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Legally Blonde: Introduction
Being true to yourself never goes out of style! WINNER BEST NEW MUSICAL 2011 OLIVIER AWARD EDUCATION KIT AUSTRALIAN PREMIERE SEASON • SYDNEY LYRIC LegallyBlonde.com.au facebook.com/ legallyblondemusical @legallyblondeoz Legally Blonde: INTRODUCTION INTRODUCTION This teacher’s guide has been developed as a teaching tool to assist teachers who are bringing their students to see the show. This guide is based on Camp Broadway’s StageNOTES, conceived for the original Broadway musical adaptation of Amanda Brown’s 2001 novel and the film released that same year, and has been adapted for use within the UK and Australia. The Australian Education Pack is intended to offer some pathways into the production, and focuses on some of the topics covered in Legally Blonde which may interest students and teachers. It is not an exhaustive analysis of the musical or the production, but instead aims to offer a variety of stimuli for debate, discussion and practical exploration. It is anticipated that the Education Pack will be best utilised after a group of students have seen the production with their teacher, and can engage in an informed discussion based on a sound awareness of the musical. We hope that the information provided here will both enhance the live theatre experience and provide readers with information they may not otherwise have been able to access. Legally Blonde is an uplifting, energising, feel-good show and with that in mind we hope this pack will be enjoyed through equally energising and enjoyable practical work in the classroom and drama studio. 1 Legally Blonde: INTRODUCTION LEgally Blonde Education Pack CONTENTS PAGE INTODUCTION 1. -
Cassius Carter Centre Stage Darlene Gould Davies
Cassius Carter Centre Stage Darlene Gould Davies Cassius Carter Centre Stage, that old and trusted friend, is gone. The theatre in the round at The Old Globe complex in Balboa Park had its days, and they were glorious. Who can forget “Charlie’s Aunt” (1970 and 1977), or the hilarious 1986 pro- duction of “Beyond the Fringe”? Was there ever a show in the Carter that enchanted audiences more than “Spoon River Anthology” (1969)? A. R. Gurney’s “The Din- ing Room” (1983) was delightful. Craig Noel’s staging of Alan Ayckbourn’s ultra- comedic trilogy “The Norman Conquests” (1979) still brings chuckles to those who remember. San Diegans will remember the Carter. It was a life well lived. Cassius Carter Centre Stage, built in 1968 and opened in early 1969, was di- rectly linked to the original Old Globe Theatre of the 1935-36 California-Pacific International Exposition in Balboa Park. It was not a new building but a renovation of Falstaff Tavern that sat next to The Old Globe.1 In fact, until Armistead Carter Falstaff Tavern ©SDHS, UT #82:13052, Union-Tribune Collection. Darlene Gould Davies has served on several San Diego City boards and commissions under five San Diego mayors, is Professor Emerita of Speech, Language, and Hearing Sciences at San Diego State University, and co-produced videos for the Mingei International Museum. She is currently a member of the Board of Directors of the San Diego Natural History Museum and has served as chair of the Balboa Park Committee. 119 The Journal of San Diego History Falstaff Tavern refreshments. -
MINUTES City of San Diego Park and Recreation Board BALBOA PARK
MINUTES City of San Diego Park and Recreation Board BALBOA PARK COMMITTEE November 6, 2008 Meeting held at: Mailing address is: Balboa Park Club, Santa Fe Room Balboa Park Administration 2150 Pan American Road 2125 Park Boulevard MS39 San Diego, CA 92101 San Diego, CA 92101-4792 ATTENDANCE: Members Present Members Absent Staff Present Jerelyn Dilno Jennifer Ayala Kathleen Hasenauer Vicki Granowitz Laurie Burgett Susan Lowery-Mendoza Mick Hager Mike Singleton Bruce Martinez Andrew Kahng David Kinney Mike McDowell Donald Steele (Arr. 5:40) CALL TO ORDER Chairperson Granowitz called the meeting to order at 5:37 P.M. APPROVAL OF MINUTES MSC IT WAS MOVED/SECONDED AND CARRIED UNANIMOUSLY TO APPROVE THE MINUTES OF THE OCTOBER 2, 2008 MEETING WITH