Namir Smallwood Theatrical Resume

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Namir Smallwood AEA TELEVISION American Rust Recurring Showtime Various Elementary Guest Star CBS Jonny Lee Miller Chicago Fire Principal NBC/Universal Steve Shill Betrayal Principal ABC StuDios DaviD Zabel FILM RounDing Lead InDepenDent Feature James Hyman BROADWAY Pass Over Kitch August Wilson Theater Danya Taymor OFF-BROADWAY Pipeline (worlD premiere) Omari Lincoln Center Lileana Blaine-Cruz Lucille Lortel Award Nomination - Outstanding Lead Actor in a Play Pass Over Kitch Lincoln Center Dayna Taymor THEATRE Seagull Konstantin Treplev Steppenwolf Yasen Peyankov Bug Peter Evans Steppenwolf DaviD Cromer True West Lee Steppenwolf RanDall Arney BLKS (worlD premiere) Justin Steppenwolf Nataki Garrett Monster (worlD premiere) King Steppenwolf Hallie GorDon East Texas Hot Links XL Dancer Writers Theatre Ron OJ Parson Grapes of Wrath Tom JoaD Gift Theatre Erica Weiss Gem of the Ocean Citizen Barlow Marin Theatre Company Daniel AlexanDer Jones Charm (worlD premiere) Beta Northlight Theatre BJ Jones The Gospel of LovingkinDness Manny/Noel/Zach Pillsbury House Theatre Marion McClinton Two Trains Running Wolf/Sterling (u/s) GooDman Chuck Smith Romeo anD Juliet Romeo Ten ThousanD Things Peter Rothstein Buzzer Jackson Guthrie Theater Marion McClinton The Brothers Size Oshoosi Pillsbury House Theatre Marion McClinton Buzzer (worlD premiere) Jackson Pillsbury House Theatre Marion McClinton Man In Love Paul Pare Jr. Steppenwolf First Look Robert O'hara Hot L Baltimore Jamie Steppenwolf Tina LanDau Life Is A Dream SigismunD Ten ThousanD Things Michelle Hensley Pa's Hat: A Liberian Legacy Femor Pillsbury House Theatre Marion McClinton Lost Boys of Sudan AI Josh Victory GarDens Jim Corti RuineD Fortune MixeD BlooD Theatre Aditi Kapil A MiDsummer Night's Dream Puck Guthrie Theater Joe Dowling TRAINING BFA University of Minnesota/ Guthrie Theater Actor Training Program SKILLS Singer (Baritone), Excellent mover. Can play piano, guitar anD bass (by ear); Very skilleD Drummer/percussionist. Very proficient in dialects (Familiar with South African, Congolese, Dinka from Sudan, and pidgin Liberian) Page 1 of 1 .

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An Interview with American Playwright August Wilson
AUGUST WILSON/ Tibbetts/ 1! AN INTERVIEW WITH AMERICAN PLAYWRIGHT AUGUST WILSON By John C. Tibbetts Interviews on 30 April and 3 May 2002 Raphael Hotel and Hallmark Corporate Headquarters, Kansas City MO TIBBETTS INTRODUCTION TO INTERVIEW: August Wilson was born Frederick August Kittel in 1945 in Pittsburgh, Pennsylvania’s Hill District, an area famous for the many black performers who began their careers there—Lena Horne, Erroll Garner, Ahmad Jamal, Earl (Fatha) Hines, and Billy Eckstine. The fourth child of six children of a baker and a cleaning woman (whose maiden name was Wilson), he was an avid reader and displayed early on a gift and a passion for poetry. But the world of theatre eventually claimed him, and he co-founded the Black Horizons Theatre in 1968 and turned to playwriting in earnest. He moved to St. Paul, Minnesota in 1978, where he began writing Ma Rainey’s Black Bottom, a play about the struggle between black musicians and their white bosses in the 1920s, and Jitney, whose story was set at a taxi stand on the Hill. Wilson’s career was launched when his work came to the attention of Lloyd Richards, an experienced director and head of the Yale Drama School Thus began a creative partnership that has lasted to the present day. Ma Rainey debuted on Broadway in 1984 and was a sensational success. Despite the fact that there were many esteemed black playwrights working at the time—Amiri Baraka, Ron Milner, Richard Wesley, Ed Bullins, and Phillip Hayes Dean, to cite just a few—no African-American plays had hitherto been successful on Broadway.
