DOCSLIB.ORG

Enic Designer and Visual Storyteller

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Enic Designer and Visual Storyteller David Gallo Biography David Gallo is an award-winning scenic designer and visual storyteller. His work can be seen daily in more than a dozen cities worldwide. Mr. Gallo has designed over 30 Broadway plays and musicals and is the recipient of the esteemed Tony Award. He also designs media, video and projections. Some recent Broadway credits include First Date, Stick Fly, The Mountaintop, Memphis, Reasons to be Pretty, A Catered Affair, Xanadu, Company, The Drowsy Chaperone, and Thoroughly Modern Millie. Mr. Gallo has collaborated with notable stage directors and also teamed with a bevy of directors on their first foray into theater including AI Pacino (Hughie), Jerry Seinfield (Colin Quinn: Long Story Short-includes video) and Jerry Lewis (The Nutty Professor, Marvin Hamlisch's last musical). David delivers a unique and mind-blowing visual experience to each project. As creative director for jam band Phish's New Year's Eve epic arena concert extravaganzas, he provides a complete vision for every aspect of the experience from conceptualization and creative development to design, choreography and execution. His work with Blue Man Group has been seen by millions in New York, Boston, Chicago, and Las Vegas. Dream Works, Nickelodeon, PBS and S2BN turn to Mr. Gallo to adapt their animated features for the stage by creating living universes for their classic animated characters. Madagascar Live, Yo Gabba Gabba Live, Dora the Explorer, Blues Clues Live and SpongeBob Squarepants transitioned seamlessly before national and international audiences via Gallo's vision and expertise. The same is true for the current US Tour of Super Why Live tor S2BN, PBS and Out of the Blue Productions. As a core member of celebrated playwright August Wilson's creative team from 1996 until Mr. Wilson's death, David designed the premiere productions of Wilson's later works including King Hedley II, Ma Rainey's Black Bottom, Jitney, Gem of the Ocean and Radio Golf which garnered him two Tony Award nominations for Best Scenic Design. David designed the Kennedy Center's historic tribute production of August Wilson 's Twentieth Century, a 'cycle of ten plays chronicling 100 years of the African American experience, featuring more than 30 stars of the stage and screen.' David continues to advocate and support Mr. Wilson's work with his fellow 'Wilsonian soldiers', most recently as designer for Wilson's autobiographical play How I Learned What I Learned at the Signature Theatre. Mr. Gallo's designs span the globe. International producers include Disney and Joop van den E Ende's Stage Entertainment throughout Europe and South America, Atlantis Productions in Manila, 0 Seol & Co in South Korea, and Broadway Asia. David is currently collaborating with Stan Lai on the (.) • still untitled Bruce Lee musical which will premiere in Singapore 2015. 0 David is the Performing Arts/Design Contributing Editor at Stated Magazine and on the advisory -ca board of LIVE DESIGN magazine where he serves as Creative Consultant for their Scenic Design C) Master Classes. He was honored with The Tony Award for Best Scenic Design of The Drowsy Chaperone and is also the recipient of the Obie for Sustained Excellence in Set Design, multiple -c NAACP, Drama Desk, Lucille Lortel, American Theater Wing, Hewes Design, Ovation, and LA ·-> Critics Circle awards. David Gallo represented innovative contemporary American set design in the (U Cooper-Hewitt inaugural National Design Triennial. His paintings for the 1997 Broadway revival of A -c View from the Bridge are in the Smithsonian Institution archives in Washington, D.C. Mr. Gallo's complete resume with photographs from select projects can be found at http://www .davidgallo .com . .
