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Destination: Thursday, September 16, 2021 Hamilton: An American Musical tells the life story about American Founding Father Alexander Hamilton, his tragedies and his triumphs. It won 11 Tonys including Best Musical. Hamilton received a record-setting 16 Tony nominations, winning 11, including Best Musical, and was also the recipient of the 2016 Grammy Award for Best Musical Theater Album and the 2016 Pulitzer Prize for Drama. Hamilton has received nearly unanimous acclaim from professional critics, being deemed a cultural phenomenon. You have orchestra seating for Hamilton with its new vision and sound, as rap is used for most of the musical numbers and the actors sing all the dialogue. Lunch will be at Foundation Restaurant before the 1:30 p.m. performance. *Please see attached menu for entree choices.* S R U O T TravelSETNESS Adventures Upcoming Sacramento Performances Thursday, November 4, 2021 Price $269 An Officer and a Gentleman is a breathtaking production that celebrates triumph over adversity and includes one of the most iconic and romantic endings ever portrayed on screen. Featuring the Grammy Award winning, #1 hit single "Up Where We Belong", and a score based on the 1980s catalogue of music that gave voice to a generation, this spectacular new live stage production is not to be missed. Lunch will be included onboard the Delta King before the 1:30 p.m. performance. Thursday, December 30, 2021 Price $269 Roald Dahl‘s amazing tale is now Sacramento’s golden ticket! It‘s the perfect recipe for a delectable treat: songs from the original film, including “Pure Imagination,“ "The Candy Man", and "I‘ve Got a Golden Ticket", alongside a toe-tapping and ear-tickling new score from the songwriters of HAIRSPRAY. Get ready for Oompa-Loompas, the great glass elevator, and more at this everlasting showstopper! Lunch will be included at Rio City Cafe before the 1:30 p.m. performance. S R U Departures O T 9:30 a.m. Manteca Departure TravelSETNESS Adventures 10:00 a.m. Stockton Departure 2432 W. Benjamin Holt Drive 10:30 a.m. Lodi Departure Stockton, CA 95207 For Reservations: Return E-Mail: [email protected] or Approximately 5:30 - 6:30 p.m. Call: (209) 476-8486 Drop off order: Lodi, Stockton & Manteca www.setness.com Price Features •Tour Coach Transportation $329 •Lunch will be at Foundation Restaurant Payment •Orchestra Seating for 1:30 p.m. show Due June 1, 2021 •Escorted Trip Cancellation Policy 91 or more days prior to departure- Full refund Activity Requirement-Leisurely, may minus administrative fee require walking a few blocks, climbing 90 days or less notice- No refund unless some stairs and other similar requirements. someone is found to take your place. $20 administrative fee on returned funds. CST 2053926-40 .

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YMTC to Present the Rock Musical Rent, November 3–10 in El Cerrito
Youth Musical Theater Company FOR IMMEDIATE RELEASE Press Inquiries: Laura Soble/YMTC Phone 510-595-5514 Email: [email protected] Website: https://www.ymtcbayarea.org YMTC to Present the Rock Musical Rent, November 3–10 in El Cerrito Berkeley, California, September 27, 2019—Youth Musical Theater Company (YMTC) will launch its 15th season of acclaimed regional theater with the rock musical Rent. The show opens Sunday, November 3, at the Performing Arts Theater, 540 Ashbury Ave., El Cerrito. Its run consists of a 5:00 p.m. opening (11/3), two 2:00 p.m. matinees (11/9, 11/10), and three 7:30 p.m. performances (11/7, 11/8, 11/9). Rent is a rock opera loosely based on Puccini’s La Boheme, with music, lyrics, and book by Jonathan Larson. Set in Lower Manhattan’s East Village during the turmoil of the AIDS crisis, this moving story chronicles the lives of a group of struggling artists over a year’s time. Its major themes are community, friendship, and survival. In 1996, Rent received four Tony Awards, including Best Musical; six Drama Desk Awards; and the Pulitzer Prize for Drama. In 1997, it won the Grammy Award for Best Musical Show Album. Its Broadway run lasted 12 years. Co-Director Jennifer Boesing comments, “Rent is a love story and a bold, brazen manifesto for young artists who are trying not just to stay alive, but to stay connected to each other, when the mainstream culture seems to be ignoring signs of destruction all around them. Although the show today is a period piece about a very specific historical moment—well before the earliest memories of our young performing artists—they relate to it deeply just the same.