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Lou Bellamy 2006 Distinguished Artist
Lou Bellamy 2006 Distinguished Artist Lou Bellamy 2006 Distinguished Artist The McKnight Foundation Introduction spotlight is a funny thing. It holds great potential to expose and clarify whatever lies within its glowing circle—but for that to happen, eyes outside the pool of light must be focused Aon what’s unfolding within. Theater gains meaning only through the community that generates, participates in, and witnesses it. For McKnight Distinguished Artist Lou Bellamy and his Penumbra Theatre Company, using one’s talents to connect important messages to community is what art is all about. Bellamy believes that theater’s purpose is to focus the community’s attention and engage people in the issues we face together. He relishes the opportunity life has presented to him: to work in an African American neighborhood and develop art responsive to that neighborhood, while presenting ideas that are universal enough to encourage a world of diverse neighborhoods to take notice. This is not a spectator sport. Bellamy is a strong proponent of active art, art driven to do something. Ideally, audience members should see what’s onstage and listen to the message, then carry that message with them when they leave the theater. “You put all these people in a room,” he has said, “turn out the lights, and make them all look at one thing. You’ve got something powerful in that room.” More than 40,000 people experience that power annually, in Penumbra’s 265-seat theater in St. Paul. Universal messages are not crafted through European American templates only, and Bellamy recognizes that presenting a multifaceted reality means showing all the rays of light that pass through it.
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The Piano Lesson
Educational Tools Penumbra Theatre Study Guide Greetings! Thank you for visiting Penumbra Theatre Company’s Study Guide Library. We are so pleased that you seek to extend and engage your understanding of the drama we produce and the thematic issues it brings to the fore. Penumbra Theatre Company occupies a very unique place within American society, and by extension of that, the world. Penumbra was borne out of the Black Arts Movement, a time charged by civic protest and community action. An artist making art by, for and about the black community was charged with merging aesthetic (artistic) principles with ethical (moral) ones. Subsequently, in this historical and political context, art had an agenda to strive toward social change. African American artists were part of, and greatly influenced, the social currents that carried people from their homes, schools and places of worship to the streets. Bonding artistic interpretation with civic responsibility engenders an important kind of creative dissonance, a harmony of balance. It creates something neither art nor civic action could do alone. This is mission driven art, informed by a black ethos and aesthetic, which can adequately illuminate our experience. Ensemble Theatre in that context is the creation of a community of people committed to the telling of a story that acknowledges the experience of everyone involved. This kind of art demands that each audience member recognize his or her place in relation to the art. When that happens, we begin to think about ourselves as interactive forces in a greater social context. Our own agency becomes clearer to us; our choices and reactions start to make sense within a broader, more nuanced environment.
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A King's Royal Scars
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 5-2020 A king's royal scars. Xavier Mikal Harris University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the Arts and Humanities Commons, and the Education Commons Recommended Citation Harris, Xavier Mikal, "A king's royal scars." (2020). Electronic Theses and Dissertations. Paper 3374. Retrieved from https://ir.library.louisville.edu/etd/3374 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. A KING’S ROYAL SCARS By Xavier Mikal Harris B.F.A., North Carolina A&T State University, 2017 A Thesis Submitted to the Faculty of the Colleges of Arts and Sciences of the University of Louisville In Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts in Theatre Arts Department of Theatre Arts University of Louisville Louisville, Kentucky May 2020 Copyright 2020 by Xavier Mikal Harris All rights reserved A KING’S ROYAL SCARS By Xavier Mikal Harris B.F.A., North Carolina A&T State University, 2017 A Thesis Approved on April 14, 2020 By the following Thesis Committee __________________________________________________ Dr. Baron Kelly _________________________________________________ Dr. Ariande Calvano __________________________________________________ Dr.
