Schutz Theatre FT June 2021

Total Page:16

File Type:pdf, Size:1020Kb

Schutz Theatre FT June 2021 THE W. STANLEY SCHUTZ THEATRE COLLECTION: THE COLLEGE OF WOOSTER PRODUCTIONS FINDING TOOL Denise Monbarren June 2021 FINDING TOOL SCHUTZ COLLECTION Box 1 #56 Productions: 1999 X-Refs. Flyers, Pamphlets AARON SLICK FROM PUNKIN CRICK Productions: 1960 X-Refs. Clippings [about] Flyers, Pamphlets Photographs Playbills Postcards ABIE’S IRISH ROSE Productions: 1945, 1958 X-Refs. Clippings [about] Photographs [of] Playbills Postcards ABOUT WOMEN Productions: 1997 Flyers, Pamphlets Invitations ACT OF MADNESS Productions: 2003 Flyers, Pamphlets THE ACTING RECITALS Productions: 2003, 2004 Flyers, Pamphlets Playbills ADAIR, TOM X-Refs. ADAM AND EVA Productions: 1922 X-Refs. Playbills AESOP’S FALABLES Productions: 1974 X-Refs. Correspondence [about] Flyers, Pamphlets Itineraries Notes Photographs [of] Playbills AFRICAN-AMERICAN PERFORMING ARTS FESTIVAL Productions: [n.d.] Playbills AGAMEMNON Productions: 2003 X-Refs. THE AGES OF WOMAN Productions: 1964 Playbills AH, WILDERNESS Productions: 1966, 1987 X-Refs. Photographs [of] Playbills ALABAMA Productions: 1918 X-Refs. Playbills Box 2 ALCESTIS Productions: [1955] X-Refs. Playbills ALICE IN WONDERLAND Productions: 1955, 1974 X-Refs. Artwork [about] Correspondence [about] Flyers, Pamphlets Invitations Itineraries Notes ALL IN THE TIMING Productions: 2002 X-Refs. Flyers, Pamphlets See Oversized location Press Releases ALL MY SONS Productions: 1968, 2006 X-Refs. Correspondence [about] Flyers, Pamphlets See Oversized location Invitations Photographs [of] Playbills Postcards Press Releases ALL THE COMFORTS OF HOME Productions: 1912 X-Refs. Playbills ALLARDICE, JAMES See PEACOCK IN THE PARLOR ALMOST, MAINE Productions: 2017 X-Refs. Correspondence [about] Flyers, Pamphlets See Oversized location Press Releases Box 3 AMADEUS Productions: [1985] X-Refs. Playbills AMAHL AND THE NIGHT VISITORS Productions: 1969 See also: HELP, HELP, THE GLOBOLINKS! X-Refs. Photographs [of] AMANDLA Productions: [1979] X-Refs. Flyers, Pamphlets Invitations Notes Photographs [of] Playbills AMPHITRYON 38 Productions: 1971 X-Refs. Clippings [about] Correspondence [about] Flyers, Pamphlets Itineraries Notes Photographs [of] Playbills Postcards AND A NIGHTINGALE SANG Productions: 1994 X-Refs. Playbills AND NOW FOR SOMETHING COMPLETELY . Productions: 1986 X-Refs. Playbills AND WE OWN THE NIGHT Productions: 1974 See also: 4 PLAYS OF BLK/RAGE X-Refs. ANGEL STREET Productions: 1945, 1966 X-Refs. Clippings [about] Photographs [of] Playbills Postcards ANOTHER STORY Productions: 2012 X-Refs. ANTIGONE Productions: 1949, 1982 X-Refs. Clippings [about] Flyers, Pamphlets Notes Photographs [of] Playbills ANTIGONE: THE ROCK MUSICAL Productions: 2003 X-Refs. Flyers, Pamphlets See also Oversized location Press Releases THE ANTIPODES; OR THE WORLD TURNED UPSIDE DOWN Productions: 2001 X-Refs. Flyers, Pamphlets See Oversized location Press Releases ANTONY AND CLEOPATRA Productions: 1993 X-Refs. Flyers, Pamphlets See Oversized location Playbills ANYTHING GOES Productions: 1965 Clippings [about] THE APPLE TREE Productions: 1976 X-Refs. THE ARCHER UP TO DATE Productions: 1895 Playbills Plays Box 4 ARENA FAIR Productions: 1962, 1963, 