1 TEXAS STATE VITA (With Fine Arts Components)
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Bragging Rites
STANDING STRONG FOR 1,396 DAYS — THE FIGHT'S NOT OVER YET MAY 9-15, 1999 THE DETROIT VOL. 4 NO. 25 75 CENTS S u n d a yIo u r n a l PUBLISHED BY LOCKED-OUT ETROIT NEWSPAPER WORKERS ©TDSJ NEWS What are they thinking? Nearly four years into the labor dispute, Detroit’s dailies are paying an even higher price for their uncon ventional way of doing busi ness. Page 4. While new circulation fig ures were being chewed over, Gannett shareholders were hearing from members of the religious community and locked-out workers. Page 3. ENTERTAINMENT Beaufort Cranford makes a plea for tree-filled parks; # unlike fences, they really do make good neighbors. Page 9. Protestors mock Al Gore's environmental record during the vice president's SPORTS appearance Tuesday at Cobo Center. The demonstrators claim the Clinton-Gore Logged off administration is overseeing “the wholesale devastation of the natural world for Tiger rookie pitching sensa the profit of a few corporate scumbags.'' For more on Gore’s visit, see Page 3. tion Jeff Weaver will be a big part of the team’s future. And the team is taking mea sures to keep him sound. Page 26. Bragging rites INDEX Classifieds Page 22 British folk-rocker links m Crossword Page 23 ritish-born folk-rock singeronly the initials of the union, but lines.they Between songs, he often talks to his Entertainment Page 8 Billy Bragg is a firm believer might also pick up a union leaflet, or in using music to introducebuy a a union T-shirt,” he says. -
Casting, Stigma, and Difference in Broadway Musicals Since "A Chorus Line" (1975)
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 5-2019 Broadway Bodies: Casting, Stigma, and Difference in Broadway Musicals Since "A Chorus Line" (1975) Ryan Donovan The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/3084 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] BROADWAY BODIES: CASTING, STIGMA, AND DIFFERENCE IN BROADWAY MUSICALS SINCE A CHORUS LINE (1975) by RYAN DONOVAN A dissertation submitted to the Graduate Faculty in Theatre and Performance in partiaL fulfiLLment of the requirements for the degree of Doctor of PhiLosophy, The City University of New York 2019 © 2019 RYAN DONOVAN ALL Rights Reserved ii Broadway Bodies: Casting, Stigma, and Difference in Broadway MusicaLs Since A Chorus Line (1975) by Ryan Donovan This manuscript has been read and accepted for the Graduate Faculty in Theatre and Performance in satisfaction of the dissertation requirement for the degree of Doctor of PhiLosophy. ________________ ______________________________________ Date David Savran Chair of Examining Committee ________________ ______________________________________ Date Peter EckersaLL Executive Officer Supervisory Committee: Jean Graham-Jones ELizabeth WolLman THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Broadway Bodies: Casting, Stigma, and Difference in Broadway MusicaLs Since A Chorus Line (1975) by Ryan Donovan Advisor: David Savran “You’re not fat enough to be our fat girl.” “Dance like a man.” “Deaf people in a musicaL!?” These three statements expose how the casting process for Broadway musicaLs depends upon making aesthetic disquaLifications. -
The Nanny STRANGE BEDFELLOWS (Man
MONDAY, MAY 8, 1 995 The Nanny STRANGE BEDFELLOWS (Man. (8), 8-8:30p.m., CBS) Taped in Culver City by Sternin/Fras- er Ink Inc. in association with TriStar Television. Executive producers, Robert Sternin, Prudence Fraser, Peter Marc Ja- RIETY cobson; co-executive producers, Sally Lapiduss, Pam Eells; producers, Kathy Landsberg, Fran Drescher, Diane Wilke; co-producers, Frank Lombardi, Dana Reston; supervising producers, Eric Cohen, Diane Wilke; director, Dorothy Lyman; writers, Dana Reston, Frank Lombardi; camera, Mikel Neiers; editor, Butler Niles (Daniel Davis) lets Jim McQueen; production designer, Bill Brzeski; art director, Bernard Vyzga; C.C. (Lauren Lane) discover them; sound, Tamar Johnson, John Bickel- the animosity between Niles and haupt; music, Timothy Thompson. C.C. generates some laughs. As Cast: Fran Drescher, Charles Shaugh- nessy, Daniel Davis, Lauren Lane, Ni- usual the only other jokes that con- cholle Tom, Benjamin Salisbury, Made- nect grow out of Fran's character. line Zima, Tyne Daly, Adeline Drescher, Show's so skewed toward adult Irene Olga Lopez. urban women that others may miss lines. The cross-promotion of ask- lthough they end up shar- ing a group of nannies in the park ing the same bed, Fran "Who's taping Dr. Quinn?" A from Flushing (Fran Dre- doesn't negate it's humor. When scher) and her boss, Maxwell Max offers to buy Fran a retirement (Charles Shaughnessy), aren't condo her main concern is whether the strange bedfellows in Mon- it'll have plantation shutters. day night's above-average epi- sode of "The Nanny." Dre- Things work out for Mona, and scher and Tyne Daly, who guest Niles implies he'll keep scheming stars as a nanny, are the odd to get Fran and Max together for couple — at least at first blush. -
