MAN of GOD Program.Indd
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The NATIONAL NeWSPAPeR Of The JACL Pg. 04 tamlyn tomita presents the 2012 v3 voice Award to Jocelyn Wang. Pg. 05 frances Kai-Hwa Wang on going to temple. MADPg. 03 WOMeN Pg. 06 HOW JeANNe KONisHi AND Her JACL board approves the 2013-14 budget. frieNDs reWrOte ADvertisiNg # 3196 / VOL. 155, NO. 5 ISSN: 0030-8579 WWW.PACIFICCITIZEN.ORG SEPT. 7 - 20, 2012 2 Sept. 7-20, 2012 LETTERS HOW to REACH US E-mail: [email protected] Letters To THE MISSING DOCUMENT FROM THE Online: www.pacificcitizen.org Tel: (213) 620-1767 ‘POWER OF WORDS’ HANDBOOK Fax: (213) 620-1768 The Editor Mail: 250 E. First Street, Suite 301 { { Los Angeles, CA 90012 In the Rafu Shimpo (July 17, 2012), Andy Noguchi, a leading member The question then arises: how many people in America since 1942 read STAFF of the Power of Words II Committee, gave an excellent report and review or even know of this exclusion order? Upon reading it the people will Executive Editor of the “Power of Words” handbook. The handbook was unanimously realize that this injustice did happen to us in this country and perhaps voted for and approved by the National JACL Council during the recent to resolve that it never again happen to any other people. A companion Assistant Editor national convention. question is then: how many Nikkei have read or even know of this his- Reporter I have read both drafts of the handbook and highly recommended that it toric document? Can one imagine back in April 1942 the Nisei reading Nalea J. -
Snehal Desai
East West Players and Japanese American Cultural & Community Center (JACCC) By Special Arrangement with Sing Out, Louise! Productions & ATA PRESENT BOOK BY Marc Acito, Jay Kuo, and Lorenzo Thione MUSIC AND LYRICS BY Jay Kuo STARRING George Takei Eymard Cabling, Cesar Cipriano, Janelle Dote, Jordan Goodsell, Ethan Le Phong, Sharline Liu, Natalie Holt MacDonald, Miyuki Miyagi, Glenn Shiroma, Chad Takeda, Elena Wang, Greg Watanabe, Scott Watanabe, and Grace Yoo. SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN SOUND DESIGN PROJECTION DESIGN PROPERTY DESIGN Se Hyun Halei Karyn Cricket S Adam Glenn Michael Oh Parker Lawrence Myers Flemming Baker FIGHT ALLEGIANCE ARATANI THEATRE PRODUCTION CHOREOGRAPHY PRODUCTION MANAGER PRODUCTION MANAGER STAGE MANAGER Cesar Cipriano Andy Lowe Bobby DeLuca Morgan Zupanski COMPANY MANAGER GENERAL MANAGER ARATANI THEATRE GENERAL MANAGER Jade Cagalawan Nora DeVeau-Rosen Carol Onaga PRESS REPRESENTATIVE MARKETING GRAPHIC DESIGN Davidson & Jim Royce, Nishita Doshi Choy Publicity Anticipation Marketing EXECUTIVE PRODUCER MUSIC DIRECTOR ORCHESTRATIONS AND CHOREOGRAPHER ARRANGEMENTS Alison M. Marc Rumi Lynne Shankel De La Cruz Macalintal Oyama DIRECTED BY Snehal Desai The original Broadway production of Allegiance opened on November 8th, 2015 at the Longacre Theatre in NYC and was produced by Sing Out, Louise! Productions and ATA with Mark Mugiishi/Hawaii HUI, Hunter Arnold, Ken Davenport, Elliott Masie, Sandi Moran, Mabuhay Productions, Barbara Freitag/Eric & Marsi Gardiner, Valiant Ventures, Wendy Gillespie, David Hiatt Kraft, Norm & Diane Blumenthal, M. Bradley Calobrace, Karen Tanz, Gregory Rae/Mike Karns in association with Jas Grewal, Peter Landin, and Ron Polson. World Premiere at the Old Globe Theater, San Diego, California. Barry Edelstein, Artistic Director; Michael G. -
Theater and the Makings of the Asian American Identity by by Jeffrey Nishimura