1964, 1966, 1967, 1969 See also: AH, WILDERNESS ARMS AND THE MAN AUNTIE MAME BELL, BOOK, AND CANDLE BELLS ARE RINGING BORN YESTERDAY THE BOY FRIEND BRIGADOON BUS STOP CAROUSEL CHARLEY’S AUNT THE CRUCIBLE THE FANTASTICKS FINIAN’S RAINBOW THE GLASS MENAGERIE HARVEY IN WHITE AMERICA LADIES IN RETIREMENT THE LITTLE FOXES LITTLE MARY SUNSHINE THE MARRIAGE MARRY, MARRY THE MOUSETRAP THE MUSIC MAN NINOTCHKA OH DAD, POOR DAD, MAMMA’S HUNG YOU IN THE CLOSET AND I’M FEELIN’ SO SAD OKLAHOMA! ONCE UPON A MATTRESS OUR TOWN PINOCCHIO PYGMALIAN THE RED SHOES RING ROUND THE MOON THE SOLID GOLD CADILLAC SUMMER AND SMOKE A THURBER CARNIVAL TWO FOR THE SEESAW UNCLE TOM’S CABIN WORDS AND MUSIC BY COLE PORTER ARENA FAIR X-Refs. Addresses [about] Certificates Clippings [about] Programs Box 5 ARMAGEDDON Productions: 1970 Plays ARMS AND THE MAN Productions: 1928, 1959, 1967 X-Refs. Clippings [about] Notes Photographs [of] Photographs (negatives) [of] Playbills ARSENIC AND OLD LACE Productions: 1943, 1956 X-Refs. Clippings [about] Photographs [of] Playbills THE ARTIST AND THE ACTIVIST Productions: 1966 See also: AN EVENING OF ORIGINAL ONE-ACT PLAYS THE MUSEUM SCENE X-Refs. Clippings [about] AS YOU LIKE IT Productions: 1914, 2009 X-Refs. Playbills AUNTIE MAME Productions: 1961 Clippings [about] THE BACCHAE Productions: 2002 Flyers, Pamphlets See Oversized location THE BALD SOPRANO Productions: 1975 See also: THE HAPPY JOURNEY X-Refs. THE BARRETTS OF WIMPOLE STREET Productions: 1947 X-Refs. Clippings [about] Flyers, Pamphlets Photographs [of] Playbills BARRYMORE’S GHOST Productions: 2002, 2204 X-Refs. Flyers, Pamphlets See Oversized location Memorabilia Playbills Press Releases THE BAT Productions: 1972 X-Refs. Clippings [about] Flyers, Pamphlets Memorabilia Photographs [of] Playbills BEAL, JOHN X-Refs. BEDROOM FARCE Productions: 1983 X-Refs. Flyers, Pamphlets See also Legal-Size location Memorabilia Notes Photographs [of] Playbills BEGGAR ON HORSEBACK Productions: 1932 Memorabilia Playbills THE BEGGAR’S OPERA Productions: [n.d.] Playbills BEHIND CLOSED DOORS Productions: 2006 X-Refs. BEHIND THE LIGHTS Productions: 1983 X-Refs. Flyers, Pamphlets See also Oversized location Playbills BELL, BOOK, AND CANDLE Productions: 1961 X-Refs. Clippings [about] THE BELLE OF AMHERST Productions: 1979 X-Refs. Clippings [about] Playbills BELLS ARE RINGING Productions: 1969 Flyers, Pamphlets See Oversized location Playbills BELOW THE BELT Productions: 2005 X-Refs. Flyers, Pamphlets See Oversized location BERKELEY SQUARE Productions: 1952 X-Refs. Clippings [about] Photographs [of] Playbills BETRAYAL Productions: 1988 X-Refs. Playbills BEYOND THE FRINGE Productions: 1968 X-Refs. Photographs [of] BEYOND THE HORIZON Productions: 1929 X-Refs. Playbills Box 6 A BILL OF ONE-ACTS Productions: 1975 Playbills BILLY BUDD Productions: 1957 X-Refs. Clippings [about] Photographs [of] Playbills BIRD IN HAND Productions: 1942 X-Refs. Playbills BIRDS Productions: 1969 X-Refs. BIRTH BY DROWNING Productions: 1962-1963 Notes THE BIRTHDAY PARTY Productions: 1966 Clippings [about] BLACK COMEDY Productions: 1973 See also: ONE FLEW OVER THE CUCKOO’S NEST X-Refs. Notes Photographs [of] BLACK MAN RISING Productions: 1998 X-Refs. Flyers, Pamphlets See Oversized location BLIND