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Jonathan Larson
Famous New Yorker Jonathan Larson As a playwright, Jonathan Larson could not have written a more dramatic climax than the real, tragic climax of his own story, one of the greatest success stories in modern American theater history. Larson was born in White Plains, Westchester County, on February 4, 1960. He sang in his school choir, played tuba in the band, and was a lead actor in his high school theater company. With a scholarship to Adelphi University, he learned musical composition. After earning a Fine Arts degree, Larson had to wait tables, like many a struggling artist, to pay his share of the rent in a poor New York City apartment while honing his craft. In the 1980s and 1990s, Larson worked in nearly every entertainment medium possible. He won early recognition for co-writing the award-winning cabaret show Saved!, but his rock opera Superbia, inspired by The original Broadway Rent poster George Orwell’s novel 1984, was never fully staged in Larson’s lifetime. Scaling down his ambitions, he performed a one-man show called tick, tick … BOOM! in small “Oﬀ -Broadway” theaters. In between major projects, Larson composed music for children’s TV shows, videotapes and storybook cassette tapes. In 1989, playwright Billy Aronson invited Larson to compose the music for a rock opera inspired by La Bohème, a classical opera about hard-living struggling artists in 19th century Paris. Aronson wanted to tell a similar story in modern New York City. His idea literally struck Larson close to home. Drawing on his experiences as a struggling musician, as well as many friends’ struggles with the AIDS virus, Larson wanted to do all the writing himself.
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Sweat, by Lynn Nottage, Was Developed by Co-Commission from the Oregon Shakespeare Festival’S American Revolutions: the United States History Cycle and Arena Stage
Sweat, by Lynn Nottage, was developed by co-commission from the Oregon Shakespeare Festival’s American Revolutions: The United States History Cycle and Arena Stage. The play is centered on the working class of Reading, Pennsylvania. Lynn Nottage began working on the play in 2011 by interviewing numerous residents of Reading, Pennsylvania, which at the time was, according to the United States Census Bureau, officially one of the poorest cities in America, with a poverty rate of over 40%. Nottage has said that she was particularly influenced by a New York Times article reporting on the city specifically, and by the Occupy Wall Street movement more generally. She explored the effects on residents of the loss of heavy industry and the changing ethnic composition of the city. Shifting in time between 2000 and 2008, taking place mostly in the local bar, Sweat tells the story of a group of friends, who have spent their lives sharing drinks, secrets, and laughs while working together on the factory floor. When layoffs and picket lines begin to chip away at their trust, the friends find themselves pitted against each other in a heart-wrenching fight to stay afloat. “…a cautionary tale of what happens when you don’t know how to resist.” – Time Out New York “Nottage feels that what unifies her plays is their “morally ambiguous heroes or heroines, people who are fractured within their own bodies, who have to make very difficult choices in order to survive.”… The plays also give voice to marginalized lives.” – The New Yorker Winner of the 2017 Pulitzer Prize for Drama On her research and approach to developing the play while in Reading, Nottage adopted the motto, “Replace judgement with curiosity.” It would be tested.
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American Stage Presents the 2015 Pulitzer Prize Winner, BETWEEN RIVERSIDE & CRAZY
For Immediate Release September 19, 2018 Contact: The American Stage Marketing Team (727) 823-1600 x 209 [email protected] American Stage presents the 2015 Pulitzer Prize winner, BETWEEN RIVERSIDE & CRAZY. A dark urban comedy about a retired police officer fighting to keep his rent-controlled apartment. October 3 thru November 4. GET IN-THE-KNOW ABOUT THE PRODUCTION 1. One of the most celebrated new American plays. Stephen Adly Guirgis' play won the 2015 Pulitzer Prize for Drama, the 2015 New York Drama Critics Circle Award for Best Play, the 2015 Lucille Lortel Award for Outstanding Play, the 2015 Outer Critics Circle Award for Outstanding New Off-Broadway Play and the 2015 Off Broadway Alliance Award for Best New Play. 2. L. Peter Callender makes his American Stage debut as an actor. As an actor, he has performed coast to coast over the years in over 15 regional theaters and has appeared on Broadway in PRELUDE TO A KISS (Helen Hayes Theater). Mr. Callender has also directed three critically acclaimed and award-winning American Stage productions (JITNEY, JOE TURNER'S COME & GONE and A RAISIN IN THE SUN) and will be returning in January to direct Dominique Morisseau's PIPELINE. 3. Powerfully relevant Tampa Bay premiere by one of America's top playwrights. BETWEEN RIVERSIDE & CRAZY at its core asks us to examine what makes us who we are. Is it our jobs, our families, or our actions? Stephen Adly Guirgis, winner of the Steinberg Distinguished Playwright Award, tackles these complex questions in this play with nuance humor and heart.
