DOCSLIB.ORG

"The Ravages" Program

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Theatre of NOTE presents the world premiere of Ravages: A Love Story by William Nedved Directed by Samantha Squeri Stage Managed by Kayla Marie Peterson Produced for Theatre of NOTE by Samantha Squeri and Elinor Gunn Assistant Director Julie Lanctot Sound Engineer and Original Music Hauk Heimdallsman Graphic Design Doug Ryan Program Steven Biggs Proofreader Phil Ward AMC Liaison Elinor Gunn Cast The Actor/The Stranger..........................................Alysha Brady The Actor/The Stranger........................................Max Lawrence The actors alternate playing the two roles. After the show, check us out @TheatreofNOTE on Facebook, Instagram, and Twitter, and let us know what you think! #theravages To learn more, visit theatreofnote.com/theravages CAST BIOGRAPHIES Alysha Brady (The Actor/The Stranger) is a British/American LAMDA trained actor and theatre director/producer. She has worked both on and off stage with Theatre of NOTE and the SkyPilot Theatre Company in Los Angeles. She had been co- directing Seussical the Musical with The Fable Theatre Company when the pandemic hit. During COVID she recorded her first narration for Audible, “Be Wild Be Free” by Amber Fossey, and helped produce SkyPilot’s on-line “BLM” series. Other NOTE shows include: Hearts Like Fists, Sheet Cake Sliding, Banshee, Christmas At Pemberley, Roots, and Marian, Or The True Tale Of Robin Hood. She has enjoyed being a part of this production and is thankful for the opportunity to bring this wonderful play to everyone's homes. For more info visit www.AlyshaBrady.com. Max Lawrence (The Actor/The Stranger) is a native of Silver Spring, Maryland and holds a B.F.A. degree from Ithaca College. He is a proud company member and artist educator with Will Geer's Theatricum Botanicum in Topanga, CA. His Theatricum credits include Twelfth Night (Orsino), Coriolanus (Aufidius), To Kill a Mockingbird (Tom Robinson), A Midsummer Night's Dream (Lysander, Theseus, Peter Quince), The Imaginary Invalid (Cléante), Trouble in Mind (John Nevins), Animal Farm (Boxer), All's Well That Ends Well (Bertram), and The Merry Wives of Windsor (Jack Rugby). Other notable Los Angeles area credits include The Winter’s Tale (Leontes - Mine Is Yours Theatre Company), Twelfth Night (Fabian - A Noise Within), Lilly’s Purple Plastic Purse (Wilson - MainStreet Theatre Company), and Hamlet (Guildenstern - Knightsbridge Theatre). Max has also appeared in numerous TV shows, short films and commercials. He spent quarantine putting the finishing touches on season one of Gravel and Grain, his original high school basketball drama series. Please follow @sirmaxlawrence for more! PRODUCTION TEAM BIOGRAPHIES William Nedved (Playwright) is a playwright, lyricist, and screenwriter living in Los Angeles. He’s the co-founder of The Gift Theatre Company of Chicago, where he’s premiered his plays Body + Blood (Jeff Recommended), Northwest Highway (2011 Steinberg/American Theater Critics Association nomination), and others. Nedved wrote the book and lyrics for Medusa: The Musical, with a score by composer and Project Runway winner Kentaro Kameyama, developed by the Tony Award-winning Deaf West Theatre at The Getty Villa in November 2019. Nedved and Kameyama’s The Passion of McQueen played a sold-out concert at Pasadena’s Boston Court Theatre in March 