DOCSLIB.ORG

In This Issue

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
In This Issue 2017 2018 IN THIS ISSUE NOVEMBER/DECEMBER 2017 Title Page . .2 . Cast . 3 Letter from Artistic Director David Ivers . 4. Letter from Managing Director Billy Russo . 5 Director’s Note . 6. An Interview with the Playwright . 7 The Cast . 10. The Creative Team . 13 Executive Leadership . .17 . About Arizona Theatre Company . 19 ATC Board of Trustees. 22 Donors . .23 . ATC Staff . 30. Theater Information. 32 The Herberger Theater Center, Arizona Theatre Company’s home in downtown Phoenix. Cover art by: ESSER DESIGN 1 2017 2018 David Ivers Billy Russo Artistic Director Managing Director THE RIVER BRIDE BY MARISELA TREVIÑO ORTA Kinan Valdez ............................................................ Director Regina Garcia ..................................................... Scenic Designer Rose Pederson .................................................. Costume Designer David Lee Cuthbert ................................... Lighting and Projection Designer Emiliano Valdez .................................................... Sound Designer Brian Jerome Peterson. .. Resident Sound Designer Gregory W. Towle. Associate Projections Designer Rosalinda Morales and Pauline O’con, CSA ................................... Casting Mindy B. Johnson* .................................................. Stage Manager Bruno Ingram* ..................................................... Stage Manager The River Bride was developed in residency with AlterTheater Ensemble, San Rafael, California. World Premiere Produced by Oregon Shakespeare Festival. Artistic Director Bill Rauch Executive Director Cynthia Rider On this original Arizona Theatre Company production, the ATC Production Staff is responsible for scenic construction, costume construction, lighting, projections, sound, props, furniture, wigs, scene painting and special effects. PRODUCTION SPONSOR: 2017/2018 SEASON SPONSORS: I. MICHAEL AND BETH KASSER 2 2017 2018 CAST (IN ORDER OF APPEARANCE) Paula Rebelo .................................................... Belmira Sarita Ocón* ..................................................... Helena Leandro Cano* ................................................. Sr. Costa Sean Burgos ..................................................... Duarte Dena Martinez* ............................................... Sra. Costa Hugo E. Carbajal* ................................................ Moises *Denotes members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. THERE WILL BE NO INTERMISSION. ADDITIONAL STAFF Tajh Oates. Assistant to the Stage Manager Tony Andrea ................................................. Scenic Design Assistant Joe C. Klug .................................................. Scenic Design Assistant David Morden ............................................ Voice and Dialect Consultant Brent Gibbs ................................................... Movement Consultant UNDERSTUDIES Marissa Medina Munter ........................................... Belmira Marissa Salazar ...................................... Helena and Sra. Costa Adam Grodman ................................................... Moises Alec Michael Coles ...................................... Duarte and Sr. Costa Arizona Theatre Company operates under agreements between the League of Resident Theatres (LORT) and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States; Stage Directors and Choreographers, an independent national labor union; and United Scenic Artists Local USA-829, IATSE. The Actors and Stage Managers The Director is a member of the The Scenic, Costume, Lighting and employed in these productions are Stage Directors and Choreographers Sound Designers in LORT Theatres members of Actors’ Equity Association, Society, an independent national are represented by Union Scenic the Union of Professional Actors and labor union. Artists Local USA-829, IATSE. Stage Managers in the United States. To learn more about The River Bride, please visit the Learning & Education page on our website at arizonatheatre.org for a comprehensive free Play Guide. The Play Guide contains historical information, cultural context, and more. Cell phones and other devices that make a noise can greatly disturb your fellow audience members and the performers. PLEASE TURN THEM OFF before the performance. 3 2017 2018 LETTER FROM ARTISTIC DIRECTOR DAVID IVERS It’s a gift to bring Marisela Treviño Orta’s The River Brideback home. As the winner of Arizona Theatre Company’s 2013 National Latino Playwriting Award, it is an honor to have it fully real- ized on our stages. A hauntingly beautiful narrative, The River Brideborrows from Brazilian myth and folklore to remind us of the power and majesty of storytelling. I know you’ll find depth and value in the exploration of another culture’s look at love, loss, longing, and its deep connectivity to the natural (and unnatural?) world that surrounds the characters. At its core, The River Bride is both mysterious and universal; it asks important questions of family and loyalty as Ms. Orta writes with profoundly textured language to illuminate the balance between custom, tradition, expectations, and dreams. I hope you’ll share your feelings with us as we look toward telling universal stories that continue to engage new voices and new communities. It’s a distinct honor to have both the playwright Marisela Treviño Orta and director Kinan Valdez return to Arizona. They