Catalogue of New Plays 2016–2017
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Annual Review 2001 Contents
accounts and lottery report annual review 2001 Contents 3 Welcome 4 Arts Council of England grant-in-aid accounts 27 Grants awarded 2000/01 39 Arts Council of England lottery distribution accounts 61 National Lottery Report 2000/01 78 Advisory Panels 79 Regional Arts Boards 4 Arts Council of England grant-in-aid accounts 25 Grants awarded 1999/2000 44 Arts Council of England lottery distribution accounts 64 National Lottery Report 1999/2000 78 Advisory Panels 79 Regional Arts Boards THE ARTS COUNCIL OF ENGLAND 2 Welcome to the Arts Council of England’s Annual Review for 2001 – Accounts and Lottery Report The Arts Council is the national body for the arts in England. We distribute public money from Government and the National Lottery to artists and arts organisations, both directly and through the 10 English regional arts boards. As an independent, non-political body,working at arm’s length from Government, we champion the arts — promoting the importance of artistic endeavour to the economic, physical, social and, not least, spiritual well-being of the country.We commission research, promote innovation in the arts, and provide advice and information. Our strategic priorities are to bring the arts to a wider audience, support the individual artist, nurture creativity across the generations, embrace the diversity of our culture and explore new forms of expression. In 2000 we successfully made the case to Government for a substantial increase in public funding for the arts.This review sets out how we are using this money and our plans for ensuring that England’s artists and arts communities remain among the most dynamic, vibrant and resourceful in the world. -
King and Country: Shakespeare’S Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company
2016 BAM Winter/Spring #KingandCountry Brooklyn Academy of Music Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board BAM, the Royal Shakespeare Company, and Adam E. Max, Vice Chairman of the Board The Ohio State University present Katy Clark, President Joseph V. Melillo, Executive Producer King and Country: Shakespeare’s Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company BAM Harvey Theater Mar 24—May 1 Season Sponsor: Directed by Gregory Doran Set design by Stephen Brimson Lewis Global Tour Premier Partner Lighting design by Tim Mitchell Music by Paul Englishby Leadership support for King and Country Sound design by Martin Slavin provided by the Jerome L. Greene Foundation. Movement by Michael Ashcroft Fights by Terry King Major support for Henry V provided by Mark Pigott KBE. Major support provided by Alan Jones & Ashley Garrett; Frederick Iseman; Katheryn C. Patterson & Thomas L. Kempner Jr.; and Jewish Communal Fund. Additional support provided by Mercedes T. Bass; and Robert & Teresa Lindsay. #KingandCountry Royal Shakespeare Company King and Country: Shakespeare’s Great Cycle of Kings BAM Harvey Theater RICHARD II—Mar 24, Apr 1, 5, 8, 12, 14, 19, 26 & 29 at 7:30pm; Apr 17 at 3pm HENRY IV PART I—Mar 26, Apr 6, 15 & 20 at 7:30pm; Apr 2, 9, 23, 27 & 30 at 2pm HENRY IV PART II—Mar 28, Apr 2, 7, 9, 21, 23, 27 & 30 at 7:30pm; Apr 16 at 2pm HENRY V—Mar 31, Apr 13, 16, 22 & 28 at 7:30pm; Apr 3, 10, 24 & May 1 at 3pm ADDITIONAL CREATIVE TEAM Company Voice -
What Ever Happened to In-Yer-Face Theatre?