2019. WilliamNedved.com @WilliamNedved Samantha Squeri (Producer and Director) is a Los Angeles-based theatre director and producer. She is a member of Theatre of NOTE and serves on the Artistic Management Committee. Directing credits include The Ravages (podcast, Theatre of NOTE), The Cherry Orchard (Evergreen Theatre Collective), The Theatre Zone (Together LA: A Virtual Stage Festival), The Silence (part of NOTE’s Young Writers Project), The Last Five Years (University of Notre Dame), and Grease (Pasquerilla East Musical Company). Sam also works in production finance for Universal Pictures’ Universal Theatrical Group (UTG), where she manages financial activities for UTG’s Broadway, West End, and touring productions (Wicked, The Prince of Egypt), licenses (Shrek, Billy Elliot, etc.), investments (To Kill A Mockingbird, Mean Girls, etc.), and 20+ titles in development. Thanks to Will for creating this imaginative world and for the lovely Ravages cast and team for making this strange remote production process such a delight! Julie Lanctot (Assistant Director) is an actor and director based in Los Angeles. A proud alum of UCLA's School of Theater, Film, and Television, Julie likes to think she has come a long way since scattering pounds of real hay all over the blackbox stage in her freshman year directing class. Previous directing credits include: The Way Home at the The Braid (formerly Jewish Women's Theater) and Assistant Director on Dangerous Liaisons and the Classic Sunday Staged Readings series at Antaeus. A relatively recent addition to the Theatre of NOTE company, Julie co-produced and performed in the annual Young Writers' Project (COVID-19 style) this past summer. For more information: www.julielanctot.com Kayla Marie Peterson (Stage Manager) was a tap dancer before branching into theatre and film. She is a recipient of the Promise Award at the Cinema Verde Environmental Film Festival for her documentary Green Waste. In 2015, she graduated AMDA College & Conservatory with a Bachelor of Fine Arts: Acting. Kayla found her love of stage managing by being actively involved with the Hollywood Fringe Festival. Her stage manager credits include Revelation and No Joke, both by Gina Omilon. She was introduced to Theatre of NOTE as the Assistant Stage Manager of Fruition. Shortly after the production, she joined the company and began working as a tech member for various fundraisers. Follow @kaylapetes for more. Elinor Gunn (Producer) A recent transplant to LA, Elinor had great success in Seattle, where she was cast in the American premiere of Sugar Daddies, written and directed by Sir Alan Ayckbourn, performed as Olivia in Twelfth Night and Cordelia in King Lear with Seattle Shakespeare Company, and as Queen Elizabeth I (a personal favorite) in Holiday of Errors with Sound Theatre Company, twice voted Seattle's Theatre of the Year. Elinor made her Theatre of NOTE debut as an understudy in Welcome to the White Room, Hello Stranger, For The Love Of, and NOTE's late night show Alternative Acts. She hopes you continue to support local theatre, and enjoy the show! Hauk Heimdallsman (Sound Engineer and Original Music) has a tradition for defying convention and limitation. His songs are too country for metal, too heavy for country, too punk for folk, too folk for punk, and always in your face. The chorus from Red Tail Rising, the title track of Hauk’s ninth solo album, says it all: “Falcon