Hairspray: a Glsen Discussion Giude for Educators and Students
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PR 2011 Hairspray
* PRESS RELEASE * PRESS RELEASE * PRESS RELEASE * PRESS RELEASE * June 19, 2011 For Immediate Release Contact: Alan Anderson 503.906.2380 [email protected] You Can!t Stop the Beat! Broadway Rose Theatre Company Presents Hairspray Tigard, OR – Broadway Rose Theatre Company launches its 20th summer season with the big musical comedy Hairspray. Directed by Peggy Taphorn, with choreography by Jacob Toth and musical direction by Rick Lewis, Hairspray will be performed at the Deb Fennell Auditorium. Preview performance is June 30 with opening night on Friday, July 1, and performances through July 24, 2011. Evening performances are Thursdays through Saturdays at 7:30 p.m. Matinees are at 2 p.m. on Sundays, on Saturday, July 16, and on Broadway Rose Theatre Company • P.O. Box 231004, Tigard, OR 97281 • 503.620.5262 Saturday, July 23. The Deb Fennell Auditorium is located at 9000 SW Durham Road in Tigard. Tickets prices are $28 to $35 for adults, with $20 tickets available for ages 6 – 25. For a full listing of show performances or to order tickets visit www.broadwayrose.org, or call the box office at 503.620.5262. You'll tap your feet to the beat as Tracy Turnblad and friends triumph over high school bullies, racism, and enemies everywhere of big girls with big hair. With music by Marc Shaiman, lyrics by Scott Wittman and Marc Shaiman, and book by Mark O'Donnell and Thomas Meehan, viewers young and old will be shimmying in their seats as they enjoy hit favorites such as "I Can Hear The Bells" and "You Can't Stop The Beat." The cast includes Blythe Woodland as Tracy Turnblad, Dan Murphy as Edna, Ron Daum as Wilbur, Sara Catherine Wheatley as Velma, Steven Bryan Dawson as Link, Jay Kelly as Seaweed, and !Lacretta Nicole as Motormouth Maybelle. -
John Waters (Writer/Director)
John Waters (Writer/Director) Born in Baltimore, MD in 1946, John Waters was drawn to movies at an early age, particularly exploitation movies with lurid ad campaigns. He subscribed to Variety at the age of twelve, absorbing the magazine's factual information and its lexicon of insider lingo. This early education would prove useful as the future director began his career giving puppet shows for children's birthday parties. As a teen-ager, Waters began making 8-mm underground movies influenced by the likes of Jean-Luc Godard, Walt Disney, Andy Warhol, Russ Meyer, Ingmar Bergman, and Herschell Gordon Lewis. Using Baltimore, which he fondly dubbed the "Hairdo Capitol of the World," as the setting for all his films, Waters assembled a cast of ensemble players, mostly native Baltimoreans and friends of long standing: Divine, David Lochary, Mary Vivian Pearce, Mink Stole and Edith Massey. Waters also established lasting relationships with key production people, such as production designer Vincent Peranio, costume designer Van Smith, and casting director Pat Moran, helping to give his films that trademark Waters "look." Waters made his first film, an 8-mm short, Hag in a Black Leather Jacket in 1964, starring Mary Vivian Pearce. Waters followed with Roman Candles in 1966, the first of his films to star Divine and Mink Stole. In 1967, he made his first 16-mm film with Eat Your Makeup, the story of a deranged governess and her lover who kidnap fashion models and force them to model themselves to death. Mondo Trasho, Waters' first feature length film, was completed in 1969 despite the fact that the production ground to a halt when the director and two actors were arrested for "participating in a misdemeanor, to wit: indecent exposure." In 1970, Waters completed what he described as his first "celluloid atrocity," Multiple Maniacs. -
JOHN WATERS Born 1946 Lives and Works in Baltimore, MD SELECTED SOLO EXHIBITIONS 2018 John Waters
