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Opera and Music Theater Dance Readings and Workshops Lighting
J O S H U A B ENGHIAT 53 Lefferts Ave • Brooklyn, NY 11225-3901 (646) 249-2478 • [email protected] • www.BenghiatLighting.com L I G H T I N G D ESIGNER Opera and Music Chamber Music Society of Lincoln Center Lighting Designer (includes live concerts and digital broadcast) 2013 – Present Lincoln Center for the Performing Arts The White Light Festival (Assoc. Lighting Designer to Matt Frey 2011-2015) 2011 – Present Lincoln Center for the Performing Arts The Swedish Chamber Orchestra with Nina Stemme 2013 NY Opera Society & Newark Archdiocese Dialogues of the Carmelites Dir. Will Bryan 2007 The Lyric Opera of Chicago Resident Assistant 2000 – 2002 Theater The 14th Street Y Hanna and the Moonlit Dress Dir. Ronit Muszkatblit Long View Theater Company Office Politics(Premiere) Dir. Aimee Todoroff 2015 Theatre 167 Pirira (Premiere) Dir. Ari Laura Kreith 2013 Barnard College Marisol Dir. Saheem Ali 2011 New Worlds Theatre Project Under the Cross Dir. David Winitsky 2011 Midtown International Theatre Festival Until We Find Each Other Dir. David Winitsky 2010 Barter Theatre The Blue-Sky Boys (Premiere) Dir. Nicholas Piper 2010 Barter Theatre Annie Dir. Richard Rose 2010 Zoellner Arts Center, Lehigh University Our Dad is in Atlantis Dir. David Winitsky 2009 Barter Theatre Heaven Sent (Premiere) Dir. Mary Lucy Bivins 2009 Playwrights Theatre, NJ Our Dad is in Atlantis Dir. David Winitsky 2009 Luna Stage The Santaland Diaries Dir. David Winitsky 2008 What Exit? Theatre Company The Housekeeper Dir. Jim Peskin 2008 What Exit? Theatre Company The Santaland Diaries Dir. David Winitsky 2007 Columbia University The Wild Party Dir. -
Site on 7Th Street Set for Redevelopment Friends, Family Help
volume 19, issue 2 • february 2017 www.northcentralnews.net Site on 7th Street set North Central resi - dent Ralph Clark for redevelopment (seated, right) turned By Teri Carnicelli 100 years old last month, surrounded Two high-profile commercial redevelopment pro - by family members jects may be coming to North Central Phoenix this from around the year: once across the street from Xavier College country who came to Preparatory, and one potentially at the northwest cor - join him on his spe - ner of 16th Street and Bethany Home Road. cial day. Clark has The northeast corner of 7th Street and Highland lived in his North Ave., which includes four commercial buildings and Central home since two operating businesses, has been sold to Glendale, 1952 (photo by Teri Ariz.-based OFMM2LLC. One of the properties Carnicelli). includes Urban Cookies Bakeshop, winner of Food Network’s “Cupcake Wars” in summer 2011, Dariya’s Home Furnishings and Décor, which has been closed and fenced off for some time, and the midtown location of UltraFit Systems, which lies behind the bakery. Those three locations, encompassing approximately Friends, family help local man mark 100 years 28,500 square feet of land, were sold for $1.4 million. By Teri Carnicelli After the war ended, he went back to Idaho, Urban Cookies opened in that location in 2006 and A house filled with family, friends and food is working for the now-defunct Fidelity National Bank please see REDEVELOPMENT on page 6 exactly how North Central resident Ralph Clark in Twin Falls. wanted to spend his 100th birthday. -
Study Guide Alice in Wonderland
Study Guide prepared by Catherine Bush Barter Playwright-in-Residence Alice in Wonderland Adapted by Catherine Bush from Lewis Carroll’s story Alice’s Adventure in Wonderland *Especially for Grades K-6 By the Barter Players – Barter on Demand (NOTE: Standards listed below include those for reading Alice’s Adventures in Wonderland, seeing a performance of the play, and completing the study guide.) Virginia SOLs English – K.1, K.5, K.8, K.9, K.12, 1.1, 1.5, 1.8, 1.9, 1.13, 2.6, 2.7, 2.8, 2.12, 3.4, 3.5, 3.9, 3.11, 4.1, 4.2, 4.4, 4.5, 4.7, 4.9, 5.1, 5.2, 5.4, 5.5, 5.7, 5.9, 6.2, 6.4, 6.5, 6.7, 6.9 Theatre Arts – 6.5, 6.7, 6.8, 6.10, 6.18, Tennessee/North Carolina