feathers on my back--no surrender, just attack…” After 15 years of recording and touring as a solo performer, Hauk teamed up with violinist Karin Dell to form the alt country band Black Hat Society. Described by Ripple Music as “rather dark in nature with a nice twangy bluegrass sort of vibe" and "outlaw sort of country western style music,” Black Hat Society began to forge bold new directions in the realm of alternative country. To date, Hauk has released ten solo albums, two albums with Black Hat Society, an album with The Pirates Charles, and has produced bands like No Convention, Margot Lane and the Greybeards, Post Relic, and more. He has scored two feature films and many short films in- cluding the award winning Pirate Captain Toledano. Hauk uses Gold Tone Musi- cal Instruments, StrumNComfort thumbpicks, Optima Strings, G7th Capos, Wa- then Audio Monitors, and Cryotone Tubes. In January 2020, he unveiled his first signature guitar at the NAMM show, a custom-built Cryotone Telecaster. A cryo- genically frozen mahogany body with a maple and bloodwood neck, its triple pick-up attack can be heard on 2020’s solo release “Beloved” and on the upcom- ing Black Hat Society album. Theatre of NOTE Company Members 2021 Artistic and Management Committee: Diosiq Burné, Elinor Gunn, Susan Louise O'Connor, Josh Odsess-Rubin, Sam Squeri, Kirsten Vangsness Board of Directors: Kendra Chell, Eric Emery, Sierra Marcks, Alina Phelan Isaiah Alexander Owen Ginley Susan Louise O'Connor Justin Alston Sigi Gradwohl Lynn Odell Brent Armstrong Linda Graves Josh Odsess-Rubin JJ Barrera David Guerra Kathleen O'Grady Lacy Baxter Elinor Gunn Justin Okin Natalie Beisner Eric Neil Gutierrez Trevor H Olsen Paris Benjamin Keith Hanson Matt Orlando Stacy Benjamin Liesel Hanson Erik Patterson David Bickford Karl Herlinger Kayla Marie Petersen Steven Biggs Matthew Hobin Alina Phelan Kristian Bikic Ben Holtzmuller Shanti Reinhardt Maggie Blake Jennifer Hugus Matt Richter Troy Blendell Faith Imafidon Reece Rios Kjai Block Debbie Jaffe Bill Robens Jaxy Boyd Keston John Andrea Ruth Alysha Brady Carl J. Johnson Aaron Saldaña Justin Brinsfield Norm Johnson Gabby Sanalitro Doug Burch Kyle Jordan Darrett Sanders Diosiq Burné Esther Ives Kalbfleisch Erin Scerbak Patricia Canale Lisa Kenner Joel Scher Esther Canata Phinneas Kiyomura Nicole Gabriella Scipione Ginna Carter Jonathan Klein M. Hayward Scott Kendra Chell Stephen Laferriere Jennie Sheffield Cat Chengery Fiona Lakeland Mara Shuster-Lefkowitz Lisa Clifton Julie Lanctot Julia Silverman Patty Cornell Jonathon Lamer Stephen Simon Amanda D'Angelo Judith Ann Levitt Dominic Smith Pamella D'Pella Brad C. Light Jenny Soo Cat Davis Rebecca Light Samantha Squeri Tony DeCarlo Sarah Lilly Sandy Stoltz Claudia De Vasco Kerr Lordygan Randi Tahara Kathy Deitch John MacKane Bree Todish Alexis DeLaRosa Chloe Madriaga David Thomas Jason Denuszek Joe Mahon Inger Tudor Christopher DeWan Sierra Marcks Kirsten Vangsness Crystal Diaz Victoria Yvonne Martinez Sian Villaire Vanessa Donley Gerard Marzilli Bill Voorhees Grace Eboigbe Kelby Jo McClellan Phil Ward Kelly Egan Will McFadden Jennifer Lee Weaver Joe Egender Pat McGowan Dara Weinberg Keiko Elizabeth Michelle McGregor Cliff Weissman Joanie Ellen Amanda Celine Miller Richard Werner Alex Elliott-Funk Elyse Mirto Wendi West Joshua Fardon John Money Lauren Westbury Jennifer Flack Raven Moran David Wilcox Gina Garcia-Sharp Travis J.