Load more

Recommended publications
  • Fences Study Guide
    Pacific Conservatory Theatre Student Matinee Program Presents August Wilson’s Fences Generously sponsored by Franca Bongi-Lockard Nancy K. Johnson A Study Guide for Educators Welcome to the Pacific Conservatory Theatre A NOTE TO THE TEACHER Thank you for bringing your students to PCPA at Allan Hancock College. Here are some helpful hints for your visit to the Marian Theatre. The top priority of our staff is to provide an enjoyable day of live theatre for you and your students. We offer you this study guide as a tool to prepare your students prior to the performance. SUGGESTIONS FOR STUDENT ETIQUETTE Note-able behavior is a vital part of theater for youth. Going to the theater is not a casual event. It is a special occasion. If students are prepared properly, it will be a memorable, educational experience they will remember for years. 1. Have students enter the theater in a single file. Chaperones should be one adult for every ten students. Our ushers will assist you with locating your seats. Please wait until the usher has seated your party before any rearranging of seats to avoid injury and confusion. While seated, teachers should space themselves so they are visible, between every groups of ten students. Teachers and adults must remain with their group during the entire performance. 2. Once seated in the theater, students may go to the bathroom in small groups and with the teacher's permission. Please chaperone younger students. Once the show is over, please remain seated until the House Manager dismisses your school. 3. Please remind your students that we do not permit: - food, gum, drinks, smoking, hats, backpacks or large purses - disruptive talking.
    [Show full text]
  • Powerful Memoir from an American Master
    POWERFUL MEMOIR FROM AN AMERICAN MASTER AUGUST WILSON’S CO-CONCEIVED & DIRECTED BY TODD KREIDLER FEATURING HOW I LEARNED EUGENE LEE WHAT I LEARNED CURRICULUM GUIDE TABLE OF CONTENTS Standards 3 Guidelines for Attending the Theatre 4 Artists 5 Themes for Writing & Discussion 8 Mastery Assessment 11 For Further Exploration 12 Suggested Activities 17 © Huntington Theatre Company Boston, MA 02115 March 2015 No portion of this curriculum guide may be reproduced without written permission from the Huntington Theatre Company’s Department of Education & Community Programs Inquiries should be directed to: Donna Glick | Director of Education [email protected] This curriculum guide was prepared for the Huntington Theatre Company by: Alexandra Truppi I Manager of Curriculum & Instruction with contributions by: Donna Glick | Director of Education COMMON CORE STANDARDS IN ENGLISH LANGUAGE ARTS STANDARDS: Student Matinee performances and pre-show workshops provide unique opportunities for experiential learning and support various combinations of the Common Core Standards for English Language Arts. They may also support standards in other subject areas such as Social Studies and History, depending on the individual play’s subject matter. Activities are also included in this Curriculum Guide and in our pre-show workshops that support several of the Massachusetts state standards in Theatre. Other arts areas may also be addressed depending on the individual play’s subject matter. Reading Literature: Key Ideas and Details 1 Reading Literature: Craft and Structure 5 • Grade 7: Cite several pieces of textual evidence to support analy- • Grade 7: Analyze how a drama’s or poem’s form or structure sis ofwhat the text says explicitly as well as inferences drawn (e.g., soliloquy, sonnet) contributes toits meaning.
    [Show full text]
  • Download PDF ~ Radio Golf (Paperback) « G8Q5YWHIZW94
    BL13EEHYD5KH ~ Kindle » Radio Golf (Paperback) Radio Golf (Paperback) Filesize: 2.14 MB Reviews Very beneficial to any or all class of individuals. It is rally interesting throgh looking at time. You will not feel monotony at at any time of your time (that's what catalogs are for concerning in the event you question me). (Dr. Dallas Reinger IV) DISCLAIMER | DMCA DY4TBKSGC9YA \\ eBook Radio Golf (Paperback) RADIO GOLF (PAPERBACK) To download Radio Golf (Paperback) eBook, please follow the button under and save the document or get access to other information that are relevant to RADIO GOLF (PAPERBACK) book. Theatre Communications Group Inc.,U.S., United States, 2008. Paperback. Condition: New. New. Language: English . Brand New Book. The concluding work in one of the most ambitious dramatic projects ever undertaken . a play that could well be Mr. Wilson s most provocative. --Ben Brantley, The New York Times Radio Golf is a rich, carefully wrought human tapestry that is colorful, playful, thoughtful and compelling. --Ed Kaufman, The Hollywood Reporter Radio Golf is August Wilson s final play. Set in 1990 Pittsburgh, it is the conclusion of his Century Cycle--Wilson s ten-play chronicle of the African American experience throughout the twentieth century--and is the last play he completed before his death. With Radio Golf Wilson s lifework comes full circle as Aunt Ester s onetime home at 1839 Wylie Avenue (the setting of the cycle s first play) is slated for demolition to make way for a slick new real estate venture aimed to boost both the depressed Hill District and Harmond Wilks chance of becoming the city s first black mayor.