Asian American Literature: Discourses and Pedagogies 1 (2010) 27-34. Play(ing) in the Pear Garden: Theater and the Makings of the Asian American Identity By By Jeffrey Nishimura In Tripmaster Monkey (1989), Maxine Hong Kingston’s Sino-Ulysses, Wittman Ah Sing is a hip, Chinese American existentialist, wandering the streets of San Francisco. When he is not contemplating a bullet in the head, Wittman is declaring his artistic dreams to a stock boy at a San Francisco toy store where he is employed: I’m going to start a theater company. I’m naming it The Pear Garden Players of America. The Pear Garden was the cradle of civilization, where theater began on earth. Out among the trees, ordinary people made fools of themselves acting like kings and queens. As playwright and producer and director, I’m casting blind. That means the actors can be any race. Each member of the Tyrone family or the Lomans can be a different color. I’m including everything that is being left out, and everyone who has no place. My idea for the Civil Rights Movement is that we integrate jobs, schools, buses, housing, lunch counters, yes, and we also integrate theaters and parties. The dressing up. The dancing. The loving. The playing. Have you ever acted? Why don’t you join my theater company? I’ll make a part for you. (Kingston 52) It isn’t surprising that Wittman settles on this particular medium as the chance of his own Becoming, confessing: “I’m not ready for Being yet” (Kingston 52). -
Putting It Together
46th Season • 437th Production SEGERSTROM STAGE / September 11 - October 11, 2009 David Emmes Martin Benson Producing ArtiStic director ArtiStic director presents PUTTING IT TOGETHER words and music by Stephen Sondheim devised by Stephen Sondheim and Julia McKenzie Thomas Buderwitz Soojin Lee Steven Young Drew Dalzell Scenic deSign coStume deSign Lighting deSign Sound deSign Joshua Marchesi Jamie A. Tucker* Production mAnAger StAge mAnAger musical direction by Dennis Castellano directed by Nick DeGruccio Dr. S.L. and Mrs. Betty Eu Huang Huang Family Foundation honorAry ProducerS corPorAte Producer Putting It Together is presented through special arrangement with music theatre international (mti). All authorized performance materials are also supplied by mti. 421 West 54th Street, new york, ny 10019; Phone: 212-541-4684 Fax: 212-397-4684; www.mtiShows.com Putting It Together• SOUTH COA S T REPE R TO R Y P1 THE CAST (in order of appearance) Matt McGrath* Harry Groener* Niki Scalera* Dan Callaway* Mary Gordon Murray* MUSICIANS Dennis Castellano (conductor/keyboards), John Glaudini (synthesizer), John Reilly (woodwinds), Louis Allee (percussion) SETTING A New York penthouse apartment. Now. LENGTH Approximately two hours including one 15-minute intermission. PRODUCTION STAFF Casting ................................................................................ Joanne DeNaut, CSA Dramaturg .......................................................................... Linda Sullivan Baity Assistant Stage Manager ............................................................. -
Boxoffice Barometer (March 6, 1961)