What Ever Happened to in-yer-face theatre? Aleks SIERZ (Theatre Critic and Visiting Research Fellow, Rose Bruford College) “I have one ambition – to write a book that will hold good for ten years afterwards.” Cyril Connolly, Enemies of Promise • Tuesday, 23 February 1999; Brixton, south London; morning. A Victorian terraced house in a road with no trees. Inside, a cloud of acrid dust rises from the ground floor. Two workmen are demolishing the wall that separates the dining room from the living room. They sweat; they curse; they sing; they laugh. The floor is covered in plaster, wooden slats, torn paper and lots of dust. Dust hangs in the air. Upstairs, Aleks is hiding from the disruption. He is sitting at his desk. His partner Lia is on a train, travelling across the city to deliver a lecture at the University of East London. Suddenly, the phone rings. It’s her. And she tells him that Sarah Kane is dead. She’s just seen the playwright’s photograph in the newspaper and read the story, straining to see over someone’s shoulder. Aleks immediately runs out, buys a newspaper, then phones playwright Mark Ravenhill, a friend of Kane’s. He gets in touch with Mel Kenyon, her agent. Yes, it’s true: Kane, who suffered from depression for much of her life, has committed suicide. She is just twenty-eight years old. Her celebrity status, her central role in the history of contemporary British theatre, is attested by the obituaries published by all the major newspapers. Aleks returns to his desk. -
At Play Fall-Winter 03.Qxd
representing the american theatre by publishing and licensing the works of new and established playwrights JacquesBrelisAliveandWell Polly Pen on Writing Musicals Cowgirls’ Mary Murfitt Issue 9, Fall/Winter 2003 MUSICALS INTERVIEW WITH A BAT BOY Director of Professional Rights Robert Vaughan and Director of Publications Michael Fellmeth met with Bat Boy in the Palm Court of the Plaza Hotel in Manhattan to talk about growing up in a cave in Hope Falls, West Virginia, Bat Boy: The Musical, and his rise to global celebrity as the lead in a hit show about his own life. The pointy- eared, fanged star arrived with an entourage of bodyguards, personal assistants, agent, lawyer and publi- cist. Bat Boy, immaculately clad in Savile Row, seemed only vaguely aware of their presence. He greeted us warmly, sat down, lit a miniature cigar and ordered a bloody mary. continued on next page FELLMETH. Let me begin by saying how taken I EDGAR. Ahhh, Jenna. Jenna the Menace, that lips” motion.) Perhaps we’d best not discuss Dr. am with your voice, Bat Boy. Did you have any was my pet name for her. She was such a terror. Parker. That is a difficult subject for me. formal training? The media had it all wrong, though. It was she FELLMETH. Understandably so. A father who BAT BOY. Please don’t call me Bat Boy. My name who took to following me. After I finally got a abandoned you in infancy to be raised by bats is Edgar. restraining order she went on that binge in Texas and then — as if that weren’t enough — tried to FELLMETH. -
Welcome to Picasso at the Lapin Agile! We're Thrilled to Kick Off 2017 With
FEBRUARY 2017 WELCOME JIM COX elcome to Picasso at the Lapin Agile! We’re thrilled to kick off 2017 with this funny, fascinating, and endlessly W surprising play. As we begin a new year, we also celebrate the phenomenal successes of 2016. Last year, the Globe broke box office records with hits like Meteor Shower (another Steve Martin comedy) and our acclaimed productions of October Sky and Sense and Sensibility. It was also an outstanding year for philanthropy. Individual donors gave generously to support our mission, and the Globe reaped the benefit of major foundation and government support. Our Arts Engagement Department successfully launched a slate of new programs funded in part by The James Irvine Foundation’s New California Arts Fund, and the National Endowment for the Arts awarded the Globe a major grant to support new play development. In every way, 2016 was a banner year for The Old Globe. We couldn’t imagine a better way to start 2017 than Picasso at the Lapin Agile. Not only does the production mark the welcome return of writer Steve Martin to the Globe, it pairs him with his longtime collaborator—and our Erna Finci Viterbi Artistic Director—Barry Edelstein. Here, Barry shepherds an all-star cast featuring returning Globe favorites alongside talented performers making their Globe debuts. 