JOHN WATERS Born 1946 Lives and works in Baltimore, MD SELECTED SOLO EXHIBITIONS 2018 John Waters: Indecent Exposure, Baltimore Museum of Art, Baltimore, MD, (traveled to Columbus, OH, Wexner Center for the Arts) 2016 BLACK BOX: KIDDIE FLAMINGOS, Baltimore Museum of Art, Baltimore, MD, curated by Kristen Hileman 2015 How much can you take?, Kunsthaus Zurich, Zurich, Switzerland Beverly Hills John, London, UK, Sprüth Magers 2015 Beverly Hills John, Marianne Boesky Gallery, New York, NY 2014 Sprüth Magers, Berlin, February 2014 2012 John Waters: Neurotic, McClain Gallery, Houston, TX 2011 John Waters, Arthur Roger Gallery, New Orleans, LA 2010 Outsider Porn: The Photos of David Hurles, Marianne Boesky Gallery, New York, Project Space Exhibition curated by John Waters Rush, Rena Bransten Gallery, San Francisco, CA C. Grimaldis Gallery, Baltimore, MD 2009 Neurotic, Albert Merola Gallery, Provincetown, MA Rear Projection, Gagosian Gallery, Los Angeles Rear Projection, Marianne Boesky Gallery, New York 2008 Artistically Incorrect: The Photographs and Sculpture of John Waters, Laumeier Sculpture Park, St. Louis, MO 2007 Reckless Eyeballs, Rena Bransten Gallery, San Francisco, CA 2006 Eat Me, Arthur Roger Gallery, New Orleans, LA 21c Museum Hotel, Louisville, KY Albert Merola Gallery, Provincetown, MA Unwatchable, Marianne Boesky Gallery, New York, and de Pury & Luxembourg, Zurich The Visual Arts Gallery, The University of Alabama at Birmingham, Birmingham, AL 2005 Condemned, Albert Merola Gallery, Provincetown, MA John Waters: Greatest Hits -
'I'm SO FUCKING BEAUTIFUL I CAN't STAND IT MYSELF': Female Trouble, Glamorous Abjection, and Divine's Transgressive Pe
CUJAH MENU ‘I’M SO FUCKING BEAUTIFUL I CAN’T STAND IT MYSELF’: Female Trouble, Glamorous Abjection, and Divine’s Transgressive Performance Paisley V. Sim Emerging from the economically depressed and culturally barren suburbs of Baltimore, Maryland in the early 1960s, director John Waters realizes flms that bridge a fascination with high and low culture – delving into the putrid realities of trash. Beginning with short experimental flms Hag in a Black Leather Jacket (1964), Roman Candles (1966), and Eat Your Makeup (1968), the early flms of John Waters showcase the licentious, violent, debased and erotic imagination of a small community of self-identifed degenerates – the Dreamlanders. Working with a nominal budget and resources, Waters wrote, directed and produced flms to expose the fetid underbelly of abject American identities. His style came into full force in the early 1970s with his ‘Trash Trio’: Multiple Maniacs (1970), Pink Flamingos (1972), and Female Trouble (1974). At the heart of Waters’ cinematic achievements was his creation, muse, and star: Divine.1 Divine was “’created’ in the late sixties – by the King of Sleaze John Waters and Ugly-Expert [makeup artist] Van Smith – as the epitome of excess and vulgari- ty”2. Early performances presented audiences with a “vividly intricate web of shame, defance, abjection, trauma, glamour, and divinity that is responsible for the profoundly moving quality of Divine as a persona.”3 This persona and the garish aesthetic cultivated by Van Smith aforded Waters an ideal performative vehicle to explore a world of trash. Despite being met with a mix of critical condemnation and aversion which relegated these flms to the extreme periph- ery of the art world, this trio of flms laid the foundation for the cinematic body of work Waters went on to fesh out in the coming four decades. -
Pink Flamingoes and the Culture of Trash
--�·. : ··-·,----., ,•' ! \··I Sleaze queen Divine in Pink Flamingos. 808 THE TERRAINOF THE UNSPEAKABLE Pink Flamingos and the culture of trash DARREN TOFTS To me, bad rasre is whar enrertainmenc is all about. If someone vomits watching one of my films, it's like getting a standing ovation. John Waters 1 Theorizing crash culture presents cultural studies with some awk ward problems. The issue is not just che way crash culture rends co posicion irs audience with respect co gender and sexual policies. Ir is also chat rhe rerm is used both descriptively and normatively: ir designates a range of subcultural practices, but it also suggests a moral accirude , a cultural discourse on what is acceptable as representation - a discourse char emerged in overt confrontation wirh the guardians of