Common Core State Standards English/Language Arts - Reading Literacy: K.1, K.3, K.5, K.7, K.9, 1.1, 1.2, 1.7, 1.9, 1.10, 2.1, 2.2, 2.3, 2.10, 3.1, 3.2, 3.3, 3.4, 3.5, 3.9, 3.10, 4.1, 4.2, 4.3, 4.4, 4.7, 4.9, 4.10, 5.1, 5.3, 5.4, 5.9, 5.10, 6.2, 6.4, 6.7, 6.9 English Language Arts – Writing: K.1, K.5, K.7, K.8, 1.1, 1.3, 1.5, 1.8, 2.1, 2.3, 2.5, 2.8, 3.1, 3.2, 3.3, 3.7, 3.8, 4.1, 4.2, 4.3, 4.7, 4.8, 4.9, 5.1, 5.2, 5.3, 5.7, 5.8, 5.9, 6.1, 6.2, 6.3, 6.7, 6.8, 6.9 Tennessee Fine Arts Curriculum Standards Theatre – K.1, K.3, K.4, K.5, K.6, 1.1, 1.3, 1.4, 1.5, 1.6, 2.1, 2.3, 2.4, 2.5, 2.6, 3.1, 3.3, 3.4, 3.5, 4.1, 4.3, 4.6, 4.7, 5.1, 5.3, 5.6, 5.7, 6.1, 6.3, 6.6, 6.7 North Carolina Essential Standards Theatre Arts – K.A.1, K.AE.1, 1.A.1, 1.AE.1, 1.CU.2, 2.C.2, 2.A.1, 2.AE.1, 3.C.1, 3.C.2, 3.A.1, 3.CU.1, 3.CU.2, 4.C.1, 4.A.1, 4.AE.1, 5.C.1, 5.A.1, 5.AE.1, 5.CU.2, 6.C.1, 6.C.2, 6.A.1, 6.AE.1 A Brief History Barter Theatre was founded during the Great Depression by Robert Porterfield, an enterprising young actor. -
Types & Forms of Theatres
THEATRE PROJECTS 1 Credit: Scott Frances Scott Credit: Types & Forms of Theatres THEATRE PROJECTS 2 Contents Types and forms of theatres 3 Spaces for drama 4 Small drama theatres 4 Arena 4 Thrust 5 Endstage 5 Flexible theatres 6 Environmental theatre 6 Promenade theatre 6 Black box theatre 7 Studio theatre 7 Courtyard theatre 8 Large drama theatres 9 Proscenium theatre 9 Thrust and open stage 10 Spaces for acoustic music (unamplified) 11 Recital hall 11 Concert halls 12 Shoebox concert hall 12 Vineyard concert hall, surround hall 13 Spaces for opera and dance 14 Opera house 14 Dance theatre 15 Spaces for multiple uses 16 Multipurpose theatre 16 Multiform theatre 17 Spaces for entertainment 18 Multi-use commercial theatre 18 Showroom 19 Spaces for media interaction 20 Spaces for meeting and worship 21 Conference center 21 House of worship 21 Spaces for teaching 22 Single-purpose spaces 22 Instructional spaces 22 Stage technology 22 THEATRE PROJECTS 3 Credit: Anton Grassl on behalf of Wilson Architects At the very core of human nature is an instinct to musicals, ballet, modern dance, spoken word, circus, gather together with one another and share our or any activity where an artist communicates with an experiences and perspectives—to tell and hear stories. audience. How could any one kind of building work for And ever since the first humans huddled around a all these different types of performance? fire to share these stories, there has been theatre. As people evolved, so did the stories they told and There is no ideal theatre size. The scale of a theatre the settings where they told them. -
DOWNTOWN VOICES: Creating a Sustainable Downtown
DOWNTOWN VOICES: Creating a Sustainable Downtown Arizona Chain Reaction Downtown Phoenix Arts Coalition (D-PAC) Phoenix Coalition of Historic Neighborhoods The Community Housing Partnership Local Initiatives Support Corporation (LISC) PHOENIX, ARIZONA August 2004 For more information or questions, visit www.downtownvoices.org Downtown Voices: Creating a Sustainable Downtown TABLE OF CONTENTS PREFACE ~ Page 3 INTRODUCTION ~ Page 4 GUIDING PRINCIPLES ~ Page 4 MAJOR ISSUES ~ Page 5 A. Coordination of Planning ~ Page 6 F. Historic Preservation ~ Page 24 The Need to Develop an Inclusive Planning Public Education Structure Historic Designation Process Rome Was Not Built in a Day Demolition of Historic Properties Vintage Properties B. Design Guidelines ~ Page 8 G. Arts and Culture ~ Page 27 Individualized Design Guidelines Inclusion in Downtown Planning Processes Current Zoning Codes Artists as Small Business Professionals Sustainable Design Marketing Support for Innovation Sustainability Need for Community Participation Work and Performance Spaces C. Small Business ~ Page 11 H. Public Spaces ~ Page 32 Economic Assistance for Small Businesses Civic Commitment Promotion of Small Businesses Maintenance Zoning Regulations Design Design Considerations Security Keep in Mind… Linkages D. Neighborhoods ~ Page 15 I. Transportation ~ Page 35 Prevention of Negative Impacts Bicycle Routes Neighborhood Preservation Pedestrian Traffic Public Services Pedestrian Amenities Underemployment Parking Noise E. Affordable Housing -
