERTORY Begun as Small Potatoes Theatrical Company 1981: August Strindberg’s Creditors and The Stronger. 1982: William Shakespeare’s The Tem- pest and A Midsummer Night’s Dream. 1983: George Bernard Shaw’s Candida; Anton Chekhov’s The Brute, Swan Song, and Celebration. 1984: Luigi Pirandello’s Right You Are (If You Think You Are); Jane Martin’s Talking With… 1985: Caryl Churchill’s Cloud 9; William Shakespeare’s As You Like It; Carl Sternheim’s The Underpants; Michael Weller’s Moonchildren. 1986: Amlin Gray’s How I Got That Story; William Shakespeare’s The Winter’s Tale; Eugene O’Neill’s Beyond the Horizon. 1987: Michael Weller’s Loose Ends; Aristophanes’ The Wasps; Larry Kramer’s The Normal Heart; Arthur Schnitzler’s Anatol. 1988: Wallace Shawn’s Aunt Dan and Lemon; Dylan Thomas’ Under Milk Wood; Moss Hart’s Light Up the Sky; Jean Racine’s Phaedra; Jean-Baptiste Molière’s The Misanthrope. 1989: Caryl Churchill’s Fen; Charles Ludlam’s The Artificial Jungle; William Shakespeare’s The Merchant of Venice. 1990: Eric Overmeyer’s On the Verge; Eugene O’Neill’s Long Day’s Journey Into Night; Milan Kundera’s Jacques and His Master; Tom White’s The Trouble with Tofu; William Shakespeare’s Titus Andronicus. 1991: George Kelly’s The Show- Off; George Bernard Shaw’s Mrs. Warren’s Profession; Keith Reddin’s Life and Limb; Mozart/ Lorenzo da Ponte’s Così fan Tutte; Jean-Baptiste Molière’s The Learnèd Ladies. 1992: Alan Ayckbourn’s Woman in Mind; Carlo Gozzi’s The Raven; Henrik Ibsen’s The Wild Duck; Charles MacArthur’s Johnny on a Spot; George Farquhar’s The Recruiting Officer. -
Scarcity to Abundance Book
FROM SCARCITY TO ABUNDANCE Capturing the Moment for the New Work Sector January 26-29, 2011 FROM SCARCITY TO ABUNDANCE Capturing the Moment for the New Work Sector Table of Contents Agenda ...................................................................................................................................... 2 Convening Shuttle Service................................................................................................ 6 Travel and Logistics.............................................................................................................. 7 Maps .................................................................................................................................... 11-13 Reports from the New Work Sector ............................................................................ 14 Who’s Who ............................................................................................................................ 24 The Third Circle: How to Participate If You're Not in the Room...................... 49 Steering Committee ........................................................................................................ 50 Convening Staff.................................................................................................................... 51 Notes........................................................................................................................................ 52 FROM SCARCITY TO ABUNDANCE Capturing the Moment for the New Work Sector AGENDA All events