    [Show full text]
  • GULDEN-DISSERTATION-2021.Pdf (2.359Mb)
    A Stage Full of Trees and Sky: Analyzing Representations of Nature on the New York Stage, 1905 – 2012 by Leslie S. Gulden, M.F.A. A Dissertation In Fine Arts Major in Theatre, Minor in English Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Dr. Dorothy Chansky Chair of Committee Dr. Sarah Johnson Andrea Bilkey Dr. Jorgelina Orfila Dr. Michael Borshuk Mark Sheridan Dean of the Graduate School May, 2021 Copyright 2021, Leslie S. Gulden Texas Tech University, Leslie S. Gulden, May 2021 ACKNOWLEDGMENTS I owe a debt of gratitude to my Dissertation Committee Chair and mentor, Dr. Dorothy Chansky, whose encouragement, guidance, and support has been invaluable. I would also like to thank all my Dissertation Committee Members: Dr. Sarah Johnson, Andrea Bilkey, Dr. Jorgelina Orfila, and Dr. Michael Borshuk. This dissertation would not have been possible without the cheerleading and assistance of my colleague at York College of PA, Kim Fahle Peck, who served as an early draft reader and advisor. I wish to acknowledge the love and support of my partner, Wesley Hannon, who encouraged me at every step in the process. I would like to dedicate this dissertation in loving memory of my mother, Evelyn Novinger Gulden, whose last Christmas gift to me of a massive dictionary has been a constant reminder that she helped me start this journey and was my angel at every step along the way. Texas Tech University, Leslie S. Gulden, May 2021 TABLE OF CONTENTS ACKNOWLEDGMENTS………………………………………………………………ii ABSTRACT …………………………………………………………..………………...iv LIST OF FIGURES……………………………………………………………………..v I.
    [Show full text]
  • The Milwaukee Repertory Theater Presents Study Guide Created by Rebecca Witt, Education Coordinator with Contributions From
    March 3 - 28, 2010 Stiemke Theater The Milwaukee Repertory Theater Presents This study guide is researched and designed by the Education Department at the Milwaukee Repertory Theater and is intended to prepare you for your visit. It contains information that will deepen your understanding of, and appreciation for, the production. We’ve also included questions and activities for you to explore before and after our performance of RADIO GOLF. If you would like to schedule a classroom workshop, or if we can help in any other way, please contact INSIDE THIS GUIDE Jenny Kostreva at Synopsis 2 414-290-5370 or About the Author 2 [email protected] The Characters 4 Rebecca Witt at The Pittsburgh Cycle 5 414-290-5393 or [email protected] The Hill District 6 A Brief History of African Study Guide Created By 7 American Theater Rebecca Witt, Education Coordinator The Election Process 8 With Contributions From Gentrification 10 Zoe Cohen, Literary Intern Self-Identity 11 Cheryl Ann Lisowski, Education Intern Community 12 Editing By Interviews With the Cast 13 Jenny Kostreva, Education Director Visiting The Rep 16 Zoe Cohen, Literary Intern SYNOPSIS Set in Pittsburgh in the 1997, RADIO GOLF is the final play in August Wilson‟s 10-play cycle. The story follows a successful “I’m not trying to save the real estate developer, Harmond Wilks, who is hoping to house. I’m trying to save become the city‟s first black mayor. While Wilks is getting Bedford Hills. Everybody ready to declare his candidacy, he and his friends are also involved in this project trying to redevelop a crumbling neighborhood only to realize wants to see it happen.” that the house to be torn down has an important history As the past is revealed, secrets are unleashed that could either - Harmond bring Wilks‟ future down or mean a new beginning.