represent the very best our regional theatre has to offer: kind, generous of heart, adventurous, highly skilled, and fully committed to examining our world and accurately reflecting what it looks like. I am grateful to them both for bringing great vision and courage to their craft. Thank you for your generosity, too. We are moving ahead ourselves, and looking down our own metaphorical river with the hopes our hard work will continue to generate the kind of magic, faith, and belief so readily available in this beautiful production of this important new play. Wishing you well, David Ivers [email protected] Artistic Director Arizona Theatre Company 4 2017 2018 LETTER FROM MANAGING DIRECTOR BILLY RUSSO I am so thrilled to return to Arizona Theatre Company this year in the official capacity as Managing Director. I had the great privilege to meet many of ATC’s family of audience, donors, board, and staff during my time here over the last eighteen months as the executive management consultant and acting managing director. During that time, I came to have great affection for the Board of Trustees; the communities of both Tucson and Phoenix; and especially the talented, committed, and resilient staff of this great organization. During the search process for the new artistic leadership of the organization, I got to know David Ivers very well, and it became im- mediately clear that we had a shared vision of the value of ATC in the cultural life of Arizona and the immense opportunities for its future. That, added to my newfound love of living in the desert and the vibrant and varied cultural lives of Phoenix and Tucson, I was thrilled to be asked to join David as part of the new Executive Leadership of the organization. At the beginning of ATC’s 50th Anniversary Season, I witnessed a unique galvanization of the communities behind ATC, and the outpouring of support both financial and of friendship was beyond impressive and of a scale rarely seen in the American regional theatre industry. Because of such support, we were able to move forward with a season that was grounded in the belief that for an arts organization to thrive and be vital it must be brave and ambitious in its program- ming and – with fiscal responsibility – strive to bring its audiences work that is exciting in both scope and aspiration. We are thrilled to report that in the 2016/2017 season, subscription sales increased by over 16%, single tickets increased by 45%, the annual fund contributed income was 25% above the past ten-year average, and with the implementation of a multi-year Fund for Working Capital Campaign, the year ended with an operating surplus of nearly $1 million. All of this success and forward momentum could not have been possible without the stalwart support shown by the communities in Tucson and Phoenix, and across the whole state of Ari- zona. David Ivers and I are well aware that there is still a lot of work to be done to place ATC on a firm financial footing and to properly capitalize the organization’s operations, and we are thrilled to be embarking on this next chapter together from a position of strength and growth. We resolve to live up to that belief and vote of confidence. I’m sure you will be hearing from us in the near future about other ways you may engage with the company and support Arizona’s only fully professional producing theatre, but right now I just wanted to say thank you. With deep gratitude, Billy Russo [email protected] 5 2017 2018 A LETTER FROM KINAN VALDEZ Traversing the globe and transcending all boundaries with a force like water, the awesome power of storytelling sweeps across time and pours its riches into the rivers of human life with a grandeur as majestic as the mighty Amazon. As human beings, we are forever satiating our thirst at the timeless shores of story. Within its watery wells, we soak in the wonder and wisdom of lives lived eons ago as well as yesterday. We nourish our spirits and replenish our hearts seeking the knowledge gifted to us by our forbearers: human beings
Load more

Recommended publications
  • Media Culture for a Modern Nation? Theatre, Cinema and Radio in Early Twentieth-Century Scotland
    Media Culture for a Modern Nation? Theatre, Cinema and Radio in Early Twentieth-Century Scotland a study © Adrienne Clare Scullion Thesis submitted for the degree of PhD to the Department of Theatre, Film and Television Studies, Faculty of Arts, University of Glasgow. March 1992 ProQuest Number: 13818929 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13818929 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Frontispiece The Clachan, Scottish Exhibition of National History, Art and Industry, 1911. (T R Annan and Sons Ltd., Glasgow) GLASGOW UNIVERSITY library Abstract This study investigates the cultural scene in Scotland in the period from the 1880s to 1939. The project focuses on the effects in Scotland of the development of the new media of film and wireless. It addresses question as to what changes, over the first decades of the twentieth century, these two revolutionary forms of public technology effect on the established entertainment system in Scotland and on the Scottish experience of culture. The study presents a broad view of the cultural scene in Scotland over the period: discusses contemporary politics; considers established and new theatrical activity; examines the development of a film culture; and investigates the expansion of broadcast wireless and its influence on indigenous theatre.