MARCH 6, 1961 IN TWO SECTIONS SECTION TWO Metro-Goldwyn-Mayer presents William Wyler’s production of “BEN-HUR” starring CHARLTON HESTON • JACK HAWKINS • Haya Harareet • Stephen Boyd • Hugh Griffith • Martha Scott • with Cathy O’Donnell • Sam Jaffe • Screen Play by Karl Tunberg • Music by Miklos Rozsa • Produced by Sam Zimbalist. M-G-M . EVEN GREATER IN Continuing its success story with current and coming attractions like these! ...and this is only the beginning! "GO NAKED IN THE WORLD” c ( 'KSX'i "THE Metro-Goldwyn-Mayer presents GINA LOLLOBRIGIDA • ANTHONY FRANCIOSA • ERNEST BORGNINE in An Areola Production “GO SPINSTER” • • — Metrocolor) NAKED IN THE WORLD” with Luana Patten Will Kuluva Philip Ober ( CinemaScope John Kellogg • Nancy R. Pollock • Tracey Roberts • Screen Play by Ranald Metro-Goldwyn-Mayer pre- MacDougall • Based on the Book by Tom T. Chamales • Directed by sents SHIRLEY MacLAINE Ranald MacDougall • Produced by Aaron Rosenberg. LAURENCE HARVEY JACK HAWKINS in A Julian Blaustein Production “SPINSTER" with Nobu McCarthy • Screen Play by Ben Maddow • Based on the Novel by Sylvia Ashton- Warner • Directed by Charles Walters. Metro-Goldwyn-Mayer presents David O. Selznick's Production of Margaret Mitchell’s Story of the Old South "GONE WITH THE WIND” starring CLARK GABLE • VIVIEN LEIGH • LESLIE HOWARD • OLIVIA deHAVILLAND • A Selznick International Picture • Screen Play by Sidney Howard • Music by Max Steiner Directed by Victor Fleming Technicolor ’) "GORGO ( Metro-Goldwyn-Mayer presents “GORGO” star- ring Bill Travers • William Sylvester • Vincent "THE SECRET PARTNER” Winter • Bruce Seton • Joseph O'Conor • Martin Metro-Goldwyn-Mayer presents STEWART GRANGER Benson • Barry Keegan • Dervis Ward • Christopher HAYA HARAREET in “THE SECRET PARTNER” with Rhodes • Screen Play by John Loring and Daniel Bernard Lee • Screen Play by David Pursall and Jack Seddon Hyatt • Directed by Eugene Lourie • Executive Directed by Basil Dearden • Produced by Michael Relph. -
PIRATI DEI CARAIBI Ai Confini Del Mondo (Pirates of the Caribbean: at World’S End)
WALT DISNEY PICTURES Presenta In associazione con JERRY BRUCKHEIMER FILMS PIRATI DEI CARAIBI Ai Confini Del Mondo (Pirates Of The Caribbean: At World’s End) Regia GORE VERBINSKI JOHNNY DEPP ORLANDO BLOOM KEIRA KNIGHTLEY STELLAN SKARSGǺRD BILL NIGHY con CHOW YUN-FAT e GEOFFREY RUSH JACK DAVENPORT, KEVIN R. MCNALLY, NAOMIE HARRIS, TOM HOLLANDER e JONATHAN PRYCE LEE ARENBERG, MACKENZIE CROOK, DAVID BAILIE, MARTIN KLEBBA Distribuito da BUENA VISTA INTERNATIONAL Data di uscita: 23 maggio 2007 Durata: 2 ore e 49 minuti PIRATI DEI CARAIBI Ai Confini Del Mondo Regia GORE VERBINSKI Sceneggiatura TED ELLIOTT & TERRY ROSSIO Tratto Dai Personaggi Creati Da TED ELLIOTT & TERRY ROSSIO e STUART BEATTIE e JAY WOLPERT Tratto Da ”LA MALEDIZIONE DELLA PRIMA LUNA” della Walt Disney Prodotto Da JERRY BRUCKHEIMER Produttori Esecutivi MIKE STENSON CHAD OMAN BRUCE HENDRICKS ERIC MCLEOD Direttore Della Fotografia DARIUSZ WOLSKI, ASC Scenografie RICK HEINRICHS Montaggio CRAIG WOOD STEPHEN RIVKIN, A.C.E. Costumi PENNY ROSE Supervisione Effetti Visivi JOHN KNOLL CHARLES GIBSON Musiche HANS ZIMMER Supervisione Musiche BOB BADAMI Casting DENISE CHAMIAN, CSA Casting Uk PRISCILLA JOHN, CDG Unit Production Manager ERIC MCLEOD Unit Production Manager DOUGLAS C. MERRIFIELD First Assistant Director DAVID H. VENGHAUS, JR. Second Assistant Director AMY J. SCHMIDT Associate Producer PAT SANDSTON ILM Animation Supervisor HAL HICKEL ILM Visual Effects Producer JILL BROOKS Additional Editing by DAN HANLEY Score Co-Produced by MELISSA MUIK Special Appearance by KEITH RICHARDS CAST Jack Sparrow JOHNNY DEPP Barbossa GEOFFREY RUSH Will Turner ORLANDO BLOOM Elizabeth Swann KEIRA KNIGHTLEY Norrington JACK DAVENPORT Davy Jones BILL NIGHY Governor Weatherby Swann JONATHAN PRYCE Pintel LEE ARENBERG Ragetti MACKENZIE CROOK Gibbs KEVIN R. -