DATE Productions: 2021 X-Refs. [BLINK] [LONG PAUSE]: THE ACTOR’S APPROACH TO PERFORMING SILENCE Productions: 2004 X-Refs. BLITHE SPIRIT Productions: 1945, 1965, 1977 X-Refs. Clippings [about] Correspondence [about] Flyers, Pamphlets Photographs [of] Playbills BLOOD WEDDING Productions: 1974, 1998 X-Refs. Correspondence [about] Flyers, Pamphlets Itineraries Notes Photographs [of] Playbills BLUE WINDOW Productions: 1987 X-Refs. BLUES FOR MR. CHARLIE Productions: 1988 X-Refs. BOLAND, JOE See also PHILDELPHIA, HERE I COME! Biographies [about] THE BOOMERANG Productions: 1925 X-Refs. Playbills THE BOOR Productions: 1958 X-Refs. BORN YESTERDAY Productions: 1961, 1964 Clippings [about] Playbills THE BOY FRIEND Productions: 1962 Clippings [about] Playbills THE BRAGGART SOLDIER Productions: 2001 Flyers, Pamphlets Press Releases BREAKING THE MOLD INSIDE OUT Productions: 2006 Flyers, Pamphlets BRECHT ON BRECHT Productions: 1995 X-Refs. Playbills THE BREMEN TOWN MUSICIANS Productions: 1969 X-Refs. Correspondence [about] Invitations Notes BRIGADOON Productions: 1967 Clippings [about] THE BROKEN WORLD OF TENNESSEE WILLIAMS Productions: 1971 X-Refs. Photographs [of] Playbills BUS STOP Productions: 1963, 1987 X-Refs. Clippings [about] BUTTERFLIES ARE FREE Productions: 1974 X-Refs. Correspondence [about] Itineraries Notes Photographs [of] Playbills BYE BYE BIRDIE Productions: 1967 Clippings [about] Box 7 CABARET Productions: 2007 X-Refs. Flyers, Pamphlets See Oversized location Playbills Press Releases THE CAGE Productions: 1972 X-Refs. CAGED Productions: 2021 X-Refs. Correspondence [about] THE CAINE MUTINY COURT-MARTIAL Productions: 1955 X-Refs. Photographs [of] Playbills CAMELOT Productions: 1982 X-Refs. Blueprints Clippings [about] Correspondence [about] Flyers, Pamphlets Itineraries Manuscripts [about] Notes Photographs [of] Playbills CANDIDA Productions: 1954 X-Refs. Clippings [about] Photographs [of] Playbills CAPTAIN APPLEJACK Productions: 1924 X-Refs. Playbills CAPTAIN BILLY Productions: 1972 X-Refs. Correspondence [about] Flyers, Pamphlets Itineraries Notes Photographs [of] Playbills CARDS AND LETTERS FROM THE DAKOTA WAR Productions: 2013 X-Refs. Flyers, Pamphlets See Oversized location Playbills CARNIVAL Productions: 1967 X-Refs. Clippings [about] Flyers, Pamphlets Photographs [of] Playbills CAROUSEL Productions: 1968 Playbills Box 8 THE CASE OF THE CRUSHED PETUNIAS Productions: 1959, 1964, 1975 See also: AN EVENING OF THREE ONE-ACT PLAYS X-Refs. Photographs [of] Playbills CAT ON A HOT TIN ROOF Productions: 1987 X-Refs. THE CAVE DWELLERS Productions: 1964 X-Refs. Clippings [about] Photographs [of] Playbills See also Oversized location CEREMONIES IN DARK OLD MEN Productions: 1976 X-Refs. Correspondence [about] Notes Photographs [of] Playbills A CERTAIN CURE Productions: 2007 X-Refs. THE CHAIRS Productions: 1964 X-Refs. Clippings [about] Photographs [of] THE CHALK GARDEN Productions: 1957 X-Refs. Clippings [about] Photographs [of] Playbills Plays CHAOS REIGNED Productions: 2016 X-Refs. A CHARLIE BROWN CHRISTMAS Productions: 1971 X-Refs. CHARLEY’S AUNT Productions: 1949, 1961 X-Refs. Clippings [about] Photographs [of]
Recommended publications
  • Utopian Promise