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THE VISITOR March 24–May 10
PRESS CONTACT: [email protected] // 212-539-8624 THE PUBLIC THEATER ANNOUNCES COMPLETE CASTING FOR WORLD PREMIERE MUSICAL THE VISITOR March 24–May 10 Music by Tom Kitt Lyrics by Brian Yorkey Book by Kwame Kwei-Armah & Brian Yorkey Choreography by Lorin Latarro Directed by Daniel Sullivan Joseph Papp Free Preview Performance Tuesday, March 24 February 13, 2020 – The Public Theater (Artistic Director, Oskar Eustis; Executive Director, Patrick Willingham) announced complete casting today for the world premiere musical THE VISITOR, with music by Pulitzer Prize winner Tom Kitt, lyrics by Pulitzer Prize winner Brian Yorkey, book by Kwame Kwei- Armah and Brian Yorkey, and choreography by Lorin Latarro. Directed by Tony Award winner Daniel Sullivan, this new musical will begin performances in the Newman Theater with a Joseph Papp Free Preview performance on Tuesday, March 24. THE VISITOR will run through Sunday, May 10, with an official press opening on Wednesday, April 15. The complete cast of THE VISITOR features Jacqueline Antaramian (Mouna), Robert Ariza (Ensemble), Anthony Chan (Ensemble), Delius Doherty (Ensemble), C.K. Edwards (Ensemble), Will Erat (Ensemble), Sean Ewing (Swing), Marla Louissaint (Ensemble), Ahmad Maksoud (Ensemble), Dimitri Joseph Moïse (Ensemble), Takafumi Nikaido (Ensemble/Drummer), Bex Odorisio (Ensemble), David Hyde Pierce (Walter), Paul Pontrelli (Ensemble), Lance Roberts (Ensemble), Ari’el Stachel (Tarek), and Stephanie Torns (Swing), with Alysha Deslorieux joining the company as Zainab, replacing the previously announced Joaquina Kalukango, who withdrew due to scheduling conflicts. With heart, humor, and lush new songs, Pulitzer Prize and Tony-winning team Tom Kitt and Brian Yorkey with Kwame Kwei-Armah bring their soul-stirring new musical based on the acclaimed independent film, THE VISITOR by Thomas McCarthy, to The Public for its world premiere.
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History of Arena Stage: Where American Theater Lives the Mead Center for American Theater
History oF arena Stage: Where American Theater Lives The Mead Center for American Theater Arena Stage was founded August 16, 1950 in Washington, D.C. by Zelda Fichandler, Tom Fichandler and Edward Mangum. Over 65 years later, Arena Stage at the Mead Center for American Theater, under the leadership of Artistic Director Molly Smith and Executive Director Edgar Dobie, is a national center dedicated to American voices and artists. Arena Stage produces plays of all that is passionate, profound, deep and dangerous in the American spirit, and presents diverse and ground- breaking work from some of the best artists around the country. Arena Stage is committed to commissioning and developing new plays and impacts the lives of over 10,000 students annually through its work in community engagement. Now in its seventh decade, Arena Stage serves a diverse annual audience of more than 300,000. When Zelda and Tom Fichandler and a handful of friends started Arena Stage, there was no regional theater movement in the United States or resources to support a theater committed to providing quality work for its community. It took time for the idea of regional theater to take root, but the Fichandlers, together with the people of the nation’s capital, worked patiently to build the fledgling theater into a diverse, multifaceted, internationally renowned institution. Likewise, there were no professional theaters operating in Washington, D.C. in 1950. Actors’ Equity rules did not permit its members to perform in segregated houses, and neither The National nor Ford’s Theatre was integrated. From its inception, Arena opened its doors to anyone who wished to buy a ticket, becoming the first integrated theater in this city.