NEA-Annual-Report-1992.Pdf
N A N A L E ENT S NATIONAL ENDOWMENT FOR~THE ARTS 1992, ANNUAL REPORT NATIONAL ENDOWMENT FOR!y’THE ARTS The Federal agency that supports the Dear Mr. President: visual, literary and pe~orming arts to I have the honor to submit to you the Annual Report benefit all A mericans of the National Endowment for the Arts for the fiscal year ended September 30, 1992. Respectfully, Arts in Education Challenge &Advancement Dance Aria M. Steele Design Arts Acting Senior Deputy Chairman Expansion Arts Folk Arts International Literature The President Local Arts Agencies The White House Media Arts Washington, D.C. Museum Music April 1993 Opera-Musical Theater Presenting & Commissioning State & Regional Theater Visual Arts The Nancy Hanks Center 1100 Pennsylvania Ave. NW Washington. DC 20506 202/682-5400 6 The Arts Endowment in Brief The National Council on the Arts PROGRAMS 14 Dance 32 Design Arts 44 Expansion Arts 68 Folk Arts 82 Literature 96 Media Arts II2. Museum I46 Music I94 Opera-Musical Theater ZlO Presenting & Commissioning Theater zSZ Visual Arts ~en~ PUBLIC PARTNERSHIP z96 Arts in Education 308 Local Arts Agencies State & Regional 3z4 Underserved Communities Set-Aside POLICY, PLANNING, RESEARCH & BUDGET 338 International 346 Arts Administration Fallows 348 Research 35o Special Constituencies OVERVIEW PANELS AND FINANCIAL SUMMARIES 354 1992 Overview Panels 360 Financial Summary 36I Histos~f Authorizations and 366~redi~ At the "Parabolic Bench" outside a South Bronx school, a child discovers aspects of sound -- for instance, that it can be stopped with the wave of a hand. Sonic architects Bill & Mary Buchen designed this "Sound Playground" with help from the Design Arts Program in the form of one of the 4,141 grants that the Arts Endowment awarded in FY 1992. -
In Kindergarten with the Author of WIT
re p resenting the american theatre DRAMATISTS by publishing and licensing the works PLAY SERVICE, INC. of new and established playwrights. atpIssuel 4,aFall 1999 y In Kindergarten with the Author of WIT aggie Edson — the celebrated playwright who is so far Off- Broadway, she’s below the Mason-Dixon line — is performing a Mdaily ritual known as Wiggle Down. " Tapping my toe, just tapping my toe" she sings, to the tune of "Singin' in the Rain," before a crowd of kindergarteners at a downtown elementary school in Atlanta. "What a glorious feeling, I'm — nodding my head!" The kids gleefully tap their toes and nod themselves silly as they sing along. "Give yourselves a standing O!" Ms. Edson cries, when the song ends. Her charges scramble to their feet and clap their hands, sending their arms arcing overhead in a giant "O." This willowy 37-year-old woman with tousled brown hair and a big grin couldn't seem more different from Dr. Vivian Bearing, the brilliant, emotionally remote English professor who is the heroine of her play WIT — which has won such unanimous critical acclaim in its small Off- Broadway production. Vivian is a 50-year-old scholar who has devoted her life to the study of John Donne's "Holy Sonnets." When we meet her, she is dying of very placement of a comma crystallizing mysteries of life and death for ovarian cancer. Bald from chemotherapy, she makes her entrance clad Vivian and her audience. For this feat, one critic demanded that Ms. Edson in a hospital gown, dragging an IV pole. -
