The Shubert Foundation 2020 Grants
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OSLO Big Winner at the 2017 Lucille Lortel Awards, Full List! by BWW News Desk May
Click Here for More Articles on 2017 AWARDS SEASON OSLO Big Winner at the 2017 Lucille Lortel Awards, Full List! by BWW News Desk May. 7, 2017 Tweet Share The Lortel Awards were presented May 7, 2017 at NYU Skirball Center beginning at 7:00 PM EST. This year's event was hosted by actor and comedian, Taran Killam, and once again served as a benefit for The Actors Fund. Leading the nominations this year with 7 each are the new musical, Hadestown - a folk opera produced by New York Theatre Workshop - and Sweeney Todd: The Demon Barber of Fleet Street, currently at the Barrow Street Theatre, which has been converted into a pie shop for the intimate staging. In the category of plays, both Paula Vogel's Indecent and J.T. Rogers' Oslo, current Broadway transfers, earned a total of 4 nominations, including for Outstanding Play. Playwrights Horizons' A Life also earned 4 total nominations, including for star David Hyde Pierce and director Anne Kauffman, earning her 4th career Lortel Award nomination; as did MCC Theater's YEN, including one for recent Academy Award nominee Lucas Hedges for Outstanding Lead Actor. Lighting Designer Ben Stanton earned a nomination for the fifth consecutive year - and his seventh career nomination, including a win in 2011 - for his work on YEN. Check below for live updates from the ceremony. Winners will be marked: **Winner** Outstanding Play Indecent Produced by Vineyard Theatre in association with La Jolla Playhouse and Yale Repertory Theatre Written by Paula Vogel, Created by Paula Vogel & Rebecca Taichman Oslo **Winner** Produced by Lincoln Center Theater Written by J.T. -
[email protected] OB
PRESS CONTACT: Natasha Kautsky Director of Marketing & Communications PHONE: 503.227.0977 EMAIL: [email protected] OBT’S 25TH ANNIVERSARY SEASON ENDS ON A DRAMATIC NOTE WITH IMPACT Four Powerful Works, Including a World Premiere from Darrell Grand Moultrie, set to music by Portland’s Kenji Bunch of fEARnoMUSIC FOR IMMEDIATE RELEASE - Portland, OR (March 4, 2015) - In the final program of Oregon Ballet Theatre’s 25th Anniversary Season, IMPACT, the company shows how the emotional, social, and artistic aspects of dance can create an experience that moves the audience and transcends the art form. Running April 16th through 25th, 2015 at the intimate Newmark Theatre, IMPACT opens with a world premiere work by one of the most sought-after choreographers in dance right now: Princess Grace Fellowship winner Darrell Grand Moultrie. The piece will be set to music by acclaimed composer and Artistic Director of Portland’s fEARnoMUSIC, Kenji Bunch. Moultrie’s work brings an innate sense of timing and theatricality that defies categorization, as shown by past commissions from renowned ballet companies, as well as superstars like Savion Glover and Beyoncé. Referring to his approach as “genre jumping,” Moultrie explains that it is the residue from his unique background growing up in New York City, where he was exposed to so many dance forms and forced to respect them. He finds that classically trained dancers welcome this versatility. “Ballet dancers now are not just one thing anymore,” Moultrie explains. “They really want to explore!” Following Moultrie’s premiere, the IMPACT program celebrates founding OBT Resident Choreographer Dennis Spaight, with the return of Crayola to the OBT stage for the first time in nearly 2 decades. -
2019-2020 Season Overview JULY 2020
® 2019-2020 Season Overview JULY 2020 Report Summary The following is a report on the gender distribution of choreographers whose works were presented in the 2019-2020 seasons of the fifty largest ballet companies in the United States. Dance Data Project® separates metrics into subsections based on program, length of works (full-length, mixed bill), stage (main stage, non-main stage), company type (main company, second company), and premiere (non-premiere, world premiere). The final section of the report compares gender distributions from the 2018- 2019 Season Overview to the present findings. Sources, limitations, and company are