high culture. In recent years the rerm has been used in rhe context of a continuing and increasingly sophisticated interest in che obscene, and also of a sustained intellectual inquiry inco rhe dynamics of populism and mass culture, and the conditions of production and consumption in post-industrial society. Within cultural studies there has been a rigorous critique of the ways in which crash culture has come co be understood, how it is used and by whom, and the ambiguous policical force it exerts within the domain of popular culture generally. Philip Brophy has distinguished between che rerm crash- ('all maccer of refuse ... all the material lefr over') and its erstwhile synonym, junk ('all rhe material injected, invited, avowed, support ed'), in cerms of their relation co the process of consumption (culture). Brophy's collaborative 'Trash and Junk Culture' exhibi tion of 19892 skilfully represented the extensive and hierarchical nature of crash culture, from the overtly visible (exploitation advertising, video nascies, pornograph�·) to che sublim�nal (body building and wresding magazines). -
L'impossible Monsieur Bébé / Cry-Baby De John Waters
Document generated on 09/26/2021 11:06 p.m. 24 images L’impossible Monsieur Bébé Cry-Baby de John Waters Marcel Jean Tendances actuelles du cinéma américain Number 49, Summer 1990 URI: https://id.erudit.org/iderudit/24197ac See table of contents Publisher(s) 24/30 I/S ISSN 0707-9389 (print) 1923-5097 (digital) Explore this journal Cite this review Jean, M. (1990). Review of [L’impossible Monsieur Bébé / Cry-Baby de John Waters]. 24 images, (49), 68–68. Tous droits réservés © 24 images inc., 1990 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ CRY-BABY DE JOHN WATERS L' IMPOSSIBLE MONSIEUR BEBE par Marcel Jean ongtemps, John Waters a été synonyme fond de rock'n roll, c'est à un vibrant plai Baby (Johnny Depp) est un orphelin qui L de mauvais goût, synonyme d'un under doyer pour la liberté que le cinéaste conviait fait partie d'une bande de délinquants. Il ground scatologique identifiable à la seule le spectateur, reprenant ainsi une thémati craque cependant pour Allison (Amy Loca- présence de Divine, son acteur (-trice) féti que présente (en creux) dans ses films pré ne, très bien), une jolie petite bourgeoise che. -
John Waters Over on Their Ing the First Interview John Waters Did Mother
November 22, 2019 | Volume XVII, Issue 13 take place, followed by a bration is special to me because we Comemmorating World AIDS Day 2019 non-denominational pro- are honoring and recognizing our very gram and a celebratory own POWER Project team,” Williamson BY AARON CAHALL ton Health Care and one of the event’s brunch. said. “Members of the team have dedi- Chase Brexton Health Care organizers. “To remind folks that All attendees will enjoy a free brunch cated their lives to testing for HIV, en- Join Chase Brexton Health Care and its the disease is still around & receive a World AIDS Day t-shirt. suring the community is educated, aware community partners on World AIDS Day, and the importance of rou- The event is free, but registration is of prevention, and has linkage to care. Sunday, December tine testing. It’s required at Tinyurl.com/WorldAids- Having completed over 80 community 1st, for “A Celebration ‘A celebration of also an oppor- DayBaltimore. testing events, the team is elite and one- of Perseverance,” tunity to cel- Celebrated each year since of-a-kind.” t a memorial march perseverance’ ebrate with 1988, World AIDS through Mount Ver- our thrives Day is dedicated non, followed by a prayer breakfast. and honor those we’ve to raising aware- The event will honor those we’ve lost.” ness of the AIDS lost, rejoice with our long-term thrives, The celebration be- pandemic caused and celebrate how far we’ve come to gins with a Memo- by the spread of support one another, improve health rial March from HIV infection, care, and get closer to an end to the HIV Chase Brexton’s the contin- epidemic. -
Cry–Baby” Title Treatment #2