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AM Augustwilson Film Interviewees Rev011315
Press Contact: Natasha Padilla, WNET, 212.560.8824, [email protected] Press Materials: http://pbs.org/pressroom or http://thirteen.org/pressroom Websites: http://pbs.org/americanmasters , http://facebook.com/americanmasters , @PBSAmerMasters , http://pbsamericanmasters.tumblr.com , http://youtube.com/AmericanMastersPBS , http://instagram.com/pbsamericanmasters , #AugustWilsonPBS American Masters August Wilson: The Ground on Which I Stand Premieres nationwide Friday, February 20, 9-10:30 p.m. on PBS (check local listings) in honor of the 70 th anniversary of Wilson’s birth, 10 th anniversary of his death and Black History Month Film Interviewees (in alphabetical order) Dwight Andrews , music direction for Ma Rainey’s Black Bottom , Fences , Joe Turner’s Come and Gone ; music and musical direction on Gem of the Ocean and numerous plays; officiate at August Wilson’s funeral Lou Bellamy , met August Wilson when he moved to St. Paul, Minn., and acted in and directed a number of his early works; directed and acted in numerous productions of Wilson’s American Century Cycle including Fences , Two Trains Running and Radio Golf Robert Brustein , dean of Yale School of Drama (1966-1979); founded the Yale Reparatory Theatre in 1966; theatre critic Julia Burley , friend of August Wilson’s mother; Charley Burley’s widow Rocky Carroll , actor , played Lymon in original Broadway production of The Piano Lesson and originated the role of Harmon in Radio Golf Anthony Chisholm , actor, played Wolf in the original Broadway production of Two Trains Running , Fielding in the original production of Jitney and Elder Barlow in original Broadway cast of Radio Golf Viola Davis , actor, played Vera in original Broadway productions of Seven Guitars and King Hedley II Charles Dutton , actor, played Levee in the original Broadway production and revival of Ma Rainey’s Black Bottom , Boy Willie in original Broadway and Hallmark Hall of Fame productions of The Piano Lesson , originated the role of Harold Loomis in Joe Turner’s Come and Gone Dr.
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There Were Two Major Factors That Led to My Decision to Direct This Show
Wednesday, April 15, 2015 For immediate release For more information: Kelsye Gould, 612.787.3622 [email protected] Hi-resolution photos are available on request. Box Office: 612.825.0459 or pillsburyhousetheatre.org From the road weeps, the well runs dry playwright Marcus Gardley comes The Gospel of Lovingkindness, a poetic new play about mothers and sons affected by gun violence Minneapolis, MN—Pillsbury House Theatre presents the area premiere of The Gospel of Lovingkindness by Marcus Gardley, May 29 – June 28, 2015. A powerful and poetic drama about two black mothers and their sons whose lives are shattered by the heartbreak of gun violence, The Gospel of Lovingkindness is directed by Marion McClinton and stars Aimee K. Bryant, Thomasina Petrus, Namir Smallwood and James A. Williams. On the South Side of Chicago, Mary and Miriam are two single mothers with teenage sons. Mary’s son, Manny, is all she had hoped he would be. He is doing well in his North Side school, he just sang at the White House for President Obama, and he is kicking it in a new pair of Air Jordans. Miriam’s son, Noel, however, is struggling to stay on the track his mother has put him on. He is making minimum wage at Walmart, he just found out he has a newborn son, and his hopes for a basketball scholarship have vanished. Longing for a better future for himself and his family, Noel goes to work for his drug-dealing uncle. But when Noel’s uncle asks him to prove himself by stealing Manny’s $260 shoes off his feet, Noel’s desperation leaves behind two grieving mothers and a city on edge.
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EDUCATION 2001 Master of Fine Arts, Northwestern University, Evanston, IL Dean's List
Michelle Habeck Brett Adams, Ltd. Artist's Agency Lighting for space, place and performance Mark Orsini Tel. 312.656.1432 Tel: 212.765.5630 [email protected] Fax: 212.265.2212 M i c h e l l e H a b e c k Lighting Design Curriculum Vitae The University of Texas at Austin The Department of Theatre and Dance 300 East 23rd Street D3900 Austin, Tx 78712 www.michellehabeckstudio.live EDUCATION 2001 Master of Fine Arts, Northwestern University, Evanston, IL Dean's List 1996 Bachelor of Fine Arts, Salem State College, Salem, MA Honors, Phi Kappa Phi Honor Society ACADEMIC APPOINTMENTS 2011 - present Associate Professor of Design, The University of Texas at Austin, Department of Theatre and Dance, Austin, TX 2005- 2011 Assistant Professor of Design, The University of Texas at Austin, Department of Theatre and Dance, Austin, TX 2005 Adjunct Faculty of Design, The University of Illinois, Department of Theatre, Champaign-Urbana, IL 2004-2005 Adjunct Faculty of Design, Columbia College, Department of Theatre, Chicago, IL 1999 Instructor of Design, The New School, Theatre Department, New York, NY PROFESSIONAL APPOINTMENTS 1996-present Freelance Lighting Scenic, Multi-media Design 2004-2007 Associate Designer, Donald Holder Lighting Design, New York, NY June 24, 2019 1 Michelle Habeck Brett Adams, Ltd. Artist's Agency Lighting for space, place and performance Mark Orsini Tel. 312.656.1432 Tel: 212.765.5630 [email protected] Fax: 212.265.2212 1997-2006 Assistant Designer, Donald Holder Lighting Design, New York, NY 1997-2005 Draftsperson, Donald Holder Lighting Design, New York, NY SPECIAL AWARDS, FELLOWSHIPS AND GRANTS 2016-present Provost Teaching Fellow The University of Texas at Austin, Austin, TX 2013-2014 The Grace Hill Milam Centennial Fellowship The University of Texas at Austin, Austin, TX 2010-2011 John D.