detailed at the end of the report. Introduction The report contains three sections. Section I details the total distribution of male and female choreographic works for the 2019-2020 (or equivalent) season. It also discusses gender distribution within programs, defined as productions made up of full-length or mixed bill works, and within stage and company types. Section II examines the distribution of male and female-choreographed world premieres for the 2019-2020 season, as well as main stage and non-main stage world premieres. Section III compares the present findings to findings from DDP’s 2018-2019 Season Overview. © DDP 2019 Dance DATA 2019 - 2020 Season Overview Project] Primary Findings 2018-2019 2019-2020 Male Female n/a Male Female Both Programs 70% 4% 26% 62% 8% 30% All Works 81% 17% 2% 72% 26% 2% Full-Length Works 88% 8% 4% 83% 12% 5% Mixed Bill Works 79% 19% 2% 69% 30% 1% World Premieres 65% 34% 1% 55% 44% 1% Please note: This figure appears inSection III of the report. -
HUBBARD STREET DANCE CHICAGO and FINAL BOW for YELLOWFACE PRESENT UNBOXED Three Short Works Reimagining the Nutcracker’S Tea Variation, May 10, 17 and 24, 2021
FOR IMMEDIATE RELEASE Media Contact: Nick Harkin Carol Fox and Associates [email protected] HUBBARD STREET DANCE CHICAGO AND FINAL BOW FOR YELLOWFACE PRESENT UNBOXED Three Short Works Reimagining The Nutcracker’s Tea Variation, May 10, 17 and 24, 2021 Chicago, IL — Hubbard Street Dance (HSDC) in partnership with Final Bow for Yellowface presents Unboxed, three works that rewrite the future of a tradition. Unboxed features choreographers Yin Yue, Edwaard Liang, and Peter Chu using their voices and vocabularies to imagine their own versions of the Chinese Tea variation from The Nutcracker. These Asian and Asian-American dance-makers engaged in three-day workshops with Hubbard Street dancers exploring the questions: “What are the traditions we want to protect?” and “What do we want to leave behind?” Unboxed welcomes viewers to tear free from the confines of tradition and invites audiences to glimpse the promise of a future rewritten. HSDC is challenging what is known as canon, in this case, the Chinese Tea variation from The Nutcracker to ask, “Can a dance, only a minute long but fraught with stereotypes, exist within a more inclusive future?” Hubbard Street Dance Associate Artistic Director, Jessica Tong says “the idea for Unboxed was always about challenging conventions and stereotypes. But my main focus initially was really to create a fun way for Hubbard Street to interact with great choreographers while playfully researching this one-minute variation. I couldn't have foreseen how meaningful and timely this project would eventually become, as people of Asian descent in this country are now fighting more than ever for acceptance and visibility.” Founders of Final Bow for Yellowface Phil Chan and Georgina Pazcoguin share more about this partnership, "At a time when big ballet companies routinely revive orientalist ballets from a European perspective, they seldom include choreographers of Asian descent. -
Dracula Media Kit R3
FOR IMMEDIATE RELEASE October 11, 2011 Contact: Erika Overturff, (402) 541-6946 ROMANTIC, CHILLING 'DRACULA' OPENS BALLET NEBRASKA'S SECOND SEASON OMAHA -- He's evil, drinks blood, and sleeps in a coffin. Could there really be more to Count Dracula than those Halloween clichés? Yes, says Ballet Nebraska in Dracula, its season-opening performance at 8 pm October 28 at Omaha's Orpheum Theater. The ballet portrays the vampire count as both a monster and as a man with emotions and vulnerabilities, choreographer Winthrop Corey said. Corey, artistic director of Alabama's Mobile Ballet, said he began the creative process by reading both Bram Stoker's classic 1897 horror novel and scholars' commentaries about it. His research raised a question in his mind: What made Dracula who he was? "Bram Stoker never told us how Dracula got to be a vampire," he said. "I say that he is a man who, through circumstances we don't know, is turned into a monster. Yet he is still a man inside this monster's body, who can kill, but who can also fall in love. And therein lies the ballet; I designed it around that." To develop the choreography, Corey said, he started with the relationship between Count Dracula and the novel's two key female characters: the flirtatious Lucy and her more insightful best friend, Mina. "What I did was narrow it down to three characters -- Lucy, Mina and Dracula -- and the difference between his relationship with Lucy and his relationship with Mina," he said. "One of them he kills and makes a vampire bride; the other one he actually falls in love with. -