2016 will be a tough act to top, but this show bodes well for another banner year of great theatre in Balboa Park. We hope to see you often at the Globe in the coming year! MISSION STATEMENT The mission of The Old Globe is to preserve, strengthen, and advance American theatre by: creating theatrical experiences of the highest professional standards; producing and presenting works of exceptional merit, designed to reach current and future audiences; ensuring diversity and balance in programming; providing an environment for the growth and education of theatre professionals, audiences, and the community at large. -
"Infidelity" As an "Act of Love": Patrick Marber's After Miss Julie (1995) As a Rewrite of August Strindberg's Miss Julie (1888)
"Infidelity" as an "Act of Love": Patrick Marber's After Miss Julie (1995) as a Rewrite of August Strindberg's Miss Julie (1888). مسـرحيــة After Miss Julie للكاتب البريطاني باتريك ماربر كإعادة إبداع لمسرحية Miss Julie للكاتب السويدي أوجست ستريندبرج Dr. Reda Shehata associate professor Department of English - Zagazig University د. رضا شحاته أستاذ مساعد بقسم اللغة اﻹنجليزية كلية اﻵداب - جامعة الزقازيق "Infidelity" as an "Act of Love" Patrick Marber's After Miss Julie (1995) "Infidelity" as an "Act of Love": Patrick Marber's After Miss Julie (1995) as a Rewrite of August Strindberg's Miss Julie (1888). Abstract Depending on Linda Hutcheon's notion of adaptation as "a creative and interpretative act of appropriation" and David Lane's concept of the updated "context of the story world in which the characters are placed," this paper undertakes a critical examination of Patrick Marber's After Miss Julie (1995) as a creative rewrite of August Strindberg's Miss Julie (1888). The play appears to be both a faithful adaptation and appropriation of its model, reflecting "matches" for certain features of it and "mismatches" for others. So in spite of Marber's different language, his adjustment of the "temporal and spatial dimensions" of the original, and his several additions and omissions, he retains the same theme, characters, and—to a considerable extent, plot. To some extent, he manages to stick to his master's brand of Naturalism by retaining the special form of conflict upon which the action is based. In addition to its depiction of the failure of post-war class system, it shows strong relevancy to the spirit of the 1990s, both in its implicit critique of some aspects of feminism (especially its call for gender equality) and its bold address of the masculine concerns of that period. -
9666Cb1 (PDF) Cyrano De Bergerac (Bantam Classics Reissue
(PDF) Cyrano De Bergerac (Bantam Classics Reissue) Edmond Rostand, Brian Hooker - download pdf free book Cyrano De Bergerac (Bantam Classics Reissue) PDF Download, Download Cyrano De Bergerac (Bantam Classics Reissue) PDF, Cyrano De Bergerac (Bantam Classics Reissue) Download PDF, I Was So Mad Cyrano De Bergerac (Bantam Classics Reissue) Edmond Rostand, Brian Hooker Ebook Download, Free Download Cyrano De Bergerac (Bantam Classics Reissue) Full Version Edmond Rostand, Brian Hooker, PDF Cyrano De Bergerac (Bantam Classics Reissue) Free Download, full book Cyrano De Bergerac (Bantam Classics Reissue), pdf download Cyrano De Bergerac (Bantam Classics Reissue), Download Online Cyrano De Bergerac (Bantam Classics Reissue) Book, pdf free download Cyrano De Bergerac (Bantam Classics Reissue), by Edmond Rostand, Brian Hooker pdf Cyrano De Bergerac (Bantam Classics Reissue), Download Cyrano De Bergerac (Bantam Classics Reissue) E-Books, Download Online Cyrano De Bergerac (Bantam Classics Reissue) Book, Download Cyrano De Bergerac (Bantam Classics Reissue) E-Books, Read Best Book Online Cyrano De Bergerac (Bantam Classics Reissue), Read Cyrano De Bergerac (Bantam Classics Reissue) Online Free, Read Best Book Cyrano De Bergerac (Bantam Classics Reissue) Online, Pdf Books Cyrano De Bergerac (Bantam Classics Reissue), Cyrano De Bergerac (Bantam Classics Reissue) Free Download, Cyrano De Bergerac (Bantam Classics Reissue) Free PDF Online, CLICK HERE TO DOWNLOAD That 's what i was able to do but i wanted to write a review. Being a senior in their tracks they have a fun life changed the whole stuff. But i usually find this books outstanding. I can not wait to try it again. Juliet just knows what to do do you watch it out. -
