On the Purple Circuit with Bill Kaiser Volume 8, Number 1 the MANBITES DOG THEATER ISSUE
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ARNOLD MITTELMAN Producer/Director 799 Crandon
ARNOLD MITTELMAN Producer/Director 799 Crandon Boulevard, #505 Key Biscayne, FL 33149 [email protected] ARNOLD MITTELMAN is a producer and director with 40 years of theatrical achievement that has resulted in the creation and production of more than 300 artistically diverse plays, musicals and special events. Prior to coming to the world famous Coconut Grove Playhouse in 1985, Mr. Mittelman directed and produced Alone Together at Broadway's Music Box Theatre. Succeeding the esteemed actor José Ferrer as the Producing Artistic Director of Coconut Grove Playhouse, he continued to bring national and international focus to this renowned theater. Mr. Mittelman helped create more than 200 plays, musicals, educational and special events on two stages during his 21-year tenure at the Playhouse. These plays and musicals were highlighted by 28 World or American premieres. This body of work includes three Pulitzer Prize-winning playwrights directing their own work for the first time in a major theatrical production: Edward Albee - Seascape; David Auburn - Proof; and Nilo Cruz - Anna In the Tropics. Musical legends Cy Coleman, Charles Strouse, Jerry Herman, Jimmy Buffett, John Kander and Fred Ebb were in residence at the Playhouse to develop world premiere productions. The Coconut Grove Playhouse has also been honored by the participation of librettist/writers Herman Wouk, Alfred Uhry, Jerome Weidman and Terrence McNally. Too numerous to mention are the world famous stars and Tony award-winning directors, designers and choreographers who have worked with Mr. Mittelman. Forty Playhouse productions, featuring some of the industry's greatest theatrical talents and innovative partnerships between the not-for-profit and for-profit sectors, have transferred directly to Broadway, off-Broadway, toured, or gone on to other national and international venues (see below). -
May 2018 Welcome Mike Hausberg
MAY 2018 WELCOME MIKE HAUSBERG Welcome to The Old Globe and this production of Native Gardens. Our goal is to serve all of San Diego and beyond through the art of theatre. Below are the mission and values that drive our work. We thank you for being a crucial part of what we do. MISSION STATEMENT The mission of The Old Globe is to preserve, strengthen, and advance American theatre by: creating theatrical experiences of the highest professional standards; producing and presenting works of exceptional merit, designed to reach current and future audiences; ensuring diversity and balance in programming; providing an environment for the growth and education of theatre professionals, audiences, and the community at large. STATEMENT OF VALUES The Old Globe believes that theatre matters. Our commitment is to make it matter to more people. The values that shape this commitment are: TRANSFORMATION Theatre cultivates imagination and empathy, enriching our humanity and connecting us to each other by bringing us entertaining experiences, new ideas, and a wide range of stories told from many perspectives. INCLUSION The communities of San Diego, in their diversity and their commonality, are welcome and reflected at the Globe. Access for all to our stages and programs expands when we engage audiences in many ways and in many places. EXCELLENCE Our dedication to creating exceptional work demands a high standard of achievement in everything we do, on and off the stage. STABILITY Our priority every day is to steward a vital, nurturing, and financially secure institution that will thrive for generations. IMPACT Our prominence nationally and locally brings with it a responsibility to listen, collaborate, and act with integrity in order to serve. -
Songs-Of-Protest-2020.Pdf