Load more

Recommended publications
  • Twelfth Night KEY CHARACTERS and SENSORY MOMENTS
    Twelfth Night KEY CHARACTERS AND SENSORY MOMENTS Characters Viola Sebastian Olivia Malvolio Sir Andrew Sir Toby Feste Maria Orsino Antonio Sensory Moments Below is a chronological summary of the key sensory moments in each act and scene. Latex balloons are used onstage throughout the show. Visual, dialogue or sound cues indicating dramatic changes in light, noise or movement are in bold. PRESHOW • A preshow announcement plays over the loudspeaker and instruments tune onstage. ACT ONE SCENE ONE SENSORY MOMENTS • Feste begins to sing a song. When he puts DESCRIPTION a paper ship in the water, the storm begins. At Duke Orsino’s palace in Illyria, Cesario and There is frequent loud thunder, flickering others sing for Orsino. He’s in love with the lights and flashes of lightning via strobe countess Olivia, but it’s unrequited because she lights. Actors shout during the turmoil, is in mourning for her brother and won’t receive cymbals crash and drums rumble. his messengers. • The storm sequence lasts about 90 seconds. • After the storm, lights slowly illuminate SENSORY MOMENTS the stage. • Actors begin singing a song. Orsino enters the stage and picks up a balloon. When he walks to the center of the stage, the balloon SCENE TWO pops loudly. • When Orsino says, “Love-thoughts lie rich DESCRIPTION when canopied with bowers,” the actors Viola washes ashore in Illyria, saved by the leave the stage, suspenseful music plays and ship’s captain. She asks the captain to help her the lights go dark. disguise herself so she can get work in Orsino’s court.
    [Show full text]
  • Twelfth Night'
    THE PRINCIPLE OF RECOMPENSE IN 'TWELFTH NIGHT' Like Shakespeare's other romantic comedies. Twelfth Night moves from personal frustration and social disorder to individual fulfilment and social harmony by means of what Leo Salingar has shown to be the traditional comic combination of beneficent fortune and human intrigue.* This basic pattern, of course, takes a radically different form in each play. In comparison with many of the comedies. Twelfth Night begins with remarkably little conflict- The opening scenes introduce no villain bent on dissension and destruction, nor do they reveal disruptive antagonism between parents and children or between love and law. In contrast to the passion atid anger of the first scene of J1 Midsummer Night's Dream., tbe restless melancholy that pervades the beginning of The Merchant of Venice, or the brutality and tyranny that precipitate the action in As You Like It, the dominant note of Orsino's court and of Olivia's household is static self-containment. To be sure, both Orsino and Olivia sincerely profess great unhappiness, but, as many critics have noted, a strain of complacent self-absorption dilutes tbe poignancy of Orsino's love-melancboly and of Olivia's grief- Orsino's concentration on his own emotions cuts him off from real personal relationships as effectively as does Olivia's withdrawal or Sir Toby's careless hedonism. The self-absorptioti of the native IUyrians and Viola's involun- tary exile present a spectacle of isolation rather than confrontation, not so much a society in disorder as a series of discrete individuals without tbe interconnexions that constitute a society.
    [Show full text]
  • Bisexuality and Transvestitism in William Shakespeare's Twelfth Night
    Articulāte Volume 2 Article 5 1997 Bisexuality and Transvestitism in William Shakespeare's Twelfth iN ght Julie Driscoll Denison University Follow this and additional works at: http://digitalcommons.denison.edu/articulate Part of the English Language and Literature Commons Recommended Citation Driscoll, Julie (1997) "Bisexuality and Transvestitism in William Shakespeare's Twelfth iN ght," Articulāte: Vol. 2 , Article 5. Available at: http://digitalcommons.denison.edu/articulate/vol2/iss1/5 This Article is brought to you for free and open access by Denison Digital Commons. It has been accepted for inclusion in Articulāte by an authorized editor of Denison Digital Commons. Julie Driscoll 25 or in the Renaissance, this was the role of Viola in Twelfth Night. duties. Her flourishing remarks and declaration of devotion to her BLSEXUALITY AM) TRANSVESTITLSM IN WILLIAM SHAKESPEARE'S The acceptance of such a practice has worked its way into society, imply a definite sexual attraction. However, she shares the same proving to be another perspective one can apply toward interpreta- Twi:um NIGHT attitude toward Orsino, suggesting that she would be a better woman tions of Twelfth Night. The way in which these devices affect the fit for him, as she has already devoted her service as an attendant. actions of characters is relevant in examining their intentions, de- Viola displays the same tone of love toward both Orsino and Olivia JULIE DRISCOLL '97 ceptions, and sexual desires throughout the play. and adorns each with varying compliments, exhibiting bisexual be- Historically, bisexuality has been written out of literature, and havior. possibly out of the Shakespeare canon.