Scanned Document
-~.:. Association of Performing Arts Presenters .. .. : . ". VIA ELECTRONIC FILING January 13, 2010 Ms. Marlene H. Dortch Secretary Federal Communications Commission 445 12th Street SW Washington, DC 20554 Re: Ex Parte Communication, Revisions to Rules Authorizing the Operation ofLow Power Auxiliary Stations in the 698-806 MHz Band, WT Docket No. 08-166; Public Interest Spectrum Coalition, Petition for Rulemaking Regarding Low Power Auxiliary Stations, Including Wireless Microphones, and the Digital Television Transition. WT Docket No. 08-167 Dear Ms. Dortch: The Association ofPerforming Arts Presenters ("Arts Presenters") requests that the Commission recognize the legitimate use ofwireless microphones used in the performing arts by expanding eligibility for licensing ofwireless microphones to include performing arts organizations, by permitting incumbent wireless microphone operations to relocate to spectrum in the TV Core (on or below UHF Channel 51), by adopting appropriate technical and service rules for such operations and by affording interference protection for wireless microphone operations from co-channel and adjacent channel unlicensed fixed and mobile white space operations. Arts Presenters includes nearly 2,000 members representing the nation's leading performing arts centers, including civic and university performance facilities, as well as artist agencies, managers, touring companies, national consulting practices that service the field, and a growing roster ofself-presenting artists. Arts Presenters members operate in all 50 states and range from large performing arts centers in major urban cities, outdoor festivals and rural community-focused organizations to academic institutions, artists and artist managers. For the Commission's information, attached is a copy ofthe participants listings from the January 2010 Arts Presenters conference. -
An Exciting Year Ahead How Your Generosity Gives Ballet Arizona the Ability to Strive for Continued Excellence
BALLET ARIZONA DONOR IMPACT Corporate Spotlight: Donor Spotlight: Letter From the Q&A: Wells Fargo Mary and David Patino Executive Director: Artistic Director REPORT Samantha Turner Ib Andersen TURNING POINTE An Exciting Year Ahead How your generosity gives Ballet Arizona the ability to strive for continued excellence Ballet Arizona dancers Nayon Iovino and Jillian Barrell in Romeo & Juliet. Choreography by Ib Andersen. Photo by Rosalie O’Connor. WINTER 2017 I thank you for your continued generosity, support and passion ... Happy New Year! Welcome to 2017. On behalf of everyone at Ballet Arizona, I wish you good health and happiness coupled BEHIND THE SCENES with some spectacular ballet performances. I hope you’ll join with Ib Andersen us this February as we celebrate the return of Romeo & Juliet. Accompanied by The Phoenix Symphony, you have a unique opportunity to hear the Prokofiev score performed in its entirety. Q: What is your experience and history with In this issue, Executive Director Samantha Turner shares the Romeo & Juliet? news about an incredible legacy gift endowed to us by the A: I danced Romeo in Romeo & Juliet at the Royal Danish Ballet with late Hazel A. S. Hare. This gift is the largest one-time gift ever Mette-Ida Kirk. We were about 20 years old. It was choreographer received in the history of Ballet Arizona. We are deeply honored John Neumeier's premiere and it became such a huge success, to be the beneficiaries of such a transformational gift and to they are still doing that version today. This ballet was very crucial be among the few beneficiaries of such a generous woman. -
Adapting Piano Music for Ballet: Tchaikovsky's Children's Album, Op