CORRECTIONS TO REFLECT SINGLTON SECONDING ADOPTION ITEMS 201 AND 202 (KINNEY /DILNO 5-0) ABSTENTION- MCDOWELL REQUESTS FOR CONTINUANCES None NON AGENDA PUBLIC COMMENT Warren Simon, Chairperson of the Balboa Park Decembers Nights Committee, reported that there will be a few changes to this year’s venue. The Restaurant Taste will be located in the Palisades Parking lot adjacent to the Hall of Champions and a synthetic ice skating rink will also be located in the Palisades Parking Lot. The Plaza De Panama will host a spirits garden, and the Moreton Bay Fig Tree will be up-lighted. Shannon Sweeney representing Scott White Contemporary Art reported that the location approved by the Committee for the Bernar Venet sculpture requires a barrier to be placed around it for ADA compliance. Ms. Sweeney stated the barrier would detract from the sculpture and requested that the Committee reconsider placing the sculpture at the original requested location on the turf east of the San Diego Museum of Art. -
Multiculturalism and Creative British South Asian Films Denise Tsang1,A
2017 3rd Annual International Conference on Modern Education and Social Science (MESS 2017) ISBN: 978-1-60595-450-9 Multiculturalism and Creative British South Asian Films Denise Tsang1,a,* and Dahlia Zawawi2,b 1Henley Business School, University of Reading, Whiteknights, Reading, UK 2Department of Management and Marketing, Universiti Putra Malaysia,Serdang, Malaysia [email protected], [email protected] *Corresponding author Keywords: Multiculturalism, Creativity, Competitiveness, British South Asian Films Abstract. Globalization has enabled countries such as the UK to attain multiculturalism; however, there is no investigation in relation to the advantages of multiculturalism at the film industry level. Multiculturalism is related to the Commonwealth immigration after the Second World War period. The introduction of new cultures into the UK has enabled the growth and development of successful global industries such as the British Urban Music and British Asian Film, which have prospered over time and have now become mainstream export-led industries. Why is cultural diversity significant towards the generation of competitive advantages within the British South Asian film sector? We will explore the country specific advantage of multiculturalism in the UK and their impact on creativity of screenwriters that has contributed to successful films in the industry. Introduction Multiculturalism has been defined by Libretti as a ‘careful attention to and respect for a diversity of cultural perspectives’ [1]. Berry explained the concept in terms of the maintenance of cultural heritage and the relationships sought among cultural groups as shown in the following figure [2]. Figure 1 shows that if a society enables individuals from cultural minority groups to maintain their cultural uniqueness while establishing relationships with the core cultural groups, multiculturalism is achieved. -
Szcenárium Art Journal of the National Theatre MITEM English, April 2019
szcenárium Art Journal of the National Theatre MITEM English, April 2019 Zsolt Szász: In the Workshop of Director Attila Vidnyánszky Madách Redivivus – Articles on The Tragedy of Man by Géza Balogh, Ildikó Sirató, Nina Király, Miklós Hubay, Ágnes Pálfi Eszter Katona: Federico García Lorca’s Reception in Hungary Márton P. Gulyás: New Mediality in Woyzeck at the National Theatre in Budapest Valdas Vasiliauskas about Eimuntas Nekrošius and Lithuania’s Youth Theatre “We Understand Our Culture Better Through the Other’s” – Interview with Nina Király AUTHORS Aurylaitė, Kristina (1970) translator, Vytautas Magnus University Balogh, Géza (1936) stage director, theatre historian, board member of UNIMA Durkóné Varga, Nóra (1965) translator, English teacher Hubay, Miklós (1918–2011) playwright, translator, dramaturg Katona, Eszter (1976) reader at Department of Hispanic Studies, University of Szeged Király, Nina (1940–2018) theatre historian, co-worker at the National Theatre in Budapest P. Gulyás, Márton (1980) film aesthete Pálfi, Ágnes (1952) poet, editor of Szcenárium Pinczés, István (1953) stage director, translator Sirató, Ildikó (1966) head of Theatre History Collection at National Széchényi Library, reader at Pannon University Szász, Zsolt (1959) puppeteer, dramaturg, stage director, managing editor of Szcenárium Vasiliauskas, Valdas (1951) theatre critic, editor, politician Vértes, László (1966) translator, interpreter Vidnyánszky, Attila (1964) stage director, general manager of the National Theatre in Budapest Támogatók PUBLISHER -