CATF PROGRAM 2019 DIGITAL-WEB.Pdf
2019 30th Anniversary Events HILLBROOK DINNER NOVEMBER 14, 2019 NEW YEAR’S EVE COSTUME BALL: DEC 31, 2019 30APRIL IN NEW YORK Save the dates! APRIL 2020 Join us as we celebrate the 30th Anniversary OPENING TOAST & FANFARE of CATF. JULY 10, 2020 WRAP PARTY AT BIG CORK FALL 2020 Letter from the Producing Director From the Founder & Producing Director ED HERENDEEN At the Contemporary American Theater Festival WORDS MATTER. Ideas matter. Stories matter. YOU, the audience, matters. Your passion for contemporary theater plays a vital and necessary role in producing new work. Now, more than ever, the power of stories and live theater create a deeper appreciation and understanding of the human experience. An experience that is intrinsically beautiful, elegant, turbulent, and messy. We are driven by bold works of art. New work that is bold enough to reflect our present culture back to us. New works produced without a safety net of tradition. These six plays will inspire you, stimulate your imagination, open your minds, and entertain you. Our 2019 playwrights — Deborah Brevoort, Joseph Dougherty, Ellen Fairey, Greg Kalleres, Dael Orlandersmith, Antonio Edwards Suarez, and Michael Weller — use the power of their words to introduce you to new ideas and diverse stories that will challenge, provoke, and ED HERENDEEN fascinate you. “ Now more than ever, we need our myths, our fables, our gods, MISSION and demons. Stories are the most ancient path to empathy.” TO PRODUCE —Guillermo del Toro AND DEVELOP NEW AMERICAN THEATER Embrace the power of words and the power of stories. THE VISION THE ULTIMATE Words matter. -
Sydney Program Guide
Page 1 of 39 Sydney Program Guide Sun Aug 8, 2021 06:00 TRANSFORMERS: CYBERVERSE Repeat WS PG Cube/Terminal Velocity Bumblebee learns how he first met Windblade and relives a Golden Age encounter./ Bumblebee explores a nightmarish memory of his visit to Velocitron; Windblade pilots the shuttle in a relentless dogfight with the Decepticon Seekers. Cons.Advice: Animated Violence 06:30 JUNGLE BEAT Repeat WS G Boom Crack/Tickle Munki/Cliffhanger The Jungle Beat Explorers are four intrepid adventurers on a slapstick mission of discovery. 07:00 GIGANTOSAURUS Repeat WS G Bill's Broken Promise/Born Tree Four curious young dinosaur friends explore the mystery of Gigantosaurus, the largest, fiercest dinosaur of all, as they face their individual fears and work together to solve problems during their many adventures. 07:30 NATE IS LATE Captioned Repeat WS C The Dream/The Werewolf Every morning, 8-year-olds Nate and Malika leave home 30 minutes early to go to school, and yet every morning they arrive late! That's because every morning, something AMAZING happens on the way. But even though their stories are always true, the school's principal never believes them! 08:00 MY LITTLE PONY: PONY LIFE WS G Time After Time Capsule/The Great Cowgirl Hat Robbery/Planet of the Apps/Back To The Present A look at the funny side of friendship with Sugarcube Corner as the centre of the world, and Pinkie pie serves the best cupcakes to her friends. Cons.Advice: Themes 08:30 CARE BEARS: UNLOCK THE MAGIC Repeat WS G Dibble's Dust-Up/Hide and Sneak Grumpy's determination to get the Cloudseeker clean is comically thwarted when Dibble befriends a stowaway trio of cute dust bunnies. -
Sundance Institute Selects Acting Company and Creative Advisors for 2014 Theatre Lab at Sundance Resort