    Unit 3 UTOPIAN PROMISE Puritan and Quaker Utopian Visions 1620–1750 Authors and Works spiritual decline while at the same time reaffirming the community’s identity and promise? Featured in the Video: I How did the Puritans use typology to under- John Winthrop, “A Model of Christian Charity” (ser- stand and justify their experiences in the world? mon) and The Journal of John Winthrop (journal) I How did the image of America as a “vast and Mary Rowlandson, A Narrative of the Captivity and unpeopled country” shape European immigrants’ Restoration of Mrs. Mary Rowlandson (captivity attitudes and ideals? How did they deal with the fact narrative) that millions of Native Americans already inhabited William Penn, “Letter to the Lenni Lenapi Chiefs” the land that they had come over to claim? (letter) I How did the Puritans’ sense that they were liv- ing in the “end time” impact their culture? Why is Discussed in This Unit: apocalyptic imagery so prevalent in Puritan iconog- William Bradford, Of Plymouth Plantation (history) raphy and literature? Thomas Morton, New English Canaan (satire) I What is plain style? What values and beliefs Anne Bradstreet, poems influenced the development of this mode of expres- Edward Taylor, poems sion? Sarah Kemble Knight, The Private Journal of a I Why has the jeremiad remained a central com- Journey from Boston to New York (travel narra- ponent of the rhetoric of American public life? tive) I How do Puritan and Quaker texts work to form John Woolman, The Journal of John Woolman (jour- enduring myths about America’s
    [Show full text]
  • February 7, 2021
    VILLANOVA THEATRE PRESENTS STREAMING JANUARY 28 - FEBRUARY 7, 2021 About Villanova University Since 1842, Villanova University’s Augustinian Catholic intellectual tradition has been the cornerstone of an academic community in which students learn to think critically, act compassionately and succeed while serving others. There are more than 10,000 undergraduate, graduate and law students in the University’s six colleges – the College of Liberal Arts and Sciences, the Villanova School of Business, the College of Engineering, the M. Louise Fitzpatrick College of Nursing, the College of Professional Studies and the Villanova University School of Law. As students grow intellectually, Villanova prepares them to become ethical leaders who create positive change everywhere life takes them. In Gratitude The faculty, staff and students of Villanova Theatre extend sincere gratitude to those generous benefactors who have established endowed funds in support of our efforts: Marianne M. and Charles P. Connolly Jr. ’70 Dorothy Ann and Bernard A. Coyne, Ph.D. ̓55 Patricia M. ’78 and Joseph C. Franzetti ’78 The Donald R. Kurz Family Peter J. Lavezzoli ’60 Patricia A. Maskinas Msgr. Joseph F. X. McCahon ’65 Mary Anne C. Morgan ̓70 and Family & Friends of Brian G. Morgan ̓67, ̓70 Anthony T. Ponturo ’74 Eric J. Schaeffer and Susan Trimble Schaeffer ’78 The Thomas and Tracey Gravina Foundation For information about how you can support the Theatre Department, please contact Heather Potts-Brown, Director of Annual Giving, at (610) 519-4583. gratefully acknowledges the generous support of our many patrons & subscribers. We wish to offer special thanks to our donors. 20-21 Benefactors A Running Friend William R.