The Irish Theme in the Writings of Bill Naughton by David Pierce York St John College
Estudios Irlandeses, Number 0, 2005, pp. 102-116 _______________________________________________________________________________ AEDEI The Irish Theme in the Writings of Bill Naughton By David Pierce York St John College _____________________________________________________________________ Copyright (c) 2005 by David Pierce. This text may be archived and redistributed in electronic form, provided that the author and journal are properly cited and no fee is charged for access. Archiving, redistribution, or republication of this text on other terms, in any medium, requires the notification of the journal and consent of the author. __________________________________________________________________________________________ Abstract: The student interested in cultural assimilation, hybridity, and naturalization, in masculinity, authorship, and identity, in what happened to the Irish in Britain in the twentieth century, will turn at some point to the Mayo-born, Lancashire writer Bill Naughton (1910-1992), author of a classic children’s story collection The Goalkeeper’s Revenge and Other Stories (1961), of Alfie (1965), the film which helped define 1960s London, and of a series of autobiographies largely centering on his Irish childhood and upbringing in Bolton. It has been the historic role of Irish writers from Richard Brinsley Sheridan to Oscar Wilde, from Elizabeth Bowen to William Trevor, to give the English back to themselves in a gallery of portraits. Naughton is part of this tradition, but, unlike these other writers, his subject is the English working class, which he writes about from within, with both sympathy and knowledge. It can be readily conceded that his work is not at the forefront of modern English or Irish writing, but it does deserve to be better known and appreciated. -
Balboa Park Facilities
';'fl 0 BalboaPark Cl ub a) Timken MuseumofArt ~ '------___J .__ _________ _J o,"'".__ _____ __, 8 PalisadesBuilding fDLily Pond ,------,r-----,- U.,..p_a_s ..,.t,..._---~ i3.~------ a MarieHitchcock Puppet Theatre G BotanicalBuild ing - D b RecitalHall Q) Casade l Prado \ l::..-=--=--=---:::-- c Parkand Recreation Department a Casadel Prado Patio A Q SanD iegoAutomot iveMuseum b Casadel Prado Pat io B ca 0 SanD iegoAerospace Museum c Casadel Prado Theate r • StarlightBow l G Casade Balboa 0 MunicipalGymnasium a MuseumofPhotograph icArts 0 SanD iegoHall of Champions b MuseumofSan Diego History 0 Houseof PacificRelat ionsInternational Cottages c SanDiego Mode l RailroadMuseum d BalboaArt Conservation Cente r C) UnitedNations Bui lding e Committeeof100 G Hallof Nations u f Cafein the Park SpreckelsOrgan Pavilion 4D g SanDiego Historical Society Research Archives 0 JapaneseFriendship Garden u • G) CommunityChristmas Tree G Zoro Garden ~ fI) ReubenH.Fleet Science Center CDPalm Canyon G) Plaza deBalboa and the Bea Evenson Fountain fl G) HouseofCharm a MingeiInternationa l Museum G) SanDiego Natural History Museum I b SanD iegoArt I nstitute (D RoseGarden j t::::J c:::i C) AlcazarGarden (!) DesertGarden G) MoretonBay Ag T ree •........ ••• . I G) SanDiego Museum ofMan (Ca liforniaTower) !il' . .- . WestGate (D PhotographicArts Bui lding ■ • ■ Cl) 8°I .■ m·■ .. •'---- G) CabrilloBridge G) SpanishVillage Art Center 0 ... ■ .■ :-, ■ ■ BalboaPar kCarouse l ■ ■ LawnBowling Greens G 8 Cl) I f) SeftonPlaza G MiniatureRail road aa a Founders'Plaza Cl)San Diego Zoo Entrance b KateSessions Statue G) War MemorialBuil ding fl) MarstonPoint ~ CentroCu lturalde la Raza 6) FireAlarm Building mWorld Beat Cultura l Center t) BalboaClub e BalboaPark Activ ity Center fl) RedwoodBrid geCl ub 6) Veteran'sMuseum and Memo rial Center G MarstonHouse and Garden e SanDiego American Indian Cultural Center andMuseum $ OldG lobeTheatre Comp lex e) SanDiego Museum ofArt 6) Administration BuildingCo urtyard a MayS. -