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Buried Child by Sam Shepard
MEDIA CONTACT: Bernie Fabig, Marketing & Publicity Manager 310-756-2428 • [email protected] The third production of A Noise Within’s 2019-2020 Season: THEY PLAYED WITH FIRE Buried Child By Sam Shepard Directed by Julia Rodriguez-Elliott Oct. 19 – Nov. 23, 2019 Pasadena, Calif. (Oct. 19, 2019) – A Noise Within (ANW), California’s acclaimed classic repertory theatre company, is proud to present Sam Shepard’s Pulitzer Prize-winning Buried Child, directed by ANW Producing Artistic Director Julia Rodriguez-Elliott. Shepard’s remarkable masterpiece Buried Child will run Oct. 13 through Nov. 23, 2019 with press performances on Saturday, Oct. 19 at 8 p.m. and Sunday, Oct. 20 at 2 p.m. Set in America’s heartland, Sam Shepard’s powerful Pulitzer Prize-winning play details, with wry humor, the disintegration of the American Dream. When 22-year-old Vince unexpectedly shows up at the family farm with his girlfriend Shelly, no one recognizes him. So begins the unraveling of dark secrets. A surprisingly funny look at disillusionment and morality, Shepard’s masterpiece is the family reunion no one anticipated. “Buried Child is wickedly funny,” said Producing Artistic Director Julia Rodriguez-Elliott. “Sam Shepard has an uncanny way of bringing out the humor in dysfunction. There’s something familiar, yet not familiar about this family. It’s at once disconcertingly recognizable and inexplicably strange.” - more - MEDIA CONTACT: Bernie Fabig, Marketing & Publicity Manager 310-756-2428 • [email protected] In Buried Child, comedy meets the absurd in a bizarre twist on the family drama that scorches with a powerful commentary on the “American Dream” and what happens when a community simmers in neglect, resentment, and disowned memory.
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Musical Theater Sheet
FACT MUSICAL THEATER SHEET Established by Congress in 1965, the National Endowment for the Arts is the independent federal agency whose funding and support gives Americans the opportunity to participate in the arts, exercise their imaginations, and develop their creative capacities. Through partnerships with state arts agencies, local leaders, other federal agencies, and the philanthropic sector, the Arts Endowment supports arts learning, affirms and celebrates America’s rich and diverse cultural heritage, and extends its work to promote equal access to the arts in every community across America. The National Endowment for the Arts is the only funder, public or private, to support the arts in all 50 states, U.S. territories, and the District of Columbia. The agency awards more than $120 million annually with each grant dollar matched by up to nine dollars from other funding sources. Economic Impact of the Arts The arts generate more money to local and state economies than several other industries. According to data released by the National Endowment for the Arts and the U.S. Bureau of Economic Analysis, the arts and cultural industries contributed $804.2 billion to the U.S. economy in 2016, more than agriculture or transportation, and employed 5 million Americans. FUNDING THROUGH THE NATIONAL ENDOWMENT FOR THE ARTS MUSICAL THEATER PROGRAM: Fiscal Year 2018 marked the return of musical theater as its own discipline for grant award purposes. From 2014-2017, grants for musical theater were included in the theater discipline and prior to 1997, were awarded with opera as the opera/musical theater discipline. The numbers below, reflect musical theater grants awarded only when there was a distinct musical theater program.
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The Women's Voices Theater Festival
STUDY GUIDE In the fall of 2015, more than 50 professional theaters in Washington, D.C. are each producing at least one world premiere play by a female playwright. The Women’s Voices Theater Festival is history’s largest collaboration of theater companies working simultaneously to produce original works by female writers. CONSIDER WHY A WOMEN’S VOICES THEATER FESTIVAL? • Why is it important If someone asked you to quickly name three playwrights, who would they be? for artists of diverse backgrounds to have Shakespeare likely tops your list. Perhaps you remember Arthur Miller, Tennessee their work seen by Williams or August Wilson. Sophocles, Molière, Marlowe, Ibsen, Chekov, Shaw, O’Neill — these are among the most famous Western playwrights. They are central audiences? to the dramatic canon. A “canon” is an authoritative list of important works — think of it as the official “Top 40” of dramatic literature. Their plays are the most likely • What is the impact of to be seen onstage and assigned in schools. seeing a play that you can connect to your own A large group is often missing from the canon, professional stages, traditional experience? reading lists and your education in theater: women playwrights. Plays by women are as important, artistic, rigorous, compelling and producible as • How would you react plays by men. They are also plentiful. Women’s perspectives are also key to more if you knew that you fully understanding our world. and the playwright of According to a recent Washington Post article, surveys say that D.C. audiences a production you were are 61 percent female and Broadway audiences are 68 percent female.