    [Show full text]
  • All in the Timing, by David Ives
    All in the Timing, by David Ives Sure Thing “Bill” - Aidan Loretz “Betty” - Ava Moss Words, Words, Words “Swift” – Tristen Gray “Milton” - Mattie Mount “Kafka” - Ella Naylor Universal Language “Dawn” - Nita Allen “Don” - Perrion Porter Philip Glass Buys a Loaf of Bread “Woman” - Alison Clodfelter “Man” – Perrion Porter “Baker” – Annie Cowley “Philip Glass”- Christopher Beasley The Philadelphia “Al” –Jessica Dutton “Waitress” – Rori Cummings “Mark” – Christopher Beasley Variations on the Death of Trotsky “Trotsky” – Aidan Loretz “Mrs. Trotsky” – Starr James “Ramon” – Tyshanna Hayes The show runs 90 minutes with no intermission. Director’s Notes Director/Choreographer – Jesse Graham Galas Stage Manager – AE Ray All in the Timing is, at its core, a series of plays Assistant Stage Managers – Ava Moss, Samantha Harriss asking, “What if?” What if you got the chance to Technical Director – Josh Webb start over every time you said the wrong thing? Lights/Set Designer – Josh Webb What if you put some monkeys in a room with Assistant Technical Director – Mike Merluzzi some typewriters…could they really come up with Costume Designers one of the greatest plays ever written? What if “Sure Thing”– Lawson Lee everyone spoke the same language? Would that “Words, Words, Words” – Chevez Smith end all communication breakdowns forever? What “Universal Language” – Cameron McWhorter if you could get inside the mind of composer Philip “Philip Glass Buys a Loaf of Bread” – Jolee Masson Glass…has the smallest act of buying a loaf of “The Philadelphia” – Starr
    [Show full text]
  • By Philip Roth
    The Best of the 60s Articles March 1961 Writing American Fiction Philip Roth December 1961 Eichmann’s Victims and the Unheard Testimony Elie Weisel September 1961 Is New York City Ungovernable? Nathan Glazer May 1962 Yiddish: Past, Present, and Perfect By Lucy S. Dawidowicz August 1962 Edmund Wilson’s Civil War By Robert Penn Warren January 1963 Jewish & Other Nationalisms By H.R. Trevor-Roper February 1963 My Negro Problem—and Ours By Norman Podhoretz August 1964 The Civil Rights Act of 1964 By Alexander M. Bickel October 1964 On Becoming a Writer By Ralph Ellison November 1964 ‘I’m Sorry, Dear’ By Leslie H. Farber August 1965 American Catholicism after the Council By Michael Novak March 1966 Modes and Mutations: Quick Comments on the Modern American Novel By Norman Mailer May 1966 Young in the Thirties By Lionel Trilling November 1966 Koufax the Incomparable By Mordecai Richler June 1967 Jerusalem and Athens: Some Introductory Reflections By Leo Strauss November 1967 The American Left & Israel By Martin Peretz August 1968 Jewish Faith and the Holocaust: A Fragment By Emil L. Fackenheim October 1968 The New York Intellectuals: A Chronicle & a Critique By Irving Howe March 1961 Writing American Fiction By Philip Roth EVERAL winters back, while I was living in Chicago, the city was shocked and mystified by the death of two teenage girls. So far as I know the popu- lace is mystified still; as for the shock, Chicago is Chicago, and one week’s dismemberment fades into the next’s. The victims this particular year were sisters. They went off one December night to see an Elvis Presley movie, for the sixth or seventh time we are told, and never came home.
    [Show full text]
  • Buffy's Glory, Angel's Jasmine, Blood Magic, and Name Magic
    Please do not remove this page Giving Evil a Name: Buffy's Glory, Angel's Jasmine, Blood Magic, and Name Magic Croft, Janet Brennan https://scholarship.libraries.rutgers.edu/discovery/delivery/01RUT_INST:ResearchRepository/12643454990004646?l#13643522530004646 Croft, J. B. (2015). Giving Evil a Name: Buffy’s Glory, Angel’s Jasmine, Blood Magic, and Name Magic. Slayage: The Journal of the Joss Whedon Studies Association, 12(2). https://doi.org/10.7282/T3FF3V1J This work is protected by copyright. You are free to use this resource, with proper attribution, for research and educational purposes. Other uses, such as reproduction or publication, may require the permission of the copyright holder. Downloaded On 2021/10/02 09:39:58 -0400 Janet Brennan Croft1 Giving Evil a Name: Buffy’s Glory, Angel’s Jasmine, Blood Magic, and Name Magic “It’s about power. Who’s got it. Who knows how to use it.” (“Lessons” 7.1) “I would suggest, then, that the monsters are not an inexplicable blunder of taste; they are essential, fundamentally allied to the underlying ideas of the poem …” (J.R.R. Tolkien, “Beowulf: The Monsters and the Critics”) Introduction: Names and Blood in the Buffyverse [1] In Joss Whedon’s Buffy the Vampire Slayer (1997-2003) and Angel (1999- 2004), words are not something to be taken lightly. A word read out of place can set a book on fire (“Superstar” 4.17) or send a person to a hell dimension (“Belonging” A2.19); a poorly performed spell can turn mortal enemies into soppy lovebirds (“Something Blue” 4.9); a word in a prophecy might mean “to live” or “to die” or both (“To Shanshu in L.A.” A1.22).