    [Show full text]
  • Proposed Core Literature Titles Twelfth Night, Or, What You Will
    Proposed Core Literature Titles The following summary is provided by the California Department of Education’s “Recommended Literature List”, and the top three Google searches of the book title and author name that produced a description of the title. Twelfth Night, or, What You Will Proposed Grade Level: 8 Title: Twelfth Night, or, What You Will ​ ​ Author: William Shakespeare ​ First Published: 2002 ​ Lexile Level: 1140 ​ Proposed Grade Level: 8 ​ California Department of Education, Recommended Literature List: https://www.cde.ca.gov/ci/cr/rl/ This title is on the CDE Recommended Literature List. Annotation: On the island of Illyria, Duke Orsino pines away for the love of the beautiful, but ​ unapproachable Olivia. A tempest occurs that brings Viola and Sebastian to the shores, and a renewed pursuing of affection begins among the island's inhabitants. (Circa 1600.) Copyright: 1992: ​ Original Copyright: 1600 ​ Grade Level Span: 9-12 ​ Genre: Drama ​ Classification: Classic ​ Topic: English-Language Arts/General ​ Discipline: English Language Arts/Vocabulary; Visual and Performing Arts ​ Descriptions From Top 3 Google Searches: Search: "Twelfth Night or What You Will" by William Shakespeare https://en.wikipedia.org/wiki/Twelfth_Night Viola is shipwrecked on the coast of Illyria and she comes ashore with the help of a Captain. She has lost contact with her twin brother, Sebastian, whom she believes to be drowned, and with the aid of the Captain, she disguises herself as a young man under the name Cesario and enters the service of Duke Orsino. Duke Orsino has convinced himself that he is in love with Olivia, who is mourning the recent deaths of her father and brother.
    [Show full text]
  • Twelfth Night − Learning Pack Contents
    Twelfth Night − Learning Pack Contents About This Pack ................................................................1 Background Information ..................................................2 Teaching Information ........................................................4 Adaptation Details & Plot Synopsis..................................6 Find Out More ...................................................................14 1 Twelfth Night − Learning Pack About This learning pack supports the National Theatre’s production of Twelfth Night, directed by Simon Godwin, which opened on 23rd February 2017 at the National’s Olivier Theatre in London. Our packs are designed to support viewing the recording on the National Theatre Collection. This pack provides links to the UK school curriculum and other productions in the Collection. It also has a plot synopsis with timecodes to allow you to jump to specific sections of the play. 1 Twelfth Night − Learning Pack Background Information Recording Date – 6th April, 2017 Location – Olivier Theatre, National Theatre Age Recommendation – 12+ Cast Viola.........................................................Tamara Lawrance Sebastian ..........................................................Daniel Ezra Orsino ............................................................... Oliver Chris Curio ...........................................................Emmanuel Kojo Valentine ...................................................... Brad Morrison Captain and Priest ...................................... James
    [Show full text]
  • ELA Virtual Learning Month 00, 2020
    ELA Virtual Learning English 218 Introduction to Literature Lesson: May 1, 2020 Month 00, 2020 English 218 Introduction to Literature Lesson: May 1, 2020 Objective/Learning Target: ● Read and comprehend literature, including drama, independently and proficiently. ● Determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings using context, affixes, or reference materials. ● Read and comprehend informational text independently and proficiently. Bell Ringer: What are your initial impressions of Twelfth Night? **Start a document to record your response to this and the work which follows on later slides. Learn Look closely at the image here - an actual picture of the first page of this play as seen in The First Folio. What do you notice? Among other interesting things, like the print and spelling, did you notice it has an alternative title? “Or what you will” was on the original play; I do not know when it was dropped. “What you will” basically equates to “whatever”. There are theories about this alternative title. You can read some here: Twelfth Night or What You Will. Learn You have read the first two scenes from the play, where you were introduced to a few of the characters: Orsino, Curio, Valentine, Viola, Captain, and Olivia. Referring to the character list on page 5 of the pdf, re-read the descriptions of each. As we move through the play, to facilitate your reading and keeping track of who is whom, sketch out the relationships between the characters. For these five, we know Orsino is the duke and Curio and Valentine are his servants.