    [Show full text]
  • Group Sales Tickets
    SHAKESPEARE THEATRE COMPANY 21st Annual Table of Contents D.C.’s favorite Feature Letter from Michael Kahn 5 The Two Faces of Capital summer by Drew Lichtenberg 6 Program Synopsis 11 theatre event About the Playwright 13 Title Page 15 Cast 17 is back! Cast Biographies 18 PRESENTED BY Direction and Design Biographies 22 Shakespeare Theatre Company Tickets will be available Board of Trustees 8 online and in line! Shakespeare Theatre Company 26 Individual Support 28 Visit ShakespeareTheatre.org/FFA for more details on how to get your tickets via lottery Corporate Support 40 or at Sidney Harman Hall on the day of the Foundation and performance. Tickets for 2011–2012 Season Government Support 41 subscribers available through the Box Office Academy for Classical Acting 41 beginning July 5, 2011, at 10 a.m. For the Shakespeare Theatre Company 42 Join the Friends of Free Staff 44 JULIUS For All for tickets! Audience Services 50 Free For All would not be possible without Creative Conversations 50 CAESAR the hundreds of individuals who generously donate to support the program each year. “ Only with the help of the Friends of Free For All is STC able to offer free performances, All hail Julius Caesar! making Shakespeare accessible to … One of the best productions of this or any season.” Washington, D.C., area residents every summer. The Washingtonian In appreciation for this support, Friends of Free For All receive exclusive benefits during This Year's Production: the festival such as reserved Free For All tickets, the option to have tickets mailed in August 18–September 4 advance, special event invitations, program recognition and more.
    [Show full text]
  • Sing a Musical Theatre Recital
    If! Sing A Musical Theatre Recital An Honors Thesis (HONRS 499) by Kevin M. McDaniel Thesis Advisor - Alexandra Christina Kocoshis Ball State University Muncie, Indiana April 2003 Expected Date of Graduation May 2004 - .;5pCo 1/ 1l1e :,i.s J-1) 215J - . Z4- Abstract A musical theatre recital is an unusual and creative project to undertake. While the majority of recitals are composed of classical works, a theatrical recital includes songs from the realm of musical theatre, and must include acting as well as the songs. It therefore develops a singer's vocal and physical performance. "If I Sing, " A Musical Theatre Recital was developed to expand and showcase my talents as a musical theatre major and performer. I chose songs that represented a variety of shows from the history of musical theatre, ranging from 1937 to the present. My goal was to educate those people who were not familiar with many musicals by helping them expand their knowledge of musicals. I did this by giving the audience members a tour of musical theatre history through the songs. Personally, my songs were choices that helped me expand my repertoire. While a few songs were ones that I have become accustomed to performing for years, most were songs that I have wanted to perform for a long while, but have never had the opportunity or reason. All the songs were personal favorites of mine, but were also songs that stretched me to my vocal limits. Several songs challenged me vocally, while others challenged my acting ability. Also, the recital was a challenge to sing.