    [Show full text]
  • The Glorious Career of Comedienne Judy Holliday Is Celebrated in a Complete Nine-Film Retrospective
    The Museum of Modern Art For Immediate Release November 1996 Contact: Graham Leggat 212/708-9752 THE GLORIOUS CAREER OF COMEDIENNE JUDY HOLLIDAY IS CELEBRATED IN A COMPLETE NINE-FILM RETROSPECTIVE Series Premieres New Prints of Born Yesterday and The Marrying Kind Restored by The Department of Film and Video and Sony Pictures Born Yesterday: The Films of Judy Holliday December 27,1996-January 4,1997 The Roy and Niuta Titus Theater 1 Special Premiere Screening of the Restored Print of Born Yesterday Introduced in Person by Betty Comden on Monday, December 9,1996, at 6:00 p.m. Judy Holliday approached screen acting with extraordinary intelligence and intuition, debuting in the World War II film Winged Victory (1944) and giving outstanding comic performances in eight more films from 1949 to 1960, when her career was cut short by illness. Beginning December 27, 1996, The Museum of Modern Art presents Born Yesterday: The Films of Judy Holliday, a complete retrospective of Holliday's short but exhilarating career. Holliday's experience working with director George Cukor on Winged Victory led to a collaboration with Cukor, Garson Kanin, and Kanin's wife Ruth Gordon, resulting in Adam's Rib (1949), Born Yesterday (1950), The Marrying Kind (1952), and // Should Happen To You (1952). She went on to make Phffft (1954), The Solid Gold Cadillac (1956), Full of Life (1956), and, for director Vincente Minnelli, Bells Are Ringing (1960). -more- 11 West 53 Street, New York, New York 10019 Tel: 212-708-9400 Fax: 212-708-9889 2 The Department of Film and Video and Sony Pictures Entertainment are restoring the six films that Holliday made at Columbia Pictures from 1950 to 1956.
    [Show full text]
  • 12-13 Season Brochure.Indd
    2012 2013 SEASON The Department of Theatre Arts has a strong tradition of excellence in graduate training, preparing professional stage directors and theatre scholars through MFA and MA programs. With small classes and strong mentorship by professors, our graduate programs offer graduate education with intensive and Gruesome Playground Injuries personalized training. directed by John Michael Sefel Baylor theatre audiences experience the work of graduate students in the MFA Directing program who direct regularly in our theatre season. Join us this season as we jet off to the French Riviera for a “dirty, The “MIDSUMMER SEASON” rotten” musical, followed by an ancient Greek tragedy. In the At the end of the first year of study, MFA Directing students are spring, we’ll laugh along with an required to design and direct a full-length play for our summertime “Midsummer Season.” Recent summer shows include Eleemosynary, American comedy classic, hang OTMA, and Circle Mirror Transformation. The summer productions on for an outrageously funny for 2012 were Rajiv Joseph’s Gruesome Playground Injuries directed Hitchcock thriller, and end the by John Michael Sefel, a graduate student from New Hampshire, season in the twilight of and Kenny Finkle’s Indoor/Outdoor directed by Nathan Autrey who communist rule on the eve of came to Baylor’s graduate program from the Dallas area. the Romanian Revolution. Thesis Shows The 2012–2013 Baylor Theatre season has it all. To complete the MFA in Directing, third-year graduate students must serve as a director in Stan Denman our mainstage season of shows, leading a Baylor Theatre production team of faculty, staff, and students throughout the production process from Chair research to rehearsal to performance.