    [Show full text]
  • The Women of August Wilson and a Performance Study and Analysis of the Role of Grace in Wilson's the Piano Lesson
    University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2009 The Women Of August Wilson And A Performance Study And Analysis Of The Role Of Grace In Wilson's The Piano Lesson Ingrid Marable University of Central Florida Part of the Theatre and Performance Studies Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Marable, Ingrid, "The Women Of August Wilson And A Performance Study And Analysis Of The Role Of Grace In Wilson's The Piano Lesson" (2009). Electronic Theses and Dissertations, 2004-2019. 4150. https://stars.library.ucf.edu/etd/4150 THE WOMEN OF AUGUST WILSON AND A PERFORMANCE STUDY AND ANALYSIS OF THE ROLE OF GRACE IN WILSON’S THE PIANO LESSON by INGRID A. MARABLE B.A. University of Virginia, 2005 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in the Department of Theatre in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Summer 2009 © 2009 Ingrid A. Marable ii ABSTRACT In the fall of 2007, I was cast in the University of Central Florida’s production of The Piano Lesson. My thesis will examine my performance in the role of Grace, as well as understudying the role of Berniece under the direction of Professor Belinda Boyd.
    [Show full text]
  • The Theatre of August Wilson
    The Journal of American Drama and Theatre (JADT) https://jadtjournal.org The Theatre of August Wilson The Theatre of August Wilson. Alan Nadel. Metuen Drama Critical Companions Series. London; New York: Methuen Drama, Bloomsbury Collections, 2018; Pp. 224. In The Theatre of August Wilson, Alan Nadel critically analyzes the dramatic texts of August Wilson’s cycle of ten plays about African American life in the 20th century in relation to the concept of property rights and the law. In this first comprehensive companion to Wilson’s full cycle, Nadel continues his sustained scholarship and editorial contributions demonstrated in May All Your Fences Have Gates: Essays on the Drama of August Wilson (1994) and August Wilson: Completing the Twentieth Century Cycle (2010). The chapters in his latest study ground Nadel’s argument that “America has always suffered from a profound confusion of human rights and property rights” (2). Beyond presenting an accessible, nuanced study of Wilson’s drama, this volume serves to “underscore… the dimensions of privilege that have transparently enveloped America during what has been called the ‘The American Century’” (2). Nadel argues that throughout American history, law has been an instrument of privilege rather than justice and that the injustices suffered led African Americans to create artistic sites of innovation such as the blues—and Wilson’s theatre. The blues, Nadel claims, provided Wilson an “entry to this history” and serves a “psychic tableau of disrupted dreams and displaced passions…” (2). Nadel begins his valuable analysis with a brief biography of August Wilson (1945-2005), illuminating aspects of Wilson’s life as key to his multifaceted drama.
    [Show full text]
  • Journey to Equality in August Wilson's Play
    E-Journal of English Language and Literature Volume 7 No. 2 E-Journal of English Language & Literature ISSN 2302-3546 PuBlished By English Language & Literature Study Program of FBS Universitas Negeri Padang available at http://ejournal.unp.ac.id/index.php/jell JOURNEY TO EQUALITY IN AUGUST WILSON’S PLAY SCRIPT RADIO GOLF (2005) Miki Roma Putra1, Kurnia Ningsih2, An Fauzia Rozani Syafe’i3 English Department Faculty of Languages and Arts State University of Padang email: [email protected] Abstract The purpose of this analysis is to expose the issue about journey to equality which is done by Black American and to know the contribution of the plot, setting, and character in revealing the journey to equality. This analysis is related to the concept double-consciousness by W.E.B. Du Bois that is supported by the text and context based interpretation. The result of this analysis shows Black American do efforts to get the equality that can be seen from their efforts to build good images and careers and works. Key words: Journey, Equality, double-consciousness A. INTRODUCTION Human beings are equal since they were born with the same dignity, degree, rights, and duties, although they were born in the different racial or ethnic groups. Since they have different racial or ethnic group, they cannot choose to be born as part of a particular race or ethnicity. In fact, human makes the differences between themselves. Some people think they are better than others. They say they are the strongest and they become the superior, so that they have power to control the weak.