Programming and Award-Winning Work in the Community
We l c o m e t o Welcome – it’s so good to have you What an exciting time to be at The Old here! Globe! We’re wrapping up an enormously suc- It’s “one from column A, and one cessful 2004 Winter Season, during which we from column B” for this last round of hosted the great American playwright Arthur Season 2004, and they couldn’t be Miller for his incredible production of more polar opposites, nor more beauti- Resurrection Blues, and presented William Inge’s fully yoked together. classic Bus Stop, plus Pulitzer Prize-winner Nilo In the Globe, Stephen Wadsworth Cruz’s Two Sisters and a Piano. We’re now getting returns with his celebrated Don Juan, one of the great and into gear for summer, highlighted by the much-anticipated challenging classics of Moliere, no where as farcical as the Shakespeare Festival, alongside the delightful new musical Lucky Duck, more familiar productions we’ve hosted over the years, but a directed by 2002 Tony Award®-winner John Rando, and a contempo- great, probing, and fascinating take on the life of the famous rary comedy, The Intelligent Design of Jenny Chow. reprobate that stands with Mozart’s Don Giovanni in its repu- We’ve just announced our 2004/2005 Winter Season as well, tation. Wadsworth is one of the true originals directing these continuing the Globe’s tradition of artistic excellence with an ambi- days, whose intense mastery of the works of the 17th and tious line-up of some of the most significant work being produced in 18th Centuries – whether it be Handel’s opera, Xerxes or the the theatre today. -
Entertainment
THURSDAY, NOV. 3, IH8 THE GEORGIA STATE SIGNAL BILLDIAL ENTERTAINMENT 'Alfie,' 'Seconds' Share Qualities Of Writing, Acting and Directing ~~ftlqoql "Alfie" and "Seconds" may "ALFIE" WAS directed by by Alfie and later submits to a seem to be strange bedfellows Lewis Gilbert, and his style is repulsive and degrading abor- Mf)VIES - RECORDS - BOOKS for a comparative review. "Al- more traditional. At least his tion. fie" is a British comedy about technique of photographing the We return, after considera- a lovable rogue who moves action of the film is less ob- tion of the various qualities of casually from one "bird" to the viously experimental than these films and of.their super- next 'with never, or hardly Frankenheimer's. For the most ficial differences, to the in- Sound Tracks Sound Good ever, a thought about tomor- part, the viewer is unaware of herent similarities in theme row. the film-making process itself, which tie them together. To Record Makers, Buyers "Seconds" is an American which is exactly what Gilbert THE ALL too obvious point horror movie a middle-aged by ED SIIEAIIAN intended. of "Seconds," and the irony of banker, bored with his subur- "Lara's Theme' - was it before you saw "Dr. Zhivago that What is most important to the title derives from this you realized that was quite a song? I'll bet you can't even re- ban life and his suburban wife, him is what should be most im- point, is that there are no 'sec- who submits to plastic surgery member now. It may have been the day after! portant to -his audience: Alfie's onds." The painful experiences which cuts 15 years from his That's the way with a good REED LINES: Mr. -
1998 Acquisitions
1998 Acquisitions PAINTINGS PRINTS Carl Rice Embrey, Shells, 1972. Acrylic on panel, 47 7/8 x 71 7/8 in. Albert Belleroche, Rêverie, 1903. Lithograph, image 13 3/4 x Museum purchase with funds from Charline and Red McCombs, 17 1/4 in. Museum purchase, 1998.5. 1998.3. Henry Caro-Delvaille, Maternité, ca.1905. Lithograph, Ernest Lawson, Harbor in Winter, ca. 1908. Oil on canvas, image 22 x 17 1/4 in. Museum purchase, 1998.6. 24 1/4 x 29 1/2 in. Bequest of Gloria and Dan Oppenheimer, Honoré Daumier, Ne vous y frottez pas (Don’t Meddle With It), 1834. 1998.10. Lithograph, image 13 1/4 x 17 3/4 in. Museum purchase in memory Bill Reily, Variations on a Xuande Bowl, 1959. Oil on canvas, of Alexander J. Oppenheimer, 1998.23. 