    [Show full text]
  • Harold Pinter's Transmedial Histories
    Introduction: Harold Pinter’s transmedial histories Article Published Version Creative Commons: Attribution 4.0 (CC-BY) Open Access Bignell, J. and Davies, W. (2020) Introduction: Harold Pinter’s transmedial histories. Historical Journal of Film, Radio & Television, 40. pp. 481-498. ISSN 1465-3451 doi: https://doi.org/10.1080/01439685.2020.1778314 Available at http://centaur.reading.ac.uk/89961/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . To link to this article DOI: http://dx.doi.org/10.1080/01439685.2020.1778314 Publisher: Taylor & Francis All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online Historical Journal of Film, Radio and Television ISSN: 0143-9685 (Print) 1465-3451 (Online) Journal homepage: https://www.tandfonline.com/loi/chjf20 Introduction: Harold Pinter’s Transmedial Histories Jonathan Bignell & William Davies To cite this article: Jonathan Bignell & William Davies (2020): Introduction: Harold Pinter’s Transmedial Histories, Historical Journal of Film, Radio and Television To link to this article: https://doi.org/10.1080/01439685.2020.1778314 © 2020 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group Published online: 18 Jun 2020. Submit your article to this journal View related articles View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=chjf20 Historical Journal of Film, Radio and Television, 2020 https://doi.org/10.1080/01439685.2020.1778314 INTRODUCTION: HAROLD PINTER’S TRANSMEDIAL HISTORIES Jonathan Bignell and William Davies This article introduces the special issue by exploring the transmediality of Harold Pinter's work.
    [Show full text]
  • The Call Is Places
    The Call Is Places Welcome from Artistic Director Joseph Haj 2016–2017 SEASON Dear Friends, Sense and Sensibility To make a life in the theater is a bold choice, as the path to the stage is September 10 – October 29, 2016 hardly a direct one. It comes with insecurity, both financial and personal, Wurtele Thrust Stage instability and public critique. How many of us actors and artists, as teenagers, had that brave conversation with our parents when we swore The Parchman Hour allegiance to a dream in the footlights and they did all they could to dissuade October 1 – November 6, 2016 us? Looking back, it’s hard to fault them. Guaranteed work this is not. McGuire Proscenium Stage What theater is though, is a calling – to hone a craft, to entertain, to find A Christmas Carol meaning in the act of storytelling. And as depicted in George S. Kaufman November 16 – December 30, 2016 and Edna Ferber’s The Royal Family, theater is the connective tissue Wurtele Thrust Stage between generations. Sure, there are moments in the play when Kaufman and Ferber seem to be satirizing the Cavendish family of thespians – lest any The Lion in Winter actor ever take him or herself too seriously. But there are also extraordinarily November 19 – December 31, 2016 poignant moments when relationships must be considered and hard McGuire Proscenium Stage decisions made by the Cavendish women, all of whom find themselves at a crossroads between their vocation and a The Royal Family decidedly different way of life. January 28 – March 19, 2017 McGuire Proscenium Stage There’s broad comedy, and there’s also beautiful nuance to be found in this nearly century-old King Lear story in terms of what’s uplifting and what can February 11 – April 2, 2017 be heartbreaking about a theatrical pursuit.
    [Show full text]
  • The Hothouse and Dynamic Equilibrium in the Works of Harold Pinter
    Ben Ferber The Hothouse and Dynamic Equilibrium in the Works of Harold Pinter I have no doubt that history will recognize Harold Pinter as one of the most influential dramatists of all time, a perennial inspiration for the way we look at modern theater. If other playwrights use characters and plots to put life under a microscope for audiences, Pinter hands them a kaleidoscope and says, “Have at it.” He crafts multifaceted plays that speak to the depth of his reality and teases and threatens his audience with dangerous truths. In No Man’s Land, Pinter has Hirst attack Spooner, who may or may not be his old friend: “This is outrageous! Who are you? What are you doing in my house?”1 Hirst then launches into a monologue beginning: “I might even show you my photograph album. You might even see a face in it which might remind you of your own, of what you once were.”2 Pinter never fully resolves Spooner’s identity, but the mens’ actions towards each other are perfectly clear: with exacting language and wit, Pinter has constructed a magnificent struggle between the two for power and identity. In 1958, early in his career, Pinter wrote The Hothouse, an incredibly funny play based on a traumatic personal experience as a lab rat at London’s Maudsley Hospital, proudly founded as a modern psychiatric institution, rather than an asylum. The story of The Hothouse, set in a mental hospital of some sort, is centered around the death of one patient, “6457,” and the unexplained pregnancy of another, “6459.” Details around both incidents are very murky, but varying amounts of culpability for both seem to fall on the institution’s leader, Roote, and his second-in- command, Gibbs.