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RESUME2019 Update.Xlsx
JUSTIN ELLINGTON Contact: Leah Hamos Composer/Arranger/Sound Designer [email protected] - 212.634.8134 Production Director Company Year The American Clock Rachel Chavkin The Old Vic 2019 How To Catch Creation Niegel Smith Goodman Theater 2019 Gem Of The Ocean Timothy Douglas Roundhouse Theater 2018 Familiar Danya Taymor Steppenwolf Theatre 2018 Thurgood Lou Bellamy Geva Theater 2018 Kill Move Paradise Blanka Ziska The Wima Theatre 2018 Father Comes Home Niegel Smith Goodman Theater 2018 Pass Over Danya Taymor Lincoln Center Theater 2018 The House That Will Not Stand Lileana Blain Cruz New York Theater Workshop 2018 The Winter's Tale Arin Arbus Theatre For A New Audience 2018 He Brought Her Heart Back In A BoxEvan Yionoulis Theatre For A New Audience 2018 Until The Flood Neel Keller Goodman Theater 2018 Skeleton Crew Steve Broadnax Actor's Theater of Louisville 2017 INK Camille Brown Kennedy Center/Camille A Brown 2017 Primer For A New Superpower Rachel Chavkin T.E.A.M 2017 Pipeline Lileana Blain-Cruz Lincoln Center Theatre 2017 A Raisin In The Sun Chip Davis/Marissa Wolf Kansas City Repertory 2017 X or Betty Shabazz vs. The NationIan Belknap The Acting Company 2017 Syncing Ink Niegel Smith The Alley 2017 Mountaintop Kent Gash Trinity Repertory Theater 2017 Bars and Measures Marion McClinton Jungle Theater 2016 The Harassment of Iris Malloy Lisa Rothe People's Light Theater 2016 Trouble In Mind Valerie Curtis Newton Guthrie Theater 2016 Detroit '67 Kamilah Forbes Center Stage Baltimore 2016 Romeo and Juliet Joel Ferrell Dallas Theater Center 2016 American Clock Workshop Rachel Chavkin National Theater of London 2015 All My Sons Kamilah Forbes People's Light Theater 2015 Move Act Free George C.
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Audience and the African American Playwright
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2002 Audience and the African American playwright : an analysis of the importance of audience selection and audience response on the dramaturgies of August Wilson and Ed Bullins Ladrica C. Menson-Furr Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the English Language and Literature Commons Recommended Citation Menson-Furr, Ladrica C., "Audience and the African American playwright : an analysis of the importance of audience selection and audience response on the dramaturgies of August Wilson and Ed Bullins" (2002). LSU Doctoral Dissertations. 2467. https://digitalcommons.lsu.edu/gradschool_dissertations/2467 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. AUDIENCE AND THE AFRICAN AMERICAN PLAYWRIGHT: AN ANALYSIS OF THE IMPORTANCE OF AUDIENCE SELECTION AND AUDIENCE RESPONSE ON THE DRAMATURGIES OF AUGUST WILSON AND ED BULLINS A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of English by Ladrica C. Menson-Furr B.A., Spelman College, 1993 M.A., Louisiana State University, 1995 May 2002 DEDICATION To Mark, Morgan and Mama (Gwendolyn Menson) ii ACKNOWLEDGMENTS So many people have touched my life as I have toiled through this process that I could simply write one sentence saying, “Thank you to all those persons who believed in me, when I did not believe in myself.” However, I wish to attempt to list them all as a way to let them know that their assistance, prayers and support will always be inscribed on my heart.