    [Show full text]
  • BTW.B.Schedule2017(MH Edit)
    Broadway Teachers Workshop B 2017 Schedule (*subject to change) Monday, July 10, 2017 Today’s workshops are held at The Sheen Center; 18 Bleecker Street, New York, NY 10012 9:15 a.m. – 10:00 a.m. Registration/ Welcome/ Meet and Greet Your Peers 10:00 a.m. – 11:30 a.m. Opening Session: Creativity and Connection: with Susan Blackwell ([title of show]) In this fun, festive welcome session, Susan Blackwell kicks off your Broadway Teachers Workshop with a bang! This year's theme is CREATIVITY and--as always--the discussion will be spirited, the ideas shared will be inspiring, and the connections made will lay the foundation for a warm, wonderful BTW adventure! Susan Blackwell is on a mission to free people’s creativity and self-expression. She champions this cause as a performer, writer, educator and business consultant. She played a character based on herself in the original Broadway musical [title of show} and the Off-Broadway musical Now. Here. This. She created and hosts the freewheeling chat show ‘Side by Side by Susan Blackwell’ on Broadway.com. As the founder of Susan Blackwell & Co., she partners with like-minded compassionate artists and thought leaders to deliver inspiring entertainment and educational offerings aimed at freeing people’s creativity and self-expression. 11:45 a.m. – 1:00 p.m. A.) EXPLORING FRANK LOESSER: A concert and class with Broadway Music Director David Loud Join Broadway Music Director David Loud (Scottsboro Boys, Curtains, The Visit) in another of his delightful inquiries into the songs of our greatest theatre composers.
    [Show full text]
  • AVENUE of the ARTS HUNTINGTON AVENUE THEATRE in the Late 1970S, Truman Capote and Andy Warhol Decided That They Were Destined to Create a Broadway Play Together
    LEGENDARY ACCLAIMED MUSICAL MERRILY WEMUSIC & LYRICS BY BOOK BY STEPHEN GEORGE SONDHEIM FURTH DIRECTED BY ROLL ALONG MARIA FRIEDMAN SEPT.8-OCT.15 AVENUE OF THE ARTS HUNTINGTON AVENUE THEATRE In the late 1970s, Truman Capote and Andy Warhol decided that they were destined to create a Broadway play together. Over the course of the next several months, they would sit down to record a series of intimate, wide-ranging conversations. The play never came to be, and the hours and hours of tape were lost to the ages. Until now. n on inventio A non-ficti from the Words of Truman Capote and Andy Warhol Adapted by Rob roth directed by michael mayers NOW PLAYING Tickets from $25 AmericanRepertoryTheater.org CONTENTS SEPTEMBER–OCTOBER2017 5 THE PROGRAM 12 MERRILY WE ROLL ALONG IN CONTEXT 15 SONDHEIM ON SONGS PLUS: 16 About the Company 12 36 Patron Services 37 Emergency Exits 40 Guide to Local Theatre 43 Boston Dining Guide 46 Dining Out: Top of the Hub 15 theatrebill STAFF Publishing services are provided by Theatrebill, a pub- lication of New Venture Media Group LLC, publisher of President/Publisher: Tim Montgomery Panorama: The Official Guide to Boston, 560 Harrison Ave., Suite 412, Boston, MA 02118, 857-366-8131. Art Director: Scott Roberto Assistant Art Director: Laura Jarvis Editorial Assistant: Olivia J. Kiers WARNING: The photographing or sound recording of any performance or the possession of any device Vice President Publishing: Rita A. Fucillo for such photographing or sound recording inside Vice President Advertising: Jacolyn Ann Firestone this theatre, without the written permission of the Senior Account Executive: Andrea Renaud management, is prohibited by law.
    [Show full text]
  • Program from the Production
    SHAKESPEARE THEATRE COMPANY Dear Friend, Table of Contents Welcome to STC’s Hero/ STC Board of Trustees Traitor Repertory, the first Coriolanus Title Page 5 installment in the Clarice Board of Trustees W. Mike House Emeritus Trustees Smith Repertory Series. Michael R. Klein, Chair Jerry J. Jasinowski R. Robert Linowes*, About the Playwright: Shakespeare 6 Robert E. Falb, Vice Chair Norman D. Jemal Founding Chairman William Shakespeare’s John Hill, Treasurer Jeffrey M. Kaplan James B. Adler Synopsis: Coriolanus 7 Coriolanus and Friedrich Pauline Schneider, Secretary Scott Kaufmann Heidi L. Berry* Michael Kahn, Artistic Director Abbe D. Lowell David A. Brody* Coriolanus Cast 9 Schiller’s Wallenstein Eleanor Merrill Melvin S. Cohen* share a stage because the title characters The Body Politic Trustees Melissa A. Moss Ralph P. Davidson share a dilemma: their power as charismatic Nicholas W. Allard Robert S. Osborne James F. Fitzpatrick by Drew Lichtenberg 10 Ashley M. Allen Stephen M. Ryan Dr. Sidney Harman* military leaders brings them into conflict with Stephen E. Allis George P. Stamas Lady Manning Wallenstein Title Page 11 the political world. In this North American Anita M. Antenucci Bill Walton Kathleen Matthews Jeffrey D. Bauman Lady Westmacott William F. McSweeny About the Playwright: Schiller 14 premiere of Schiller’s work, translated and Afsaneh Beschloss Rob Wilder V. Sue Molina freely adapted by former Poet Laureate Robert Landon Butler Suzanne S. Youngkin Walter Pincus Synopsis: Wallenstein 15 Pinsky, Wallenstein muses, “Once men have Dr. Paul Carter Eden Rafshoon Chelsea Clinton Ex-Officio Emily Malino Scheuer* Wallenstein Cast 17 climbed the heights of greatness…the world Dr.