Elliott Forrest Dara Falco Executive & Artistic Director Managing Director Board of Trustees Stephen Iger, President Melanie Rock, Vice President Joe Morley, Secretary Tim Domini, Treasurer Karen Ayres Rod Greenwood Simon Basner Patrick Heaphy David Brogno James Sarna Hal Coon Lisa Waterworth Jeffrey Doctorow Matthew Watson SUPPORT THE ARTS Donations accepted throughout the show online at ArtsRock.org The mission of ArtsRock is to provide increased access to professional arts and multi-cultural programs for an underserved, diverse audience in and around Rockland County. ArtsRock.org ArtsRock is a 501 (C)(3) Not For-Profit Corporation Dear Friends both Near and Far, Welcome to SONGS OF PROTEST 4, from ArtsRock.org, a non- profit, non-partisan arts organization based in Nyack, NY. We are so glad you have joined us to celebrate the power of music to make social change. Each of the first three SONGS OF PROTEST events, starting in April of 2017, was presented to sold-out audiences in our Rockland, NY community. This latest concert, was supposed to have taken place in-person on April 6th, 2020. We had the performer lineup and songs already chosen when we had to halt the entire season due to the pandemic. As in SONGS OF PROTEST 1, 2 & 3, we had planned to present an evening filled with amazing performers and powerful songs that have had a historical impact on social justice. When we decided to resume the series virtually, we rethought the concept. With so much going on in our country and the world, we offered the performers the opportunity to write or present an original work about an issue from our current state of affairs. -
Three Forms of Death in David Rabe's the Basic Training of Pavlo
The University of Southern Mississippi The Aquila Digital Community Honors Theses Honors College Spring 5-2019 Three Forms of Death in David Rabe’s The Basic Training of Pavlo Hummel and Sticks and Bones Sloan Garner University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/honors_theses Part of the Dramatic Literature, Criticism and Theory Commons Recommended Citation Garner, Sloan, "Three Forms of Death in David Rabe’s The Basic Training of Pavlo Hummel and Sticks and Bones" (2019). Honors Theses. 625. https://aquila.usm.edu/honors_theses/625 This Honors College Thesis is brought to you for free and open access by the Honors College at The Aquila Digital Community. It has been accepted for inclusion in Honors Theses by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi Three Forms of Death in David Rabe’s The Basic Training of Pavlo Hummel and Sticks and Bones By Sloan Garner A Thesis Submitted to the Honors College of The University of Southern Mississippi In Partial Fulfillment of Honors Requirements May 2019 ii Approved by Alexandra Valint, Ph.D., Thesis Advisor Associate Professor of English, Director of Graduate Studies Luis Iglesias, Ph.D. Interim Director of School of Humanities Stacy Reischman Fletcher, M.F.A. Director of School of Visual and Performing Arts Ellen Weinauer, Ph.D. Dean of Honors College iii Abstract In this thesis, I argue there are three main forms of death that progress chronologically in David Rabe’s The Basic Training of Pavlo Hummel and Sticks and Bones. -
Welcome to Picasso at the Lapin Agile! We're Thrilled to Kick Off 2017 With
FEBRUARY 2017 WELCOME JIM COX elcome to Picasso at the Lapin Agile! We’re thrilled to kick off 2017 with this funny, fascinating, and endlessly W surprising play. As we begin a new year, we also celebrate the phenomenal successes of 2016. Last year, the Globe broke box office records with hits like Meteor Shower (another Steve Martin comedy) and our acclaimed productions of October Sky and Sense and Sensibility. It was also an outstanding year for philanthropy. Individual donors gave generously to support our mission, and the Globe reaped the benefit of major foundation and government support. Our Arts Engagement Department successfully launched a slate of new programs funded in part by The James Irvine Foundation’s New California Arts Fund, and the National Endowment for the Arts awarded the Globe a major grant to support new play development. In every way, 2016 was a banner year for The Old Globe. We couldn’t imagine a better way to start 2017 than Picasso at the Lapin Agile. Not only does the production mark the welcome return of writer Steve Martin to the Globe, it pairs him with his longtime collaborator—and our Erna Finci Viterbi Artistic Director—Barry Edelstein. Here, Barry shepherds an all-star cast featuring returning Globe favorites alongside talented performers making their Globe debuts. 