Texts for Typical Sophomore Classes
Texts for Typical Sophomore Classes Holy Trinity asks its students to purchase or rent their books to prepare them for college when they will be encouraged to write in and mark up their assigned texts. Please use this document and a list of your scheduled classes when acquiring the books you will need for the year. If you do not see a class that you are enrolled in on this list, check the additional lists for electives or other grades, as it may be listed there instead. You may buy new or used books, as you prefer. There will be a used textbook sale during the summer to purchase used books from other students if you choose to participate in it. ***The best way to ensure that the correct book is acquired is to search using the provided ISBN numbers.*** ENGLISH English II PAP English II Prentice Hall Literature: Timeless Voices, Timeless Prentice Hall Literature: Timeless Voices, Timeless Themes: Platinum. Themes: Platinum. Publisher: PRENTICE HALL; 5 edition Publisher: PRENTICE HALL; 5 edition ISBN-10: 013050288X ISBN-10: 013050288X Vocabulary Workshop: Level D- New Edition Vocabulary Workshop: Level D- New Edition To be purchased from the school for $15. To be purchased from the school for $15. Vocabulary Workshop: Level E- New Edition Vocabulary Workshop: Level E- New Edition To be purchased from the school for $15. To be purchased from the school for $15. Novels and Plays: Novels and Plays: Animal Farm by George Orwell The Tempest by William Shakespeare *Cyrano de Bergerac by Edmond Rostand 2001: A Space Odyssey by Arthur C. -
Press Release
FOR IMMEDIATE RELEASE Media Contact: Summer L. Williams Phone #: 617.448.5780 Email: [email protected] www.companyone.org Company One Theatre, in CollaBoration with Suffolk University, Presents THE FLICK High resolution photos availaBle here: http://www.companyone.org/Season15/The_Flick/photos_videos.shtml Boston, MA (FeBruary 2014) — Company One Theatre (C1), recently named "Boston's Best Theatre Company" By The Improper Bostonian, in collaBoration with Suffolk University, present the New England premiere of THE FLICK, By OBIE award winning playwright, Annie Baker. Performances take place FeBruary 20‐March 15, 2014 at the Suffolk University Modern Theatre (525 Washington Street, Boston, MA 02111). Tickets, from $20‐$38 , are onsale now at www.companyone.org. THE FLICK welcomes you to a run‐down movie theatre in Worcester County, MA, where Sam, Avery and Rose are navigating lives as sticky as the soda under the seats. The movies on the Big screen are no match for the tiny Battles and not‐so‐tiny heartBreaks that play out in the empty aisles. Annie Baker (THE ALIENS) and C1 Artistic Director Shawn LaCount reunite with this hilarious and heart‐rending cry for authenticity in a fast‐changing world. With this production, the artists of C1 answer the call from New England fans of one of America’s most celeBrated contemporary playwrights. Boston’s relationship with Annie Baker Began with the C1 award‐winning production of THE ALIENS as part of the Shirley, VT Plays Festival. Annie Baker (who grew up in Amherst, Massachusetts) recently won Both an OBIE for playwriting, and the Susan Smith BlackBurn Prize for THE FLICK. -
Announcing a VIEW from the BRIDGE
FOR IMMEDIATE RELEASE, PLEASE “One of the most powerful productions of a Miller play I have ever seen. By the end you feel both emotionally drained and unexpectedly elated — the classic hallmark of a great production.” - The Daily Telegraph “To say visionary director Ivo van Hove’s production is the best show in the West End is like saying Stonehenge is the current best rock arrangement in Wiltshire; it almost feels silly to compare this pure, primal, colossal thing with anything else on the West End. A guileless granite pillar of muscle and instinct, Mark Strong’s stupendous Eddie is a force of nature.” - Time Out “Intense and adventurous. One of the great theatrical productions of the decade.” -The London Times DIRECT FROM TWO SOLD-OUT ENGAGEMENTS IN LONDON YOUNG VIC’S OLIVIER AWARD-WINNING PRODUCTION OF ARTHUR MILLER’S “A VIEW FROM THE BRIDGE” Directed by IVO VAN HOVE STARRING MARK STRONG, NICOLA WALKER, PHOEBE