    [Show full text]
  • Dame Judith Anderson (1898-1992)
    AUSTRALIAN EPHEMERA COLLECTION FINDING AID DAME JUDITH ANDERSON (1898-1992) PERFORMING ARTS PROGRAMS AND EPHEMERA (PROMPT) PRINTED AUSTRALIANA FEBRUARY 2018 CONTENT Printed materials in the PROMPT collection include programs and printed ephemera such as brochures, leaflets, tickets, etc. Theatre programs are taken as the prime documentary evidence of a performance. The list is based on imperfect holdings, and is updated as gaps in the Library’s holdings are filled. Unless otherwise stated, all entries are based on published programs in the PROMPT collection. ACCESS The Dame Judith Anderson PROMPT files may be accessed through the Library’s Special Collections Reading Room by eCallslip request: http://nla.gov.au/nla.cat-vn2608577. ARRANGEMENT Programs in the National Library’ PROMPT collection are arranged chronologically in three parts Early Australian career Tours to Australia Overseas stage career Under each heading they are listed, chronologically by performance and then as follows: Date (day and month); Venue, City Name of production or performer Headline performers etc. An index to staged productions is provided at the end of the document. This document is also keyword searchable. OTHER RESOURCES The National Library’s collection also includes: Biographical cuttings file Pictures Published works and scrapbooks Other institutional holdings relating to Anderson National Film & Sound Archive (Canberra ACT) Performing Arts Collection of South Australia University of California, Santa Barbara (USA) Dame Judith Anderson Collection, PA Mss 6, Department of Special Collections, University Libraries, University of California, Santa Barbara. Dame Judith Anderson (1898-1992) 2 EARLY AUSTRALIAN CAREER See also Digitised Australian newspaper coverage of Judith Anderson. 1915 1 November.
    [Show full text]
  • Terry Helgesen Collection
    152 N. York St., 2nd Floor, Elmhurst, IL 60126 historictheatres.org Finding Aid for the TERRY HELGESEN COLLECTION Acc. #: xx-005 Future Additions Expected: No Finding Aid creation: August 17, 2010 Size: 10.5 linear feet (approx.) Abstract The Terry Helgesen Collection contains 26 oversize scrapbooks, some correspondence, several draft chapters of a book on theatres, and an oil painting of a young Terry Helgesen. The scrapbooks consist of photographs and drawings of theatres collected by THS member Terry Helgesen with his descriptions of the theatres and other information such as number of seats, architect, opening and closing dates, renovation and demolition dates, and other notable facts. Background Information Terry Helgesen (1914-1995) was a pianist who played on stage in the waning days of presentation houses (a short stage show followed by a movie) as well as in nightclubs. Terry was also a THS Founding member and the 1979 Member of the Year. He was born in Seattle, WA but his family moved to Santa Barbara, CA when he was still very young. He was tutored in piano by Roger Clerbois and Joseph Hoffman, among others. Terry entered vaudeville (variety entertainment with a mixture of comedy, song and dance) in a “tyke” act called “Terry and Ty” with Terry playing a miniature piano and Ty doing a quick-step. Though Terry started as part of an act, he later changed to accompaniment and played on the Orpheum, Fanchon & Marco and Publix circuits. During his travels he sought out newspapers and photographers who had images of theatres which he purchased and assembled into scrapbooks.