2016 will be a tough act to top, but this show bodes well for another banner year of great theatre in Balboa Park. We hope to see you often at the Globe in the coming year! MISSION STATEMENT The mission of The Old Globe is to preserve, strengthen, and advance American theatre by: creating theatrical experiences of the highest professional standards; producing and presenting works of exceptional merit, designed to reach current and future audiences; ensuring diversity and balance in programming; providing an environment for the growth and education of theatre professionals, audiences, and the community at large. -
Dear Secretary Salazar: I Strongly
Dear Secretary Salazar: I strongly oppose the Bush administration's illegal and illogical regulations under Section 4(d) and Section 7 of the Endangered Species Act, which reduce protections to polar bears and create an exemption for greenhouse gas emissions. I request that you revoke these regulations immediately, within the 60-day window provided by Congress for their removal. The Endangered Species Act has a proven track record of success at reducing all threats to species, and it makes absolutely no sense, scientifically or legally, to exempt greenhouse gas emissions -- the number-one threat to the polar bear -- from this successful system. I urge you to take this critically important step in restoring scientific integrity at the Department of Interior by rescinding both of Bush's illegal regulations reducing protections to polar bears. Sarah Bergman, Tucson, AZ James Shannon, Fairfield Bay, AR Keri Dixon, Tucson, AZ Ben Blanding, Lynnwood, WA Bill Haskins, Sacramento, CA Sher Surratt, Middleburg Hts, OH Kassie Siegel, Joshua Tree, CA Sigrid Schraube, Schoeneck Susan Arnot, San Francisco, CA Stephanie Mitchell, Los Angeles, CA Sarah Taylor, NY, NY Simona Bixler, Apo Ae, AE Stephan Flint, Moscow, ID Steve Fardys, Los Angeles, CA Shelbi Kepler, Temecula, CA Kim Crawford, NJ Mary Trujillo, Alhambra, CA Diane Jarosy, Letchworth Garden City,Herts Shari Carpenter, Fallbrook, CA Sheila Kilpatrick, Virginia Beach, VA Kierã¡N Suckling, Tucson, AZ Steve Atkins, Bath Sharon Fleisher, Huntington Station, NY Hans Morgenstern, Miami, FL Shawn Alma, -
Queer Alchemy: Fabulousness in Gay Male Literature and Film
QUEER ALCHEMY QUEER ALCHEMY: FABULOUSNESS IN GAY MALE LITERATURE AND FILM By ANDREW JOHN BUZNY, B.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfillment of the Requirements for the Degree Master of Arts McMaster University © Copyright by Andrew John Buzny, August 2010 MASTER OF ARTS (2010) McMaster University' (English) Hamilton, Ontario TITLE: Queer Alchemy: Fabulousness in Gay Male Literature and Film AUTHOR: Andrew John Buzny, B.A. (McMaster University) SUPERVISOR: Professor Lorraine York NUMBER OF PAGES: v, 124pp. 11 ABSTRACT This thesis prioritizes the role of the Fabulous, an underdeveloped critical concept, in the construction of gay male literature and film. Building on Heather Love's observation that queer communities possess a seemingly magical ability to transform shame into pride - queer alchemy - I argue that gay males have created a genre of fiction that draws on this alchemical power through their uses of the Fabulous: fabulous realism. To highlight the multifarious nature of the Fabulous, I examine Thomas Gustafson's film Were the World Mine, Tomson Highway's novel Kiss ofthe Fur Queen, and Quentin Crisp's memoir The Naked Civil Servant. 111 ACKNO~EDGEMENTS This thesis would not have reached completion without the continuing aid and encouragement of a number of fabulous people. I am extremely thankful to have been blessed with such a rigorous, encouraging, compassionate supervisor, Dr. Lorraine York, who despite my constant erratic behaviour, and disloyalty to my original proposal has remained a strong supporter of this project: THANK YOU! I would also like to thank my first reader, Dr. Sarah Brophy for providing me with multiple opportunities to grow in~ellectually throughout the past year, and during my entire tenure at McMaster University. -