The Inside Guide to Directing
THE INSIDE GUIDE TO DIRECTING Introduction by 02 Katy Rudd What is Directing? 06 Artist profile: 08 Ashen Gupta Pre-Rehearsals 12 Artist Profile: 16 GUIDE Ebenezer Bamgboye Guide compiled by Euan Borland Rehearsal Room 20 Directing Exercises by Roberta Zuric Photography Credits Artist Profile: 24 Joanna Higson Manuel Harlan Sean Linnen EDUCATION & COMMUNITY How to be a Leader 28 Director of Education & Community Hannah Fosker Education Manager Top Tips for Directing 30 Euan Borland Young Person’s Programme Manager Naomi McKenna Lawson Further Reading, 32 Education & Community Coordinator Kate Lawrence-Lunniss Watching & Listening Education & Community Intern Annys Whyatt Abena Obeng Glossary of Terms 34 With generous thanks to Old Vic staff and associates Next Steps 36 If you would like to learn more about our education programmes please contact [email protected] CONTENTS 1 When I left university, I knew that I wanted to During this time I had the good fortune to be a director but I had no idea how, or where, meet Marianne Elliott who kindly had a cup to start. At university I wrote and directed of tea with me – she gave me some advice plays as part of my course and I was given and told me to go to the regions and learn a good introduction to making theatre. your craft. Then she wished me good luck. In our spare time we put on our own shows rehearsing after hours in whatever space we So I did. I went to Salisbury Playhouse where could commandeer; empty lecture rooms, I spent three glorious months assisting on communal spaces or failing that our bedrooms. -
Introduction to Ecovenue Ecovenue Is a Signifi Cant Theatre-Specifi C Environmental Project Being Run by the Theatres Trust
Introduction to Ecovenue Ecovenue is a signifi cant theatre-specifi c environmental project being run by The Theatres Trust. It aims to improve the environmental performance of forty-eight London theatres and raise awareness of how to make theatres greener. Ecovenue is promoting the sustainability of theatres and the reduction of carbon emissions through the provision of free theatre-specifi c, environmental advice. The project started in 2009 and runs until 2012. Forty-eight venues each undergo an Environmental Audit, and receive a Display Energy Certifi cate (DEC) and Advisory Report. They track their energy use through SMEasure. Each venue receives a second DEC a year after their fi rst to measure progress. Ecovenue includes a ‘DEC Pool’ of performing arts venues across the UK that have obtained DECs. The DEC Pool helps us to evaluate the project and share best practice and information, establish meaningful benchmarks, and provide a better understanding of energy use of theatres. Any theatre can join the DEC Pool. The Trust’s Theatres Magazine provides quarterly reports on the participants and the work of the Ecovenue project. The Theatres Trust Ecovenue project receives fi nancial support from the European Regional Development Fund. Participating Theatres Albany Theatre Etcetera Theatre Old Vic Arcola Finborough Theatre Orange Tree Theatre Arts Theatre Gate Theatre Pleasance Islington artsdepot Greenwich & Lewisham Young Polka Theatre Brockley Jack People’s Theatre Putney Arts Theatre Bush Theatre Greenwich Playhouse Questors Camden People’s -
One Man, Two Guvnors by Richard Bean Based on the Servant of Two Masters by Carlo Goldoni, with Songs by Grant Olding Background Pack