    [Show full text]
  • Directed by Jude Sandy STUDY GUIDE
    STUDY GUIDE August Wilson’s Radio Golf Directed by Jude Sandy 1 Education Supported by TABLE OF CONTENTS Theater Audience Etiquette ........................................................................................................3 Using the Guide in Your Classroom .............................................................................................4 Season sponsored by UNIT ONE: BACKGROUND INFORMATION A Conversation with the Director: Jude Sandy .............................................................................6 Biography of August Wilson .......................................................................................................8 Support for Trinity Rep’s education programs Plot Synopsis .............................................................................................................................9 comes from the Dexter Donation Trust, The The View from The Hill ...............................................................................................................10 Norman and Rosalie Fain Family Foundation, Phyllis Kimball Johnstone & H. Earl Kimball Character Analysis .....................................................................................................................12 Foundation, Mary Dexter Chafee Fund, The McAdams Charitable Foundation, Rhode Vocabulary .................................................................................................................................14 Island State Council on the Arts, Shakespeare in American Communities, Textron
    [Show full text]
  • Past TRC Productions
    TRINITY REPERTORY COMPANY 201 Washington Street, Providence, RI 02903 PAST PRODUCTIONS Counting seasons: In the official count of seasons (1st, 2nd, 3rd, etc.), it may have been decided in 1970 to not count 1963-64 as the first season. Or a mistake in a brochure may have never been caught until it was much too late. Subscription brochures for the 1969-70 Season and 1970-71 Season both refer to the upcoming season as the 7th Season. Brochures for the 1967-68 and 1968-69 Seasons refer to them respectively as the 5th and 6th Seasons, but a brochure for the 1965-66 Season refers to that as the “second full season.” During the 1963-64 Season, Trinity Players on the Square was not a fully professional company and there were no actual performances in 1963. 1964-65 was the first full season with Adrian Hall as artistic director and Equity contracts. The counting of the seasons proceeded consecutively from the second 7th Season. *World Premiere Production **American Premiere Production ***Pre-Season Productions + Booked-In, Rental, or Competition Winner Productions 1963-1964 Season • 1st Director Playwright Designers The Hostage Ira Zuckerman Brendan Behan Sets: Sandra Tilles Costumes: Joyce Anderson Lighting: Thomas J. Aubin Sound: Vincent Vessela The House of Bernarda Alba Ira Zuckerman Frederico Garcia Lorca Sets: Morris Nathanson Costumes: Sue Neely Lighting: Thomas J. Aubin and Catie Calvo Sound: Bud Peltier American Dream Adrian Hall Edward Albee Sets: Richard L. Peterson and Carl Ravenal Costumes: Edith Brown Lighting: Thomas J. Aubin and Catie Calvo Sound: Sandra Tilles Orpheus Descending Adrian Hall Tennessee Williams Costumes: Edith Brown Lighting: Thomas J.
    [Show full text]
  • 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.
    [Show full text]
  • King Hedley II Music by Claibe Richardson by August Wilson in the Voodoo Parlour of Marie Laveau Directed by Eileen J
    Pittsburgh Playwrights THEATRE COMPANY in association with 2010-2011 Season The Voodoo Trilogy by Frank Gagliano World premiere of three plays based on legendary voodoo queen Marie Laveau Congo Square February 10 - 27, 2011 A musical, directed by Marci Woodruff King Hedley II Music by Claibe Richardson by August Wilson In the Voodoo Parlour of Marie Laveau Directed by Eileen J. Morris February 25 - March 12, 2011 An unsung voodoo chamber opera, directed by Kim El The Commedia World of Lafcadio B March 5 - 8, 2011 A staged reading, directed by Frank Gagliano King Hedley II by August Wilson Directed by Eileen J. Morris June 2-11, 2011 For tickets: ProArtsTickets.org or 412.394.3353 For information: pghplaywrights.com June 3- 12, 2011 August Wilson Center Theatre From the Producing Artistic Director Production & Artistic Staff Producing Artistic Director ..............................Mark Clayton Southers Welcome to the spectacular August Wilson Center for African Playwrights .....................................................August Wilson American Culture. When our small company produced our Director ...........................................................Eileen J. Morris very first play, August Wilson’s Ma Rainey’s Black Bottom Technical Director ...........................................J.R. Shaw which was directed by Eileen J. Morris, we had no idea that Production Manager .......................................Kate Devlin one day it would lead to this. What a transformation from Stage Manager ...............................................Eric A. Smith that tiny black box in Garfield to our garage theater at Six Assistant Stage Manager ...............................David Scott Jr. and Penn to here. It’s been an amazing journey and I have Scenic Designer .............................................Mark Clayton Southers to thank Pittsburgh’s amazing and talented actors who have Sound Designer ..............................................Mark Whitehead made us shine as a company.
    [Show full text]