Keystonetheatricalcv.Pdf
N A N C Y K E Y S T O N E director • playwright • designer • visual artist founding artistic director : critical mass performance group [with critical mass performance group] Ameryka written, directed, scenic design by Nancy Keystone, 2010-2018 Created in collaboration with CMPG. Premiered at Shakespeare Center of Los Angeles, 2016; remounted at Kirk Douglas Theatre, 2018 Named Production Of The Year and Best Ensemble by Stage Raw; Nominated for 7 Ovation Awards, 3 Stage Raw Awards, LA Drama Critics Circle Award . Untitled Communion conceived, directed, scenic design by Nancy Keystone, 2017 Performed as part of REDCAT's New Original Works Festival, Los Angeles Parataxes From The Near Side Of The Heart written & directed by Nancy Keystone, 2015 Created in collaboration with CMPG. Commissioned by Stage Raw Digital Play Festival/Polish Edition, performed at Theatre @ Boston Court. Bad Medicine written & directed by Nancy Keystone, 2014 Created in collaboration with CMPG. Commissioned by Heretick Theatre Lab, live-streamed with the Noir Project at Schkapf Performance Space. Alcestis written, directed, scenic design by Nancy Keystone, 2012-2013 Created in collaboration with CMPG. Developed in part, and performed as work-in-progress at Getty Villa Theatre Lab 2012. Premiere at Theatre @ Boston Court, Pasadena, CA, June 2013. LA Drama Critics Circle Best Adaptation award (and nominated for Best Director); Arts in LA Sage Award for Best Adaptation; named one of "10 Best Plays" by LA Weekly (nominated for 5 LA Weekly awards); one of 2013's "Theatre Highlights" by LA Stage Times Bread, 2011 & 2017 Created in collaboration with CMPG. Site specific interactive performance-salon, Cornerstone Theater commission. -
Musical Theatre in the Mountains: an Examination of West Virginia Public Theatre’S History, Mission, Practices, and Community Impact
MUSICAL THEATRE IN THE MOUNTAINS: AN EXAMINATION OF WEST VIRGINIA PUBLIC THEATRE’S HISTORY, MISSION, PRACTICES, AND COMMUNITY IMPACT. David S. Sollish A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2010 Committee: Michael B. Ellison, Advisor Elaine J. Colprit Graduate Faculty Representative Jonathan L. Chambers Ronald E. Shields ii ABSTRACT Michael B. Ellison, Advisor The purpose of this study was to examine the ways in which a professional theatre can impact its community and to provide useful suggestions for young producers hoping to start their own theatre. By using the West Virginia Public Theatre as a case study and by examining its three-part mission (to entertain, to educate, and to improve the quality of life), this study highlights both effective and ineffectual practices conducted by the theatre, its administration, and its staff to ascertain the efficacy of that mission. Furthermore, the numerous voices stemming from my personal interviews with a cross-section of the community have served as a principal source of data from which to analyze the theatre’s impact on the blue-collar, sports- focused society of North Central West Virginia. West Virginia Public Theatre was established in 1985 and since has grown to be a reputable summer stock company. Modeled on the Pittsburgh Civic Light Opera, West Virginia Public Theatre has developed from a small, unknown theatre performing in a parking lot tent to a well-respected summer stock theatre with aspirations of further developing into a regional company. -
Got Musical Program 2015