One Man, Two Guvnors by Richard Bean based on The Servant of Two Masters by Carlo Goldoni, with songs by Grant Olding Background pack The National's production 2 Carlo Goldoni 3 Commedia dell'arte 4 One Man, Two Guvnors – a background 5 Lazzi – comic set pieces 7 Characters 9 Rehearsal overview 10 In production: from the Lyttelton to the Adelphi 13 In production: Theatre Royal Haymarket 14 Richard Bean interview 15 Grant Olding Interview 17 Further production detailsls: This background pack is Director Learning Workpack writer www.onemantwoguvnors.com published by and copyright Nicholas Hytner National Theatre Adam Penford The Royal National Theatre South Bank Board London SE1 9PX Editor Reg. No. 1247285 T 020 7452 3388 Ben Clare Registered Charity No. F 020 7452 3380 224223 E discover@ Views expressed in this nationaltheatre.org.uk Rehearsal and production workpack are not necessarily photographs those of the National Theatre Johan Persson National Theatre Learning Background Pack 1 The National’s production The production of One Man, Two Guvnors opened in the National’s Lyttelton Theatre on 24 May 2011, transferring to the Adelphi from 8 November 2011; and to the Theatre Royal Haymarket with a new cast from 2 March 2012. The production toured the UK in autumn 2011 and will tour again in autumn 2012. The original cast opened a Broadway production in May 2012. Original Cast (National Theatre and Adelphi) Current Cast (Theatre Royal Haymarket) Dolly SuzIE TOASE Dolly JODIE PRENGER Lloyd Boateng TREvOR LAIRD Lloyd Boateng DEREk ELROy Charlie -
Conservation Management Plan for the National Theatre Haworth Tompkins
Conservation Management Plan For The National Theatre Final Draft December 2008 Haworth Tompkins Conservation Management Plan for the National Theatre Final Draft - December 2008 Haworth Tompkins Ltd 19-20 Great Sutton Street London EC1V 0DR Front Cover: Haworth Tompkins Ltd 2008 Theatre Square entrance, winter - HTL 2008 Foreword When, in December 2007, Time Out magazine celebrated the National Theatre as one of the seven wonders of London, a significant moment in the rising popularity of the building had occurred. Over the decades since its opening in 1976, Denys Lasdun’s building, listed Grade II* in 1994. has come to be seen as a London landmark, and a favourite of theatre-goers. The building has served the NT company well. The innovations of its founders and architect – the ampleness of the foyers, the idea that theatre doesn’t start or finish with the rise and fall of the curtain – have been triumphantly borne out. With its Southbank neighbours to the west of Waterloo Bridge, the NT was an early inhabitant of an area that, thirty years later, has become one of the world’s major cultural quarters. The river walk from the Eye to the Design Museum now teems with life - and, as they pass the National, we do our best to encourage them in. The Travelex £10 seasons and now Sunday opening bear out the theatre’s 1976 slogan, “The New National Theatre is Yours”. Greatly helped by the Arts Council, the NT has looked after the building, with a major refurbishment in the nineties, and a yearly spend of some £2million on fabric, infrastructure and equipment. -
40 More Theatres Supported with Final Theatre Reopening Fund Grants
Theatres Trust supports 40 more theatres with final Theatre Reopening Fund grants The national public advisory body for theatre has awarded a further £155,265 of grants to help theatres with costs of Covid-secure reopening, including changes to the building to reduce congestion, improvements to ventilation systems and simple measures like installing hand sanitisers and screens. The theatres supported reflect the vital elements that make up the theatre ecosystem with awards made to significant producing theatres – Hampstead Theatre, Lyric Hammersmith, Pitlochry Festival Theatre, Theatre Royal Bath – major receiving houses Capital Theatres and Worthing Theatres, venues specialising in dance (Northern Ballet), new writing (Traverse, New Diorama, Gate Theatre) and one of the country’s few puppet theatres, Upfront Theatre. Community theatres across the country have received grants, including young people-focused Blue Elephant Theatre and Hanger Farm Arts Centre, which works with people with learning disabilities. Theatres Trust has also given grants to help reopen every type of theatre building, including the country’s last remaining Regency theatre, Theatre Royal Bury St Edmunds, theatres in converted cinemas (People’s Theatre and Blackburn Empire) and former churches (Headgate Theatre and Lowestoft Players Theatre), pub theatres (Jack Studio Theatre), outdoor theatre (Rutland Open Air) and even a travelling theatre – Paines Plough. Theatres Trust Director Jon Morgan says, We are beginning to look forward to a time when theatres can reopen, welcome audiences back inside and continue to play a vital role in their communities. It has been a difficult year, but Theatres Trust is pleased to have been able to support so many theatres through this grant scheme as well as our free advice service and the #SaveOurTheatres Crowdfunding campaign. -