#2 Cry–Baby” Title Treatment #2 My “Case Study” Series is an attempt to answer the many ques- tions I receive about my work. It’s difficult and time-consuming to answer each and every question from students and profes- sionals, so I felt that creating this series might be helpful to others in understanding my creative process by using specific examples. Where do my ideas come from? How do I develop them, transforming them from crude ideas to finished art? By retracing the steps I followed on several projects I hope to be able to provide some insight into this process. I’d like to mention this about this process: although many of my projects have similarities, each and every project has it’s own peculiarities, and therefore may have to follow a very different path from what is described in the following Case Study. This #2 in the series follows the steps I took to create the title treatment for a Broadway musical. PROJECT: To design a title treatment for the upcoming musical adaptaion to the Broadway stage of the 1990 John Waters cult classic film “Cry-Baby” which had originally featured Johnny Depp, Iggy Pop, Polly Bergen, Traci Lords, Ricki Lake, and Troy Donohue. “Cry-Baby–The Musical” is scheduled to open on Broad- way in the Spring of 2008. CLIENT: Serino Coyne, an ad agency which “services the world’s leading theatrical producers and the most prestigious theatres and performing arts centers in the nation”. I worked with Moira Deakin, Creative Projects Manager for Serino Coyne. -
By Billups Allen Billups Allen Spent His Formative Years in and Around the Washington D.C
By Billups Allen Billups Allen spent his formative years in and around the Washington D.C. punk scene. He graduated from the University of Arizona with a creative writing major and a film minor. He has worked in seven different record stores around the country and currently lives in Memphis, Tennessee where he works for Goner Records, publishes Cramhole zine, contributes music and movie writing regularly to Razorcake, Ugly Things, and Lunchmeat magazines, and writes fiction. (cramholezine.com, [email protected]) Illustrations by Codey Richards, an illustrator, motion designer, and painter. He graduated from the University of Alabama in 2009 with a BFA in Graphic Design and Printmaking. His career began by creating album art and posters for local Birmingham venues and bands. His appreciation of classic analog printing and advertising can be found as a common theme in his work. He currently works and resides at his home studio in Birmingham, Alabama. (@codeyrichardsart, codeyrichards.com) Layout by Todd Taylor, co-founder and Executive Director of Razorcake/Gorsky Press, Inc. Razorcake is a bi-monthly, Los Angeles-based fanzine that provides consistent coverage of do-it-yourself punk culture. We believe in positive, progressive, community-friendly DIY punk, and are the only bona fide 501(c)(3) non-profit music magazine in America. We do our part. This zine is made possible in part by support by the Los Angeles County Department of Arts and Culture. Printing Courtesy of Razorcake Press razorcake.org ne rainy weekday, my friend and I went to a small Baltimore shop specializing in mid-century antiques called Hampden Junque. -
THIS FILTHY WORLD Panorama THIS FILTHY WORLD Dokumente THIS FILTHY WORLD Regie: Jeff Garlin
Berlinale 2007 THIS FILTHY WORLD Panorama THIS FILTHY WORLD Dokumente THIS FILTHY WORLD Regie: Jeff Garlin USA 2006 Dokumentarfilm mit John Waters Länge 86 Min. Format HD-Cam Farbe Stabliste Buch John Waters Kamera Dan Shulman Schnitt Rob Naylor Mitarbeit Jared Gutstadt Steve Beganyi Eric Ramistella Production Design Vince Peranio Maske Cheryl „Pickles“ Kinion Regieassistenz Rob Naylor Produzenten Michele Armour Jeff Garlin Co-Produzent Eric Besner Executive Producer Ted Sarandos Associate Producer Lukas Kaiser Co-Produktion Red Envelope Entertainment Produktion Red Envelope Entertainment/Netflix 345 North Maple Drive, Suite 300 USA-Beverly Hills CA 90210 Tel.: 310 734 29 39 Fax: 310 734 29 99 [email protected] Weltvertrieb Cinemavault Releasing Int. VP International Distribution 175 Bloor St. East South Tower, Suite 1011 John Waters CAN-Toronto M4W 3R8 Tel.: 416-363 60 60 Fax: 