Adapting Piano Music for Ballet: Tchaikovsky's Children's Album, Op. 39 Item Type text; Electronic Dissertation Authors Stavrianou, Eleni Persefoni Citation Stavrianou, Eleni Persefoni. (2021). Adapting Piano Music for Ballet: Tchaikovsky's Children's Album, Op. 39 (Doctoral dissertation, University of Arizona, Tucson, USA). Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 06/10/2021 04:39:03 Item License http://rightsstatements.org/vocab/InC/1.0/ Link to Item http://hdl.handle.net/10150/660266 ADAPTING PIANO MUSIC FOR BALLET: TCHAIKOVSKY’S CHILDREN’S ALBUM, OP. 39 by Eleni Persefoni Stavrianou ____________________________________ Copyright © Eleni Persefoni Stavrianou 2021 A DMA Critical Essay Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2021 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Doctor of Musical Arts Creative Project and Lecture-Recital Committee, we certify that we have read the Critical Essay prepared by: titled: and recommend that it be accepted as fulfilling the Critical Essay requirement for the Degree of Doctor of Musical Arts. _________________________________________________________________ Date: ____________ _________________________________________________________________ Date: ____________ _________________________________________________________________ Date: ____________ submission of the final copies of the essay to the Graduate College. I hereby certify that I have read this Critical Essay prepared under my direction and recommend that it be accepted as fulfilling the Critical Essay requirement. -
C 170112 ZSM: 242 West 53Rd Street Parking Garage
CITY PLANNING COMMISSION May 24, 2017 / Calendar No. 12 C 170112 ZSM IN THE MATTER OF an application submitted by Roseland Development Associates LLC pursuant to Sections 197-c and 201 of the New York City Charter for the grant of a special permit pursuant to Section 13-45 (Special Permits for Additional Parking Spaces) and Section 13-451 (Additional parking spaces for residential growth) of the Zoning Resolution to allow an attended public parking garage with a maximum capacity of 184 spaces on portions of the ground floor, cellar, and subcellar levels of a proposed mixed-use building on property located at 242 West 53rd Street (Block 1024, Lots 52 and 7), in C6-5 and C6-7 Districts, within the Special Midtown District (Theater Subdistrict), Borough of Manhattan, Community District 5. This application for a special permit was filed by Roseland Development Associates LLC on September 30, 2016. The special permit would facilitate the provision of an additional 95 parking spaces, for a total of 184 parking spaces, within a public parking garage in a mixed-use development at 242 West 53rd Street within the Theater Subdistrict of the Special Midtown District in Manhattan Community District 5. BACKGROUND 242 West 53rd Street is a through lot consisting of two tax lots on one zoning lot (Block 1024, Lots 52 and 7) located in the middle of the block bounded by Eighth Avenue, Broadway, West 52nd Street and West 53rd Street. The development site (Lot 52) is a “U”-shaped lot that totals 29,196 square feet in area and has 225 feet of frontage on West 53rd Street and 65.75 feet of total frontage, in two parts, on West 52nd Street. -
The Portland Ballet Dances a Fairytale Holiday
Contact: Cynthia Kirk [email protected] 503-330-1886 The Portland Ballet Dances a Fairytale Holiday Double Bill Includes World Premiere of John Clifford’s Tales from Mother Goose and His Wildly Popular The Enchanted Toyshop Portland State University Orchestra Plays Ravel and Rossini/Respighi’s Music Live at All Six Performances 5-Dollar-First-Show Presents Generous Holiday Gift to Portlanders The Portland Ballet Presents the World Premiere of John Clifford’s Tales from Mother Goose (2014) with his The Enchanted Toyshop (2003) in partnership with Portland State University Orchestra Performances Open Rehearsal F/Sa/Su, Nov 28/29/30, 1 & 5 PM Led by Artistic Director Nancy Davis Lincoln Hall, 1620 SW Park at Market TPB Studio Runtime: 100 minutes w/intermission 6250 SW Capitol Highway Tickets: F/Nov 28, 1 PM $5 Sa, Nov 1, 3-4 PM All other performances: Free: Reservation/Ticket Not Required Tickets: $15, youth; $35, adults Information: theportlandballet.org $90, family pack (2 youth, 2 503.452.8448 