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Jungle Theater Opens 2017 Season with Pulitzer Prize-Winning Drama Larissa Kokernot Returns to Twin Cities to Direct Anna in the Tropics
For Immediate Release: January 10, 2017 Media Contact: Anne Q. Ulseth [email protected] 612.272.0588 Winner of the 2003 Pulitzer Prize for Drama ANNA IN THE TROPICS by Nilo Cruz Directed by Larissa Kokernot February 11-March 12, 2017 The Jungle Theater 2951 Lyndale Ave. S., Minneapolis Tickets: $35-$45 Box office: 612-822-7063 or www.jungletheater.com Jungle Theater opens 2017 Season with Pulitzer Prize-winning drama Larissa Kokernot returns to Twin Cities to direct Anna in the Tropics "The words of Nilo Cruz waft from a stage like a scented breeze. They sparkle and prickle and swirl, enveloping those who listen in both a specific place and time." ~ Miami Herald (MINNEAPOLIS; January 10, 2016) – As the cold weather continues in Minnesota, the Jungle Theater warms up with an award-winning drama set in hot, steamy Florida. Anna in the Tropics opens the Jungle’s 2017 Season on February 11 and runs through March 12, 2017 at the Lyn-Lake neighborhood theater, 2951 Lyndale Ave. S. in Minneapolis. The tropical heat and the American dream prove a volatile combination in this poetic and poignant play written by Cuban-born Nilo Cruz and directed by Los Angeles-based Larissa Kokernot. Anna in the Tropics comes alive with love, revenge and passion as a Cuban-American family eagerly awaits the arrival of a lector to read to employees at their cigar factory. When he introduces them to Anna Karenina, the Tampa factory starts to mirror the scandalous Russian aristocracy of Tolstoy’s classic. Director Kokernot explains, “There is an exquisite tension in the play as these characters and their factory stand on the precipice of change - Juan Julian, the lecturer, is both a catalyst and the last vestige of this world which honors the art of taking time.” Kokernot has many local connections, best known to Twin Cities audiences for her past work at area theaters – both acting and directing – including the Guthrie, the Children’s Theatre and Ten Thousand Things among others.
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Stories of Race, Racism Win Arts Pulitzers Deeply Reported Articles About the Pandemic
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On April 29, 1996, a Musical Opened on Broadway That Looked and Sounded Unlike Anything That Had Come Before It
On April 29, 1996, a musical opened on Broadway that looked and sounded unlike anything that had come before it. It told a powerful, moving, heartbreaking and ultimately uplifting story of young, impoverished New York artists who were seeking to make their way in the world, longing to connect, and trying to survive the looming specter of AIDS. The actors were black, white and brown; the characters were straight, gay, bisexual and transgender. Although the show was famously inspired by Puccini’s opera, La Bohème, it was also a reflection of the life of its creator, Jonathan Larson, who wrote the book, music, and lyrics. His score brilliantly melded Broadway savvy with contemporary rock, and the show captured the zeitgeist of a particular place at a particular moment in time. The show, of course, was RENT, and it became a phenomenon. A few weeks before the musical’s Broadway premiere, Larson, who died of an aortic aneurysm the night before RENT was scheduled to open Off-Broadway, was posthumously awarded the 1996 Pulitzer Prize for Drama. The show would go on to win the Tony Award for Best Musical, and run for over 12 years. It also attracted legions of fiercely devoted young theatergoers affectionately known as RENTheads, who returned to the show again and again because it spoke to them so personally. RENT was a life-changing experience for them and everyone connected with the show, and a game-changer for Broadway. To celebrate the musical’s 20th anniversary, key members of the original creative team have reunited for a national tour of RENT, enabling a new generation to discover why the show is so special – and why it continues to have a profound effect on audiences.
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