    [Show full text]
  • Shakespeare and the Carnivalesque
    Trinity College Trinity College Digital Repository Senior Theses and Projects Student Scholarship Spring 2018 Shakespeare and the Carnivalesque Darcy Hughes Trinity College, Hartford Connecticut, [email protected] Follow this and additional works at: https://digitalrepository.trincoll.edu/theses Recommended Citation Hughes, Darcy, "Shakespeare and the Carnivalesque". Senior Theses, Trinity College, Hartford, CT 2018. Trinity College Digital Repository, https://digitalrepository.trincoll.edu/theses/720 TRINITY COLLEGE Senior Thesis SHAKESPEARE AND THE CARNIVALESQUE Submitted by DARCY BISHOP HUGHES 2018 In Partial Fulfillment of Requirements for the Degree of Bachelor of Arts 2018 Director: Dr. Milla Riggio Reader: Dr. Chloe Wheatley Reader: Dr. Sarah Bilston Acknowledgments For Milla Riggio. Thank you so much for your tireless support throughout this year long process. You are the fairy god mother of thesis advisors. More than once you brought me food when I had too much work to leave your office and stayed up with me until the wee hours of morning when I needed to make a deadline. Thank you for helping me turn a chaos of ideas into a paper, and for always encouraging me even when I felt hopeless. My time at Trinity College would not have been the same without you. From Guided Studies, to Trinidad, to Rome, and back again, I am honored to be your final student after 46 years of teaching. You have taught me so much about Shakespeare, about writing, and about life. For the English teachers at the Ethel Walker School who first inspired my love of Shakespeare. For the Trinity College English department: I cannot remember all the books I’ve read any more than the papers I have written; even so, they have made me.
    [Show full text]
  • Shakespeare's Twelfth Night, Or What You Will
    Shakespeare’s TwelfthTwelfth NightNight william shakespeare's Twelfth Night, or What You Will directors Michelle Altman, Emily Draffen, & Shannon Morgan designers Stephanie Cook & April Meyer Directors' Note manservant Malvolio after him with her ring. When she gets the ring, Viola hello and welcome to our production of realizes that Olivia loves her. twelfth night! While putting it all together, we thought long and hard about Olivia’s drunken uncle, Sir Toby Belch, has a friend, Sir Andrew Aguecheek, the theme of the play: “I am not what I am” (3.1.107). This theme is especially who is also fighting a losing battle for Olivia’s affections. Toby keeps him pertinent to the fourth scene in the play, in which Viola (dressed as Cesario) around because Andrew has money to buy alcohol. Olivia’s lady-in-waiting, comes to Olivia’s house to woo her for Orsino. Orsino can’t even do his own Maria, plots with Toby and Andrew to trick Malvolio into thinking that Olivia wooing – he sends a front man. And this front man? He isn’t even a man. He’s loves him by means of a fake letter. Malvolio follows the letter’s instructions a woman in love with him. And the woman she’s sent to woo? She’s wearing to wear yellow stockings and cross-garters and to smile at Olivia. Because she a veil and refusing to be seen. Almost everyone is wearing a mask, whether does not know about the trick, Olivia thinks Malvolio has gone crazy and she literally or figuratively.