FOR IMMEDIATE RELEASE Contact: Renée Littleton/Lauren Mcmillen [email protected], 202-600-4055 September 11, 2020 ARENA STAG
FOR IMMEDIATE RELEASE Contact: Renée Littleton/Lauren McMillen [email protected], 202-600-4055 September 11, 2020 ARENA STAGE OPENS FALL/WINTER SEASON WITH RELEASE OF THIRD WORLD-PREMIERE FILM, THE 51ST STATE *** Arena’s latest film centers around the historic fight for D.C. statehood, the protests after the murder of George Floyd and the growing movement for racial justice *** (Washington, D.C.) Arena Stage at the Mead Center for American Theater’s latest world premiere docudrama, The 51st State, will receive its world premiere through Arena Stage’s Supper Club on September 16 at 7 p.m. Following the premiere, viewers can join artists and creatives for a post-film discussion and after-party on Zoom. The film will be available online to the general public on Thursday, September 17. Patrons will be able to view the film on both the Arena Stage and WTOP.com websites by searching for Arena Stage. The hyper local 60-minute film created by Washington, D.C. artists through the voices of 11 residents was inspired by protests and the reignition of a movement after the murder of George Floyd and the quest for creating the 51st state and sovereignty in Washington, D.C. From a first-time protestor to a fourth-generation Washingtonian political scientist, to artists, an attorney, people of faith, and a retired couple moved to take part in the movement despite the COVID-19 risks, these diverse perspectives and real-life stories are vividly told and transformed into affecting narratives by 10 local playwrights. “This is a hyper-local docudrama about a city in transition. -
What's Grand About Grand Avenue?
We’ve all heard about the alleged The highway’s route developed out of a need to ship food and supplies the 50-odd miles between Phoenix, power of the pyramid, but does the then a small farming community, and Wickenburg, a town benefiting from the wealth produced from the nearby hypotenuse leg of a triangle also Vulture Mine, the richest gold strike in Arizona. Grand contain a little magic? The throngs Avenue’s distinctive diagonal route, like so many angled streets across the country, is the result of the roadway of people that flock every First paralleling the tracks of the Santa Fe, Prescott, and Phoenix Friday of the month to tour the art Railroad that connected the two communities with regular passenger service from 1895 to 1969. spaces along Grand Avenue—the Long before light-rail became the Phoenix public transportation buzz word, there was a Grand Avenue trolley lone diagonal in a grid town— car, albeit one pulled by a mule, transporting passengers would undoubtedly agree there’s a from downtown to the then city limits at McDowell Road. The mule trolley, which began in 1890 and was upgraded distinctive vibe on this directionally- to an electric system in 1909, flourished before losing challenged street that can’t be found popularity to the automobile. The trolley remained busy each fall transporting passengers to the Arizona State Fair, elsewhere in Phoenix, Arizona. but business was so poor at other times that during the “I sure do feel that there’s something 1930s, a conductor reportedly accepted a goat as a passenger special about Grand Avenue,” says Jason Douglas Towne’s art installation, “The Lone Diagonal in a Grid Town: What’s Grand About Grand Avenue,” was featured at Nosaj, co-owner of The Trunk Space, Phoenix’s Stop n’ Look Gallery in 2003.