FOX, EMUN ELLIOTT, MICHAEL GOULD IS COMING TO BROADWAY THIS FALL PREVIEWS BEGIN WEDNESDAY EVENING, OCTOBER 21 OPENING NIGHT IS THURSDAY, NOVEMBER 12 AT THE LYCEUM THEATRE Direct from two completely sold-out engagements in London, producers Scott Rudin and Lincoln Center Theater will bring the Young Vic’s critically-acclaimed production of Arthur Miller’s A VIEW FROM THE BRIDGE to Broadway this fall. The production, which swept the 2015 Olivier Awards — winning for Best Revival, Best Director, and Best Actor (Mark Strong) —will begin previews Wednesday evening, October 21 and open on Thursday, November 12 at the Lyceum Theatre, 149 West 45 Street. -
Preliminary Pages
Distribution Agreement In presenting this thesis as a partial fulfillment of the requirements for a degree from Emory University, I hereby grant to Emory University and its agents the non-exclusive license to archive, make accessible, and display my thesis in whole or in part in all forms of media, now or hereafter known, including display on the world wide web. I understand that I may select some access restrictions as part of the online submission of this thesis. I retain all ownership rights to the copyright of the thesis. I also retain the right to use in future works (such as articles or books) all or part of this thesis. Signature: Leesa Haspel April 14, 2010 Becoming Miss Julie: A Study in Practical Dramaturgy by Leesa Haspel Adviser Donald McManus Department of Theater Studies Donald McManus Adviser Lisa Paulsen Committee Member Joseph Skibell Committee Member April 14, 2010 Becoming Miss Julie: A Study in Practical Dramaturgy By Leesa Haspel Adviser Donald McManus An abstract of A thesis submitted to the Faculty of Emory College of Arts and Sciences of Emory University in partial fulfillment of the requirements of the degree of Bachelor of Arts with Honors Department of Theater Studies 2010 Abstract Becoming Miss Julie: A Study in Practical Dramaturgy By Leesa Haspel This paper serves to document and reflect upon an actor’s experience using research to inform and develop a role. Theater Emory’s 2009 production of Miss Julie serves as the case study, describing the process of creating the titular role. An overview of the history of dramaturgy, a dramaturgical protocol, exploration of relevant acting styles, analysis of the Theater Emory production, and personal reflection on the experience of developing Miss Julie cohere to create a guide advocating the use of practical dramaturgy in contemporary acting. -
Downloaded by Michael Mitnick and Grace, Or the Art of Climbing by Lauren Feldman
The Dream Continues: American New Play Development in the Twenty-First Century by Gregory Stuart Thorson B.A., University of Oregon, 2001 M.A., University of Colorado, 2008 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Doctor of Philosophy Department of Theatre This thesis entitled: The Dream Continues: American New Play Development in the Twenty-First Century written by Gregory Stuart Thorson has been approved by the Department of Theatre and Dance _____________________________________ Dr. Oliver Gerland ____________________________________ Dr. James Symons Date ____________ The final copy of this thesis has been examined by the signatories, and we Find that both the content and the form meet acceptable presentation standards of scholarly work in the above mentioned discipline. IRB protocol # 12-0485 iii Abstract Thorson, Gregory Stuart (Ph.D. Department of Theatre) The Dream Continues: American New Play Development in the Twenty-First Century Thesis directed by Associate Professor Oliver Gerland New play development is an important component of contemporary American theatre. In this dissertation, I examined current models of new play development in the United States. Looking at Lincoln Center Theater and Signature Theatre, I considered major non-profit theatres that seek to create life-long connections to legendary playwrights. I studied new play development at a major regional theatre, Denver Center Theatre Company, and showed how the use of commissions contribute to its new play development program, the Colorado New Play Summit. I also examined a new model of play development that has arisen in recent years—the use of small black box theatres housed in large non-profit theatre institutions.