    [Show full text]
  • Lady Macbeth Learns by Letter from Macbeth of the Three
    25 : S.R اﻻستبذ : أبو يبرا ج: 0119519500 - LANE 448 للعبم 5341هـ 5051م اﻻستبذ : أبو يبرا ج: 0119519500 Macbeth plot Summary Act I. Also known as "The Scottish play", Shakespeare's dark, grim tragedy begins with Three Witches in Scotland deciding to meet again after a battle being fought nearby. Thunder, storms and the desolate heath paint a gloomy picture, setting the tone of this play and defining an imagery of nature at war with itself, a recurring theme in this play... Macbeth is introduced as the brave man who led King 2 - LANE 448 للعبم 5341هـ 5051م اﻻستبذ : أبو يبرا ج: 0119519500 Duncan's forces to victory against the traitorous Thane of Cawdor, Macdonwald and The King of Norway, in a battle that could have gone either way were it not for Macbeth's leadership. We learn that Macbeth killed Macdonwald himself in battle. King Duncan, overjoyed, decides to make Macbeth his new Thane of Cawdor. The previous Thane of Cawdor will be executed. The Three Witches establish their malicious nature before meeting Macbeth and Banquo. The Three Witches tell Macbeth that he will be "Thane of Glamis!", "Thane of Cawdor!" and "king hereafter" or become the King of Scotland. Banquo learns that his descendants shall be kings. Banquo 3 - LANE 448 للعبم 5341هـ 5051م اﻻستبذ : أبو يبرا ج: 0119519500 is suspicious of the Three Witches, remembering that they often trick men. Macbeth initially agrees but when Ross and Angus tell him he has been made the new Thane of Cawdor, Macbeth in a very important aside (soliloquy), remarks, "Glamis, and Thane of Cawdor: / The greatest is behind." Macbeth now first questions Banquo's on his feelings about his descendants becoming kings and then starts thinking of killing King Duncan to make prophecy fact but later hopes fate alone will spare him the need to kill..
    [Show full text]
  • Passage 6 ORSINO If Music Be the Food of Love, Play On. Give Me
    Passage 6 ORSINO If music be the food of love, play on. Give me excess of it, that, surfeiting, The appetite may sicken and so die. That strain again! It had a dying fall. O, it came o’er my ear like the sweet sound That breathes upon a bank of violets, Stealing and giving odor. Enough; no more. ’Tis not so sweet now as it was before. Twelfth Night Act 1, Scene 1, lines 1-8 Passage 7 VIOLA What country, friends, is this? CAPTAIN This is Illyria, lady. VIOLA And what should I do in Illyria? My brother he is in Elysium. Perchance he is not drowned. – What think you, sailors? CAPTAIN It is perchance that you yourself were saved. … VIOLA I prithee – and I’ll pay thee bounteously – Conceal me what I am, and be my aid For such disguise as haply shall become The form of my intent. I’ll serve this duke. Twelfth Night Act 1, Scene 2, lines 1 ff. Passage 8 SIR TOBY BELCH Out o’ tune, sir? You lie. Art any more than a steward? Dost thou think, because thou art virtuous, there shall be no more cakes and ale? Twelfth Night Act 2, Scene 3, lines 113-115 Passage 9 FESTE What is love? Tis not hereafter. Present mirth hath present laughter. What’s to come is still unsure. In delay there lies no plenty, Then come kiss me, sweet and twenty. Youth’s a stuff will not endure. Twelfth Night Act 2, Scene 3, lines 48-53 Passage 10 VIOLA / CESARIO My father had a daughter loved a man As it might be, perhaps, were I a woman, I should your Lordship.