    [Show full text]
  • Dracula Arjun Pande Jonathan Harker Rachael Beaver Cellist, Additional Music Composition
    FALL 2019 Oct 18–Nov 17 BY STEVEN DIETZ DIRECTED BY JOHN LANGS MFA IN Fall 2019 | Volume 16, No. 2 ARTS LEADERSHIP FEATURE In This Issue Feature 3 ‘Indecent,’ or What it Means to Create Queer Jewish Theatre in Seattle Dialogue 9 Meet the Host of Tiny Tots Concert Series 13 We’re Celebrating 50 Years Empowering a new wave of Arts, Culture and Community of socially responsible Intermission Brain arts professionals Transmission 12 Test yourself with our Online and in-person trivia quiz! information sessions Upcoming Events seattleu.edu/artsleaderhip/graduate 15 Fall 2019 PAUL HEPPNER President Encore Stages is an Encore arts MIKE HATHAWAY Senior Vice President program that features stories Encore Ad 8-27-19.indd 1 8/27/19 1:42 PM KAJSA PUCKETT Vice President, about our local arts community Sales & Marketing alongside information about GENAY GENEREUX Accounting & performances. Encore Stages is Office Manager a publication of Encore Media Production Group. We also publish specialty SUSAN PETERSON Vice President, Production publications, including the SIFF JENNIFER SUGDEN Assistant Production Guide and Catalog, Official Seattle Manager ANA ALVIRA, STEVIE VANBRONKHORST Pride Guide, and the Seafair Production Artists and Graphic Designers Commemorative Magazine. Learn more at encorespotlight.com. Sales MARILYN KALLINS, TERRI REED Encore Stages features the San Francisco/Bay Area Account Executives BRIEANNA HANSEN, AMELIA HEPPNER, following organizations: ANN MANNING Seattle Area Account Executives CAROL YIP Sales Coordinator Marketing SHAUN SWICK Senior Designer & Digital Lead CIARA CAYA Marketing Coordinator Encore Media Group 425 North 85th Street • Seattle, WA 98103 800.308.2898 • 206.443.0445 [email protected] encoremediagroup.com Encore Arts Programs and Encore Stages are published monthly by Encore Media Group to serve musical and theatrical events in the Puget Sound and San Francisco Bay Areas.
    [Show full text]
  • Dame Judith Anderson (1898-1992)
    AUSTRALIAN EPHEMERA COLLECTION FINDING AID DAME JUDITH ANDERSON (1898-1992) PERFORMING ARTS PROGRAMS AND EPHEMERA (PROMPT) PRINTED AUSTRALIANA OCTOBER 2015 CONTENT Printed materials in the PROMPT collection include programs and printed ephemera such as brochures, leaflets, tickets, etc. Theatre programs are taken as the prime documentary evidence of a performance. The list is based on imperfect holdings, and is updated as gaps in the Library’s holdings are filled. Unless otherwise stated, all entries are based on published programs in the PROMPT collection. ACCESS The Dame Judith Anderson PROMPT files may be accessed through the Library’s Special Collections Reading Room by eCallslip request: http://nla.gov.au/nla.cat-vn2608577. ARRANGEMENT Programs in the National Library’ PROMPT collection are arranged chronologically in three parts Early Australian career Tours to Australia Overseas stage career Under each heading they are listed, chronologically by performance and then as follows: Date (day and month); Venue, City Name of production or performer Headline performers etc. An index to staged productions is provided at the end of the document. This document is also keyword searchable. OTHER RESOURCES The National Library’s collection also includes: Biographical cuttings file Pictures Published works and scrapbooks Other institutional holdings relating to Anderson National Film & Sound Archive (Canberra ACT) Performing Arts Collection of South Australia University of California, Santa Barbara (USA) Dame Judith Anderson Collection, PA Mss 6, Department of Special Collections, University Libraries, University of California, Santa Barbara. Dame Judith Anderson (1898-1992) 2 EARLY AUSTRALIAN CAREER See also Digitised Australian newspaper coverage of Judith Anderson. 1915 1 November.