2009–Senior Seminar, Ives, Blues, Porter
James Hepokoski Spring 2009 Music 458: Ives, Blues, Porter Visions of America: Competing concepts of musical style and purpose in the United States in the first half of the twentieth century. We examine some stylistic and cultural bases of both “art” and “popular” music and their often uneasy interrelationships. This is neither a survey course nor one concerned with mastering a body of facts. Nor is it preoccupied with coming to aesthetic value judgments. Instead, it is a course in applying critical thinking and analysis to some familiar musical styles basic to the American experience: asking hard questions of differing early- and mid-twentieth-century repertories. Areas to be examined include: 1) Ives (selected songs, Concord Sonata, Second Symphony); 2) early blues (Bessie Smith, Charley Patton, Robert Johnson, and others), including samples of African-American recorded precedents and related genres; 3) Broadway and popular song—including a brief look at Jerome Kern (selected numbers from Show Boat) followed by a closer study of Cole Porter (Anything Goes). Some main questions to be faced are: What aesthetic/contextual/analytical tools do we need to think more deeply about differing pieces of music that spring from or respond to markedly differing/diverse American subcultures? What are our presuppositions in listening to any of these musics, and to what extent might we profit by examining these presuppositions critically? The course will also make use of resources in Yale’s music collection—most notably the Charles Ives Papers and The Cole Porter Collection. We shall also be concerned with original recordings from the 1920s and 1930s. -
2020-2021 Season Calendar
2020-2021 CALENDAR Season of Great Heights at RLT SUTTON SERIES FAMILY SERIES Welcome to our 2020/2021 Season of Great Heights at RLT! Dreamgirls Musical Elephant & Piggie’s “We Are in a Play!” In planning this season, we joined theatres across America August 14 - 30, 2020 ST RE Musical, October 30 - November 8, 2020 ST RE SF in the Jubilee - a national festival to produce plays written by or featuring artists who are typically underrepresented In the Heights Musical Junie B. Jones is Not a Crook Comedy ST RE ST RE on national stages. We are thrilled with the diverse lineup April 9 - 25, 2021 February 12 - 21, 2021 SF we have in store for you this season. Every play and musical Pride and Prejudice Romantic Comedy The Surprising Story of the Three Little Pigs (aside from Cinderella) will be premiering on the RLT stages June 11 - 27, 2021 ST RE Comedy, March 12 - 28, 2021 GG GA SF for the very first time in our history. Of the 10 plays, 8 were written by women or have a woman on the writing team and GADDY-GOODWIN SERIES HOLIDAY SHOW one was written by a North Carolina native. We are also excited to produce our first ever musical helmed by Latinx artists! Morning After Grace Comedy Cinderella Musical With unforgettable music, exhilarating stories, and a diversity September 25 - October 11, 2020 GG GA December 4 - 20, 2020 ST RE of characters, these plays will encourage us to soar to great The Cake Dramatic Comedy heights where we can see and celebrate bold voices in the January 15 - 31, 2021 GG GA SENSORY-FRIENDLY SHOWS American theatre landscape. -
Queer Icon Penny Arcade NYC USA
Queer icON Penny ARCADE NYC USA WE PAY TRIBUTE TO THE LEGENDARY WISDOM AND LIGHTNING WIT OF THE SElf-PROCLAIMED ‘OLD QUEEn’ oF THE UNDERGROUND Words BEN WALTERS | Photographs DAVID EdwARDS | Art Direction MARTIN PERRY Styling DAVID HAWKINS & POP KAMPOL | Hair CHRISTIAN LANDON | Make-up JOEY CHOY USING M.A.C IT’S A HOT JULY AFTERNOON IN 2009 AND I’M IN PENNy ARCADE’S FOURTH-FLOOR APARTMENT ON THE LOWER EASt SIde of MANHATTan. The pink and blue walls are covered in portraits, from Raeburn’s ‘Skating Minister’ to Martin Luther King to a STOP sign over which Penny’s own image is painted (good luck stopping this one). A framed heart sits over the fridge, Day of the Dead skulls spill along a sideboard. Arcade sits at a wrought-iron table, before her a pile of fabric, a bowl of fruit, two laptops, a red purse, and a pack of American Spirits. She wears a striped top, cargo pants, and scuffed pink Crocs, hair pulled back from her face, no make-up. ‘I had asked if I could audition to play myself,’ she says, ‘And the word came back that only a movie star or a television star could play Penny Arcade!’ She’s talking about the television film, An Englishman in New York, the follow-up to The Naked Civil Servant, in which John Hurt reprises his role as Quentin Crisp. Arcade, a regular collaborator and close friend of Crisp’s throughout his last decade, is played by Cynthia Nixon, star of Sex PENNY ARCADE and the City – one of the shows Arcade has blamed for the suburbanisation of her beloved New York City. -
Helen Smith Full Thesis
A Study of Working-Class Men Who Desired Other Men in the North of England, c.1895 - 1957 Helen Smith Department of History A thesis submitted for the degree of Doctor of Philosophy November 2012 Abstract This thesis is the first detailed academic study of non-metropolitan men who desired other men in England during the period 1895-1957. It places issues of class, masculinity and regionality alongside sexuality in seeking to understand how men experienced their emotional and sexual relationships with each other. It argues that fluid notions of sexuality were rooted in deeply embedded notions of class and region. The thesis examines the six decades from 1895 to 1957 in an attempt to explore patterns of change over a broad period and uses a wide variety of sources such as legal records, newspapers, letters, social surveys and oral histories to achieve this. Amongst northern working men, ‘normality’ and ‘good character’ were not necessarily disrupted by same sex desire. As long as a man was a good, reliable worker, many other potential transgressions could be forgiven or overlooked. This type of tolerance of (or ambivalence to) same sex desire was shaken by affluence and the increased visibility of men with a clear sexuality from the 1950s and into the era of decriminalisation. The thesis analyses patterns of work, sex, friendship and sociability throughout the period to understand how these traditions of tolerance and ambivalence were formed and why they eventually came to an end. Although the impact of affluence and decriminalisation had countless positive effects both for working people in general and men who desired other men specifically, the thesis will acknowledge that this impact irrevocably altered a way of life and of understanding the world. -
An Interview with David Rabe Philip C. Kolin
Spring 1989 135 An Interview with David Rabe Philip C. Kolin Coming from America's heartland (Dubuque, Iowa), David Rabe was drafted in 1965 at the age of 25 and completed a tour of duty in the literal Vietnam that he would later project symbolically on the American stage. Defining that event for himself, Rabe became one of the most promising playwrights of the post-1970 theatre. After his discharge from the Army, Rabe finished an MA. in theatre at Villanova University and worked on the early drafts of what critics have labeled his Vietnam Trilogy— The Basic Training of Pavlo Hummel, Sticks and Bones, and Streamers. He then put in an 18-month stint as a feature writer for the Sunday Pictorial magazine of the New Haven Register, publishing more than two dozen hauntingly beautiful and painful stories on the draft resistance movement, drugs, sports, the arts, and various rituals in American society, topics that also surface in the plays. In 1970 Rabe began an eventful 12-year friendship with Joe Papp who introduced, directed, produced, and defended Rabe's early work. Papp's admiration for Rabe was unqualified: "He is the most important writer we've ever had" (quoted in Mel Gussow, "2nd David Rabe Play to Join, Tavlo Hummel' at Public Theater," New York Times [Nov. 3, 1971]: 43). Pavlo Hummel and Sticks and Bones made theatre history when both plays were performed at the same time at the Public Theater, Pavlo at the Newman and Sticks at the Anspacher. In March of 1972 Papp prevailed upon Rabe to move Sticks to Broadway (Rabe's first appearance there) where Rabe won a Tony.