    [Show full text]
  • Twelfth Night Feb 8 – March 22 Wurtele Thrust Stage WELCOME
    The Call Is Places 2019–2020 SUBSCRIBER NEWSLETTER Twelfth Night Feb 8 – March 22 Wurtele Thrust Stage WELCOME From Artistic Director Joseph Haj SEASON 2019–2020 2019–2020 The Glass Menagerie Sept 14 – Oct 27, 2019 Dear Friends, Wurtele Thrust Stage Twelfth Night is considered one of Shakespeare’s great comedies, and Steel Magnolias many productions play up the laughs. Rightfully so, as delight and Oct 26 – Dec 15, 2019 romance are ever-present in the text. There are love triangles and courts McGuire Proscenium Stage filled with clowns and jubilant musical interludes that keep everyone in Illyria, including the audience, feeling exceedingly merry. But vibrating A Christmas Carol beneath all the wit and gaiety is an undercurrent of grief, loss and Nov 12 – Dec 29, 2019 longing — complex matters of the heart that we all experience as we walk Wurtele Thrust Stage through the world. Noura When we first began talking about the production as a creative team, Jan 11 – Feb 16, 2020 McGuire Proscenium Stage director Tom Quaintance didn’t want to set the play in a specific period. He envisioned an entire ecosystem created from scratch that was firmly Twelfth Night rooted in the text but felt contemporary and not confined to one era Feb 8 – March 22, 2020 or environment. As a result, this broader vision provides space for the Wurtele Thrust Stage audience to see themselves in Olivia’s mourning, Viola’s heartbreak and Orsino’s desire. The Bacchae Feb 29 – April 5, 2020 And who better to convey the emotional ups and downs of this McGuire Proscenium Stage complicated love story than an all-local, powerhouse cast backed by an ingenious creative team? Their commitment to telling Twelfth Night with Emma their whole hearts and selves has been inspiring to watch, and I’m thrilled April 11 – May 31, 2020 for you to be immersed in the wonderful, whimsical world they’ve created Wurtele Thrust Stage together.
    [Show full text]
  • Twelfth Night
    TWELFTH NIGHT Artist Partner Program presents FILTER THEATRE, IN ASSOCIATION WITH THE ROYAL SHAKESPEARE COMPANY TWELFTH NIGHT Friday, February 26, 2016 . 8PM Saturday, February 27, 2016 . 8PM Dance Theatre Please join the artists for conversations following each performance. 27 FILTER THEATRE, IN ASSOCIATION WITH THE ROYAL SHAKESPEARE COMPANY PRESENTS TWELFTH NIGHT by William Shakespeare created by Filter directed by Sean Holmes music & sound by Tom Haines & Ross Hughes associate directors Oliver Dimsdale & Ferdy Roberts Olivia: Ronke Adekoluejo Feste/Maria: Sandy Foster Orsino/Sir Andrew Aguecheek: Harry Jardine Viola/Sebastian: Amy Marchant Malvolio: Fergus O’Donnell Sir Toby Belch: Dan Poole Musician (Drummer): Alan Pagan Musician: Fred Thomas Company Stage Manager: Christie DuBois Marketing: Martin Shippen: [email protected] Producer: Simon Reade This performance will last approximately 1 hour 30 minutes with no intermission. Video or audio recording of the production is strictly prohibited. 28 ABOUT FILTER THEATRE “One of Britain’s best and boldest devising companies.” — Metro Led by actors Oliver Dimsdale and Ferdy Twelfth Night for the RSC and The Tricycle Roberts, and composer Tim Phillips, Filter has Theatre (2007); Chekhov’s Three Sisters for the been creating innovative, exciting theatre since Lyric Hammersmith (2010); Shakespeare’s A 2003. Filter’s unique collaborative language Midsummer Night’s Dream for a UK Tour and Lyric explores the interaction between sound, music, Hammersmith/Manchester Royal Exchange text and movement, in a desire to make stories (2012); Shakespeare’s Macbeth for the Tobacco that awaken the imaginative senses of an audience. Factory, autumn 2014 and on UK tour 2015. Working out of a real sense of trust, and retaining Each project aspired to pinpoint the very heart a robust emotional honesty and playfulness, the of the plays by uncovering the light and darkness company creates new works of original theatre, of the language and the lyricism of the text.
    [Show full text]