    [Show full text]
  • Mr Burns at ACT Encore Arts Seattle
    OCTOBER 2015 Oct 16–Nov 15, 2015 By Anne Washburn Score by Michael Friedman Lyrics by Anne Washburn Directed by John Langs Barry Blankenship by Illustration HAMMERANDHAND.COM PORTLAND 503.232.2447 CCB#105118 SEATTLE 206.397.0558 WACL#HAMMEH1930M7 Karuna House, designed by Holst Architecture and built by Hammer & Hand 2013 AIA Portland Design Award, 2014 National Institute of Building Sciences Beyond Green Award Untitled-10 1 8/26/15 3:35 PM October-November 2015 Volume 12, No. 2 THINK INSIDE THE BOX. Paul Heppner Publisher Susan Peterson Design & Production Director Ana Alvira, Robin Kessler, Kim Love Design and Production Artists AT EDMONDS COMMUNITY Marty Griswold COLLEGE Director of Business & Community Development Mike Hathaway A Festival of Flavors CONCERTS FILMS CELEBRATIONS www.BlackBoxEdCC.org Sales Director FULL SERVICE CATERING & EVENT SPACE www.BlackBoxEdCC.org Brieanna Bright, Joey Chapman, (206) 285-7846 THERUINS.NET 20310 68th Ave West, Lynnwood WA 98036 | 425.640.1448 Gwendolyn Fairbanks, Ann Manning Seattle Area Account Executives Marilyn Kallins, Terri Reed, Tim Schuyler Hayman San Francisco/Bay Area Account Executives Brett Hamil Online Editor Jonathan Shipley Associate Online Editor Carol Yip Sales Coordinator Jonathan Shipley Ad Services Coordinator www.encoreartsseattle.com Leah Baltus Editor-in-Chief Paul Heppner Publisher Marty Griswold Associate Publisher Dan Paulus Art Director Jonathan Zwickel Senior Editor Gemma Wilson Associate Editor Amanda Manitach Visual Arts Editor Amanda Townsend Events Coordinator www.cityartsonline.com Paul Heppner President Mike Hathaway Vice President Genay Genereux World Hope Outreach seeks to meet both the physical and spiritual Accounting needs of those who have been confronted with challenges in their Corporate Office lives.
    [Show full text]
  • Appendix 1 Productions of Operetta from the German Stage on Broadway and in the West End, 1900–1940
    Appendix 1 Productions of Operetta from the German Stage on Broadway and in the West End, 1900–1940 This appendix lists only operettas that appeared on both German-language and English-language stages. Whenever possible the number of perfor- mances of the first production in Vienna, Berlin, London, or New York has been checked from several sources. These include: J. P. Wearing, The London Stage, 8 vols., covering the period 1900–39 (Metuchen, NJ: Scarecrow Press, 2nd edn 2013–14); Burns Mantle, The Best Plays of 1909–19, and annual vols. 1920–25 (Boston: Small, Maynard) and 1926– 40 (New York: Dodd, Mead); Kurt Gänzl and Andrew Lamb, Gänzl’s Book of the Musical Theatre (London: The Bodley Head, 1988); Anton Bauer, 150 Jahre Theater an der Wien (Vienna: Amalthea-Verlag, 1952); Richard C. Norton, A Chronology of American Musical Theater, 3 vols. (New York: Oxford University Press, 2002); Gerald Bordman, American Operetta: From H.M.S. Pinafore to Sweeney Todd (New York: Oxford University Press, 1981), Appendix, 185–94; Stanley Green, Encyclopedia of the Musical Theatre (New York: Dodd, Mead, 1976); Robert Ignatius Letellier, Operetta: A Sourcebook (Newcastle upon Tyne: Cambridge Scholars, 2015); the Internet Broadway Database www.ibdb.com/index.php; The Guide to Light Opera & Operetta www.musicaltheatreguide.com/menu/ introduction.htm; the Operone database www.operone.de/ and the Ovrtur database of musicals www.ovrtur.com/. Note that performance statistics in Table II, 427–35 of Otto Keller, Die Operette in ihrer Geschichtlichen Entwicklung: Musik, Libretto, Darstellung (Leipzig: Stein Verlag, 1926) give the total number of performances on the German stage up to 1921 of operettas dating from 1900 and later.
    [Show full text]