FOR IMMEDIATE RELEASE Media Contact: July 8, 2014 Casey De La Rosa 310.360.1981 [email protected] Sundance Institute Selects Acting Company and Creative Advisors for 2014 Theatre Lab at Sundance Resort Blair Brown and Daniel Davis Among Actors to Perform Latest Scripts from Emerging Writers & Pulitzer Prize Winners One of 10 Summer Labs the Institute Leads for Independent Artists in Theatre and Film New York, NY — Sundance Institute today announced the acting company and creative advisors that are participating in its 2014 Theatre Lab, which is now taking place and runs through July 27 at the Sundance Resort in Utah. The Lab is the centerpiece of the Institute’s year-round work with the theatre community and is one of 10 residential Labs hosted by Sundance Institute this summer, collectively representing 15 weeks of residency support and mentorship for the most promising new independent theatre and film projects from the United States and around the world. Under the supervision of Theatre Program Artistic Director Philip Himberg and Producing Director Christopher Hibma, the three-week Lab supports emerging and established playwrights and directors developing new work for the stage. The Institute provides rehearsal space, dramaturgical support, and an acting company, creating an immersive environment where artists can experiment, see their work take shape and collaborate with creative advisors, dramaturgs, actors and Institute staff to address the compelling needs of their text. The Lab’s unique day-on, day-off rehearsal structure provides Fellows additional time to explore revisions and new writing between rehearsals. The Lab culminates in a closed presentation of each project for Lab participants, followed by a collaborative feedback session. -
The Nanny” Joins Tv Land Beginning August 2
FRAN DRESCHER IS IN CHARGE WHEN “THE NANNY” JOINS TV LAND BEGINNING AUGUST 2 Network Celebrates Launch With Week-Long Nightly Marathons Of Hilarious Star-Studded Episodes From Series New York, NY, July 29, 2010 – Worlds and cultures collide between a sassy Queens nanny and an upper class Manhattan family when “The Nanny” joins TV Land beginning Monday, August 2 at 6PM ET/PT. The network celebrates the arrival of the outspoken Fran Fine each weeknight from Monday, August 2nd through Friday, August 6th with star-studded mini-marathons featuring guest stars such as Roseanne Barr, Ray Romano, Jay Leno, Harry Hamlin, Joan Collins, Billy Ray Cyrus, Elizabeth Taylor and more. Plus, viewers will get the inside scoop on how Fran went from nanny to wife as TV Land features the highs and lows of Fran‟s romance with Broadway producer and boss, Maxwell Sheffield with romantic episodes on Saturday, August 7th from 12PM – 9PM and Sunday, August 8th from 12PM – 10PM ET/PT. Beginning August 9th, “The Nanny” can be seen weeknights at 8:00PM ET/PT on TV Land. “„The Nanny‟ is the perfect companion to our other modern classics „Everybody Loves Raymond‟ and „Roseanne‟,” states TV Land senior vice president of programming and acquisitions Jaclyn Cohen. “Millions of viewers tuned in every week to this timeless and entertaining series because they couldn‟t resist Fran Drescher‟s endearing character, the talented cast and the show‟s quick-witted writing.” Drescher starred in this beloved „90s sitcom as Fran Fine, a bubbly and nasal-voiced Queens native who was fired from her job and abandoned by her boyfriend. -
Grothues, Master's Thesis
CELEBRITY & THE BROADWAY MUSICAL: PERCEPTIONS, PRACTICES, & PROSPECTS FOR AN AMERICAN ART FORM Thesis Presented in Partial Fulfillment of the Requirements for The Degree Master of Arts in the Graduate School of The Ohio State University By Nicole M. Grothues, B. S. Graduate Program in Arts Policy & Administration The Ohio State University 2011 Thesis Committee: Wayne P. Lawson, Ph. D., Advisor James J. Bohr, M. F. A. Copyright by Nicole M. Grothues 2011 ABSTRACT Since the birth of Broadway in the late 19th and early 20th century, musical theatre has become a special part of America’s indigenous cultural heritage and cultural exportation. Broadway has long created its own headliners who made their living performing on stage in front of live audiences night after night and who were lauded for their theatrical prowess. However, beginning in the early 1980s, celebrities most famous for their work in other entertainment media (such as the television, film, and music industries) began to appear on Broadway—both on stage and off—in an effort to capitalize on the celebrities’ popular appeal and boost ticket sales. This capitalization on popular celebrity in Broadway musicals has steadily increased since the 1980s, and other uses of celebrity culture, such as adapting popular music and popular films, have also become ubiquitous in the Broadway musical. Through the voices of professionals in the musical theatre industry, this thesis explores how the current trend of Broadway musicals’ use of celebrity is affecting the art form of the American musical as an indigenous art form. The methodological approach used is discourse analysis, and 21 professionals in the field were interviewed in an effort to understand the qualitative repercussions of this financially motivated trend.