presents got musical! an evening showcasing new musicals in development at NMI at The Colony Theatre Thursday, June 4, 2015 7:30 PM got musical! presented by the Academy Repertory Company (ARC) Members of the Academy Repertory Company Elise Dewsberry, Scott Guy, David Holmes, Christopher Maikish, Andrea Press, Tedd Szeto, Christina Valo, Peter Welkin Guest Artists: Chris Bunyi, Allie Costa, Sara Gonzales, Randy Guiaya, Amanda Kruger, Paul Marchegiani, Shannon Martinous, Conchita Belisle Newman, Curtis Rhodes, Rehyan Rivera At the Piano: Ron Barnett Tell Me How It Feels Lyrics by David Rackoff, Music by Morgan Hollingsworth the Ensemble “As for Bagels” from BAGELS THE MUSCIAL Book and Lyrics by Chana Wise, Music by Carl Johnson David, Andrea, Peter, and the Ensemble “One Small Step” from INVISIBLE Book by David Hollingsworth, Lyrics and Music by David Orris Christopher and Randy “Goodtime Girl” from THE ANARCHIST GIRL Book and Lyrics by J. Linn Allen, Music by Cris Wo Christina “Something Only You Can See” from OFF THE WALL Book and Lyrics by Sarah Rebell, Music by Danny Abosch Amanda and Randy “The Tingling ” from SPARK Book & Lyrics by Bill Nelson, Music by Joseph Trefler Curtis and Christina “The Girl I Need To Be" from INVINCIBLE Music and Lyrics by Mark Sonnenblick, Book by Charlie Polinger Conchita "Better" from LOBSTERS LIVE FOREVER Book and Lyrics by Sam Chanse, Music by Bob Kelly Andrea "My True Love" from SPELLBOUND by Ben Boecker Allie "Swim Forever" from REPORTING LIVE by Michael Finke Elise "I'm Tired Of That" by Andre Catrini -
Product Catalog
FILMS | VIDEOS | ANIMATION | EXHIBITS | PUBLICATIONS | MULTI-MEDIA | ARCHIVES VISUAL COMMUNICATIONS PRODUCT CATALOG 2017-2018 CONTENTS 03 | Welcome 04 | About Visual Communications 06 | Product Highlights 10 | Speak Out for Justice Volumes 14 | Armed With a Camera Volumes 22 | Digital Histories Volumes 30 | VC Classics 32 | Hidden Treasures Series 34 | Documentary 36 | Narrative 37 | Graphic Film/Animation 38 | Video 43 | Filmmakers Development Program 47 | Other Works 48 | Multi-Media 49 | Photographic Exhibitions 51 | Publications 52 | Resources 54 | Rental and Sales Info 57 | Policies Oversize Image Credits: Cover: PAGE 10: Roy Nakano; PAGE 43: From HITO HATA: RAISE THE BANNER (1980) by Robert A. Nakamura and Duane Kubo (Visual Communications Photographic Archive) ALL OTHER IMAGES APPEARING IN THIS CATALOG: Courtesy The Visual Communications Photographic Archive PRODUCTION CREDITS: Project Producer: Shinae Yoon; Editor: Helen Kim; Copywriter: Jerome Academia, Helen Kim, Jeff Liu, Supachai Surongsain; Design and Layout: Abraham Ferrer; Digital Photo-imaging intern: Allison Nakamura 02 WELCOME The visual heritage of Visual Communications can be seen in the more than 100 films, videos, and multimedia productions created since the organization’s founding in 1970. Beginning with vanguard works filmed in Super 8mm, Visual Communications productions have been distinguished by their unerring fidelity to the stories and perspectives of Asian America. As evidenced within this catalog, this policy has continued as Visual Communications’ productions have transitioned from film and video to digital formats. As well, the stories being told through our various offerings reflect the ever-changing landscape of the Asian American and Pacific Islander communities, and introduces us to filmmakers and voices who have come of age in the 22 years since the first edition of this catalog.