    [Show full text]
  • The Work of the Little Theatres
    TABLE OF CONTENTS PART THREE PAGE Dramatic Contests.144 I. Play Tournaments.144 1. Little Theatre Groups .... 149 Conditions Eavoring the Rise of Tournaments.150 How Expenses Are Met . -153 Qualifications of Competing Groups 156 Arranging the Tournament Pro¬ gram 157 Setting the Tournament Stage 160 Persons Who J udge . 163 Methods of Judging . 164 The Prizes . 167 Social Features . 170 2. College Dramatic Societies 172 3. High School Clubs and Classes 174 Florida University Extension Con¬ tests .... 175 Southern College, Lakeland, Florida 178 Northeast Missouri State Teachers College.179 New York University . .179 Williams School, Ithaca, New York 179 University of North Dakota . .180 Pawtucket High School . .180 4. Miscellaneous Non-Dramatic Asso¬ ciations .181 New York Community Dramatics Contests.181 New Jersey Federation of Women’s Clubs.185 Dramatic Work Suitable for Chil¬ dren .187 4 TABLE OF CONTENTS PAGE II. Play-Writing Contests . 188 1. Little Theatre Groups . 189 2. Universities and Colleges . I9I 3. Miscellaneous Groups . • 194 PART FOUR Selected Bibliography for Amateur Workers IN THE Drama.196 General.196 Production.197 Stagecraft: Settings, Lighting, and so forth . 199 Costuming.201 Make-up.203 Acting.204 Playwriting.205 Puppetry and Pantomime.205 School Dramatics. 207 Religious Dramatics.208 Addresses OF Publishers.210 Index OF Authors.214 5 LIST OF TABLES PAGE 1. Distribution of 789 Little Theatre Groups Listed in the Billboard of the Drama Magazine from October, 1925 through May, 1929, by Type of Organization . 22 2. Distribution by States of 1,000 Little Theatre Groups Listed in the Billboard from October, 1925 through June, 1931.25 3.
    [Show full text]
  • Slayage, Number 16
    Roz Kaveney A Sense of the Ending: Schrödinger's Angel This essay will be included in Stacey Abbott's Reading Angel: The TV Spinoff with a Soul, to be published by I. B. Tauris and appears here with the permission of the author, the editor, and the publisher. Go here to order the book from Amazon. (1) Joss Whedon has often stated that each year of Buffy the Vampire Slayer was planned to end in such a way that, were the show not renewed, the finale would act as an apt summation of the series so far. This was obviously truer of some years than others – generally speaking, the odd-numbered years were far more clearly possible endings than the even ones, offering definitive closure of a phase in Buffy’s career rather than a slingshot into another phase. Both Season Five and Season Seven were particularly planned as artistically satisfying conclusions, albeit with very different messages – Season Five arguing that Buffy’s situation can only be relieved by her heroic death, Season Seven allowing her to share, and thus entirely alleviate, slayerhood. Being the Chosen One is a fatal burden; being one of the Chosen Several Thousand is something a young woman might live with. (2) It has never been the case that endings in Angel were so clear-cut and each year culminated in a slingshot ending, an attention-grabber that kept viewers interested by allowing them to speculate on where things were going. Season One ended with the revelation that Angel might, at some stage, expect redemption and rehumanization – the Shanshu of the souled vampire – as the reward for his labours, and with the resurrection of his vampiric sire and lover, Darla, by the law firm of Wolfram & Hart and its demonic masters (‘To Shanshu in LA’, 1022).
    [Show full text]