70 1/2 x 54 in. Gift of Maryanne MacGuarin Leeper in memory of Marsden Hartley, Apples in a Basket, 1923. Lithograph, image Blanche and John Palmer Leeper, 1998.21. 13 1/2 x 18 1/2 in. Museum purchase in memory of Alexander J. Kent Rush, Untitled, 1978. Collage with acrylic, charcoal, and Oppenheimer, 1998.24. graphite on panel, 67 x 48 in. Gift of Jane and Arthur Stieren, Maximilian Kurzweil, Der Polster (The Pillow), ca.1903. 1998.9. Woodcut, image 11 1/4 x 10 1/4 in. Gift of Mr. and Mrs. Frederic J. SCULPTURE Oppenheimer in memory of Alexander J. Oppenheimer, 1998.4. Pierre-Jean David d’Angers, Philopoemen, 1837. Gilded bronze, Louis LeGrand, The End, ca.1887. Two etching and aquatints, 19 in. -
Programming; Providing an Environment for the Growth and Education of Theatre Professionals, Audiences and the Community at Large
NOVEMBER 2012 November 17 - December 29 Dr. Seuss Properties TM & (c) 1957 and 2012 Dr. Seuss Enterprises, L.P. All Rights Reserved. Welcome to Welcome to Whoville! We are pleased to be addressing you jointly for the very first time as we launch a new chapter in the history of The Old Globe. We look forward to honoring and building upon this theatre’s cherished traditions by creating extraordinary theatre for you. DOUG GATES No Globe tradition is more beloved than our annual Managing Director Michael G. Murphy with recently appointed production of Dr. Seuss’ How the Grinch Stole Artistic Director Barry Edelstein. Christmas! We celebrate its 15th Anniversary this year, a milestone that would not have been possible without the support of one very special person. For more than three decades, Audrey Geisel has been close to the heart of The Old Globe, providing support through her kindness, warm smile, charming wit and great generosity. She is a champion of the arts in this community, serving as philanthropist, advocate and leader for many institutions. The production that you see today is on our stage thanks to Theodor Geisel’s creativity and Audrey’s vision and most sincere friendship. Tens of thousands of children have come to know live theatre through the Grinch, and we are grateful to Audrey that each year we are able to mount this production and introduce more young people to this magical art form. We are so proud that for the last 15 years, our audiences have made The Old Globe part of their holiday celebrations. -
Ahmanson Theatre
AHMANSON THEATRE 1967-68 PREMIERE SEASON 1968-69 SEASON “More Stately Mansions” “Captain Brassbound’s Conversion” by Eugene O’Neill; by George Bernard Shaw; Starring Ingrid Bergman, Arthur Hill Starring Greer Garson, and Colleen Dewhurst; Darren McGavin, Jim Backus, Paul Directed by José Quintero. Ford, John Williams, George Rose (American Premiere). and Tony Tanner; September 12 - October 21, 1967. Directed by Joseph Anthony. “The Happy Time” September 24 - November 9, 1968. Book by N. Richard Nash; “Love Match” Based on the play by Samuel A. Book by Christian Hamilton; Taylor and the book by Robert L. Music by David Shire; Fontaine; Music by John Kander; Lyrics by Richard Maltby Jr.; Lyrics by Fred Ebb; Starring Patricia Routledge, Starring Robert Goulet and Michael Allinson and Hal Linden; David Wayne; Directed and choreographed by Directed and choreographed by Danny Daniels. Gower Champion. (World Premiere). (World Premiere). November 19, 1968 - January 4, 1969. November 13 - December 23, 1967. The Royal Shakespeare Company in The Royal Shakespeare Company in “Dr. Faustus” “As You Like It” by Christopher Marlowe; by William Shakespeare; Directed by Clifford Williams. Directed by David Jones. “Much Ado About Nothing” “The Taming of the Shrew” by William Shakespeare; by William Shakespeare; Directed by Trevor Nunn. Directed by Trevor Nunn. January 14 - March 1, 1969. January 2 - February 10, 1968. “Rosencrantz and Guildenstern Are Dead” “Catch My Soul” by Tom Stoppard; Words by William Shakespeare; Starring Brian Murray and Music by Ray Pohlman; George Backman; Starring William Marshall, Jerry Lee Directed by Derek Goldby. Lewis and Julienne Marie; March 11 - April 26, 1969.