416-363 23 05 THIS FILTHY WORLD [email protected] Einen „Papst des Trash“ hat William S. Burroughs einmal den Filmemacher John Waters genannt – in diesem Filmporträt gewährt der Hohepriester des schlechten Geschmacks nun so etwas wie eine Privataudienz. Alles, was Sie über den Regisseur von HAIRSPRAY und POLYESTER immer schon wis- sen wollten, aber zu fragen nie den Mut aufbrachten, beantwortet er hier im Rahmen einer One-Man-Show auf unterhaltsamste und überaus profes- sionelle Weise. Denn John Waters ist absolut bühnenerprobt. Als er Mitte der 60er Jahre zu filmen begann, reiste er mit seinen ersten Werken MONDO TRASHO und MULTIPLE MANIACS durch die Lande und präsentierte sie in einem noch heute legendären Rahmenprogramm. Dessen Höhepunkt: ein Live-Auftritt des Waters-„Superstars“ Divine. Gemeinsam traten die bei- den in Kinos, Punkrock- und Comedy-Clubs, in Colleges und sogar an der Uni ver si tät von Oxford auf. -
Transcript a Pinewood Dialogue with John Waters
TRANSCRIPT A PINEWOOD DIALOGUE WITH JOHN WATERS In the films of John Waters, “The Pope of Trash,” outrageous behavior co-exists with genuine humanism. After his genuinely shocking Pink Flamingos , Female Trouble , and Desperate Living , he made the surprise move of directing a PG-rated musical, Hairspray , which placed its classic teen love story against the backdrop of early-1960s racial integration. Sadly, the movie was Waters’s last collaboration with the actor Divine, who died a week after its release. Waters spoke about Hairspray as part of a Moving Image retrospective of his films. A Pinewood Dialogue following a screening of completely obsessed by it. They still have reunions Hairspray , moderated by Chief Curator David today in Baltimore of the people that were stars on Schwartz (October 25, 1998): this show that I go to. They are mostly sixty years old now. And to see 200 sixty-year-old women SCHWARTZ: Please welcome John Waters. doing “The Locomotion” without irony is quite a (Applause) sight. They are still very serious about it. I heard one woman say, “She wasn’t on the show. She was a WATERS: Thank you. I like Queens. It looks like guest.” And they go in separate doors if they were Baltimore, kind of. I feel at home. You know, I on the committee and stuff. It’s really good. They’re accidentally made a family movie when I made this real mean to the other people who weren’t on the picture. If you haven’t seen it, it’s about how much show. -
Teacher Resource Guide
2017-2018 SEASON 2017-2018 SEASON Teacher Resource Guide and Lesson Plan Activities Featuring general information about our production along with some creative activities to Tickets: thalian.org help you make connections to your classroom curriculum before and after the show. 910-251-1788 The production and accompanying activities address North Carolina Essential Standards in Theatre or Arts, Goal A.1: Analyze literary texts & performances. CAC box office 910-341-7860 Look for this symbol for other curriculum connections. Hairspray Book by: Thomas Meehan & Mark O'Donnell Music by: Marc Shaiman Lyrics by: Marc Shaiman & Scott Wittman Based on the New Line Cinema film, written and directed by John Waters September 15-24, 2017 7:30 PM Friday - Saturday and 3:00 PM Sunday Hannah Block Historic USO / Community Arts Center Second Street Stage 120 South 2nd Street (Corner of Orange) About this Teaching Resource Resource Set in racially-segregated 1960s Baltimore, Hairspray remains relevant to today’s audiences as it reflects many current events and issues in U.S. society and can be used to address a variety of Summary: themes, including, racism and bias of all kinds, body image, individuality and identity, student activism, community-police interactions and media bias. It’s been nearly three decades since the 1988 film of Hairspray. From there, the story of Tracy Turnblad & her friends & family has lived on Page 2 through the original film, the Broadway adaptation in 2002 and subsequent presence in school Summary, and community theater productions, the remake of the film in 2007 and NBC’s 2016 Hairspray About the Musical, LIVE.