adults); additional youth, $10 PSU Box Office, pdx.edu/boxoffice/tickets 503.725.3307 Limited Arts Card and Arts for All tickets Information: 503.452.8448 For 13 years, THE PORTLAND BALLET (Nancy Davis, artistic director)—the metro area’s premiere youth ballet company—has presented a holiday production to delight the entire family. Taking place over Thanksgiving weekend, the production offers a refreshing change from most holiday fare: it’s not the Nutcracker and it takes place before the December performance rush. In addition, it is danced by THE PORTLAND BALLET’s superbly trained young dancers with an immediate connection to a family audience. -
4507 Spruce Street 19143 4507 Spruce Street Residence
(must comply with an Office of Property Assessment address) Street address:________________________4507 Spruce Street __________________________________________ Postal code:_______________19143 Historic Name:___________ _______________________________________________________ Current/Common Name:___________________________________________________________4507 Spruce Street ✔ Building Structure Site Object Condition: ✔ excellent good fair poor ruins Occupancy: ✔ occupied vacant under construction unknown Current use:____________________________________________________________________residence Please attach a narrative description and site/plot plan of the resource’s boundaries. Please attach a narrative description and photographs of the resource’s physical appearance, site, setting, and surroundings. Please attach a narrative Statement of Significance citing the Criteria for Designation the resource satisfies. Period of Significance (from year to year): from 1885 to 1910 Date(s) of construction and/or alteration: 1885 Architect, engineer, or designer: Wilson Eyre, architect Builder, contractor, and/or artisan: Original owner: Charles Moseley Swain Other significant persons: The historic resource satisfies the following criteria for designation (check all that apply): (a) Has significant character, interest or value as part of the development, heritage or cultural characteristics of the City, Commonwealth or Nation or is associated with the life of a person significant in the past; or, (b) Is associated with an event -
Roberto Muñoz
Roberto Muñoz Mr. Munoz has been teaching and coaching young dancers for over 30 years, both in the USA and abroad. Mr. Munoz served as Director of the Conservatory of Dance and Music Point Park College (now University) from 1983-1995. There, he created two successful programs for young aspiring dancers, The Pre-Professional Division and the International Summer Dance Program. During this time, he assembled an impressive faculty of world-renowned Master Teachers, including Laura Alonso, Barbara Sandonato, Karen Brown, Magda Aunon, Eva Evdokimova, Willy Burmann, Michael Uthoff, John McFall and Jose Molina. In the summer of 1993, Mr. Munoz, was invited to be part of the faculty at Pro Danza in Havana Cuba, where he taught classes at the Historical Theater Garcia Lorca. In the year 1995, was invited to teach at The Baltimore High School for the Performing Arts. From 1997-2005, Mr. Munoz was Ballet Master/Coach for both Pittsburgh Ballet Theater’s Company and its school. In 2005, he became Executive Director and Ballet Master at Gulfshore Ballet in Florida. Mr. Munoz’s former students are recognized for their high level of professionalism and their artistic and technical achievements. Most have gone on to successful careers with major companies across the US and Europe. Mr. Munoz has been a guest Master Teacher at a number of Ballet Companies, including Atlanta Ballet, Ballet Arizona, Ballet Met, Boston Ballet, Houston Ballet, Pittsburgh Ballet Theater and Colorado Ballet, among others. He has also taught master classes at Central Pennsylvania Youth Ballet, Magda Aunon Classical Ballet School, Wexford Dance Academy, Ballet Academy of Pittsburgh, Dmitri Kulev Classical Ballet Academy, Colorado Conservatory of Dance, Aspen Santa Fe Ballet School, both in Aspen and Santa Fe, Vail Valley Dance Academy, Ballet Conservatory of South Texas, Dance Conservatory of Maryland, Takeuchi Ballet Studio in Japan and the Kenny Wang Ballet School in Taiwan..