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To Our Guest Directors, Designers and Stage Managers
To our guest directors, designers and stage managers, Welcome! We are delighted that you have chosen to be a part of our 31st Season. We are looking forward to a year full of new challenges, rewards, and friendships. We hope to make your time with us enjoyable and productive, and to this end we have provided you with this informational packet. Please take the time to browse the packet and learn a bit about us. Included in your handbook are production calendar(s), contacts (as current) for your production’s artistic team, information about the shops and the design deadlines, and much more. Please take the time to review our prelim and final design deadline materials requirements. Please contact the production office, or the respective production department head(s) for the most current drawings, inventories and information as this info is updated more often than our handbook. We will all have to work hard to realize your vision within a tight and conservative financial structure. We have had to cut back after our 30th Anniversary season with it’s $1 million dollar supplemental gift to budgets that are more reflective of the new normal of these leaner times. Last season our average show budget was over $160,000. This year the average is less than $100,000. Please consider yourself forewarned that we want your help. We need you to adhere to design deadlines, return those phone calls and emails as soon as you can, in order that we get the most bang for the buck. Sometimes we start a little early in order make the best use of our labor resources.
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Preparing Birds to Fly: Lloyd Richards and the Actor
PREPARING BIRDS TO FLY: LLOYD RICHARDS AND THE ACTOR _______________________________________ A Dissertation presented to the Faculty of the Graduate School at the University of Missouri-Columbia _______________________________________________________ In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy _____________________________________________________ by CARLIA CLAUDINE FRANCIS Cheryl Black, Ph.D., Dissertation Supervisor JULY 2013 © copyright by Carlia Claudine Francis All Rights Reserved The undersigned, appointed by the dean of the Graduate School, have examined the Dissertation entitled PREPARING BIRDS TO FLY: LLOYD RICHARDS AND THE ACTOR Presented by Carlia Claudine Francis, A Candidate for the degree of doctor of philosophy and hereby certify that, in their opinion, it is worthy of acceptance. Dr. Cheryl Black Dr. Suzanne Burgoyne Dr. Heather Carver Prof. Clyde Ruffin Dr. Jeni Hart DEDICATION To My Mother Olive Ione Barrett-Hyde whose courageous choices provided me with options she never had. And My Father Clifford George Francis, who, when I needed one was my shelter for the storm. Don’t cry baby, don’t cry. and I stopped. And My Great-Mother Inez Francis Edwards, whose lap protected me from all the dangers in the world. Thank you, Chickie. ACKNOWLEDGEMENTS Documenting the participants’ stories regarding the significance Lloyd Richards had in their lives and careers reminded me that I have been similarly fortunate. During my times at the University of Missouri I received the support and mentoring that fulfilled my needs, not only during the dissertation process but throughout my entire academic career in the theatre department. The members of my committee are accomplished scholars and artists; I could go on about the magnificence of their scholarly and creative work, but I will not.
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Stage Review of Matrix Theatre's Two Trains Running
Vol. 2 | Spring 2020 Stage Review of Matrix Theatre’s Two Trains Running Matrix Theatre; Los Angeles, California March 1-3, 2019 Directed by Michelle Shay By David Román Professor of English, American Studies, and Ethnicity, University of Southern California In Shay’s Two Trains Running, each of the actors brought to life their character’s multi-layered psychological intensity. David Román Abstract A review of Two Trains Running by August Wilson, staged at Matrix Theatre in Los Angeles, California from March 1 through March 3, 2019. Keywords Two Trains Running, August Wilson, plays, Sophina Brown, American Century Cycle The actor and producer Sophina Brown plans to stage all ten plays of August Wilson’s American Century Cycle in Los Angeles. Two Trains Running is her second production in this process, and it follows a critically and commercially successful run of King Hedley II at the Matrix Theatre in 2018. Brown intends to build a core audience that will be drawn to experience The Cycle in its entirety, all the while allowing audiences to experience each production individually and on its own terms. Brown has chosen not to stage the plays in succession either by the decade they represent or the order in which they were written. Despite the recent revivals of Wilson’s work at the Mark Taper Forum (Ma Rainey’s Black Bottom, Joe Turner’s Come and Gone) and the Pasadena Playhouse (Fences, Jitney), two of the premiere venues David Roman in the Los Angeles area, and the Fall 2019 Taper production of Ruben Santiago-Hudson’s celebrated 2017 Broadway revival of Jitney and A Noise Within Theatre’s Fall 2019 production of Gem of the Ocean, Brown sees a need to produce Wilson’s American Century Cycle and feels that Los Angeles would appreciate her efforts.
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