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Thanks and Congratulates
ATHE Annual Awards Ceremony Thursday, August 1, 2013 – 5:00 PM – 6:00 PM Grand Cypress Ballroom DEF, Ballroom Level ATHE proudly salutes its nine award winners in this plenary, followed by the Keynote presentation . Vice President for Awards, Kevin Wetmore and his 2013 Awards Committee members will present the award recipients to the conference attendees . Ellen Stewart Career Achievement Subsequent plays include The House of Sleeping Beauties Award for Professional Theatre (adapted from a novel by Kawabata Yasunari), The Sound of a Voice (subsequently adapted into an opera with P David Henry Hwang is the 2013 recipient of the Ellen (L) Phillip Glass), Rich Relations, Face Value, Trying to Find (L) Stewart Career Achievement Award for Professional Chinatown, Golden Child and an adaptation of Peer Gynt, Theatre. among others. His play M. Butterfly premiered in 1988 at AY David Henry Hwang is an Obie-award winning playwright the Eugene O’Neill Theatre on Broadway, running for 777 Bill thanks Doan who is also the first Asian-American to win a Tony Award performances and winning the John Gassner Award, the for Best Play. Born in Los Angeles and Drama Desk Award, the Outer Critics Circle professor of theatre and associate dean educated at Stanford and Yale, Hwang Award, the Tony Award for Best Play and for administration, research & graduate studies studied playwriting under Sam Hwang’s second listing as a finalist Shepard and Maria Irene Fornes. for the Pulitzer Prize for Drama. FOB, his first professionally He has also written numerous produced play, premiered at books for musical and opera, the Stanford Asian American including a revised Flower Theatre Project in 1979 Drum Song, Tarzan, Aida president 2011–13 before being mounted and The Fly. -
Fluidity of Religious Identity in David Henry Hwang's
International Journal of Technical Research and Applications e-ISSN: 2320-8163, www.ijtra.com Volume 5, Issue 4, (July-August) 2017), PP. 36-42 FLUIDITY OF RELIGIOUS IDENTITY IN DAVID HENRY HWANG'S GOLDEN CHILD Rajiha Kamel Muthana (Ph.D) University of Baghdad/ College of Arts/ Department of English Language [email protected] Abstract— Religion plays a significant role in the lives of Both internal and external forces are at play in Hwang's human beings, yet, religious fluidity has its own consequences. Golden Child which depicts this change in religious identity, This paper aims at investigating the impact of religious fluidity as the protagonist Tieng-Bin converts from Confucianism to on the identity of an early twentieth-century Chinese family. Christianity. This change is triggered by Tieng-Bin's Golden Child illustrates how a devoted Confucian Chinese dissatisfaction in his religious beliefs and practices which is struggles to leave parts of his culture behind by converting to considered one of the strongest internal forces. Tieng-Bin's Christianity. Tieng-Bin's conversion brings good and bad consequences to his household. The story ends with the death of travel to the Philippines, his staying there for three years, the Tieng-Bin's two wives , on the one hand, and with rebirth of influence of the Western people he has met there, as well as Tieng-Bin's daughter, Ahn, on the other hand. the influence of Reverend Baines, the missionary, who pays many visits to Tieng-Bin's household are considered external Keywords— Religious Identity, Foot Binding, Christianity, forces. Baines' lectures are attended by Tieng-Bin's second Confucianism, Tieng-Bin. -
Full Interview David Henry Hwang & Mae Ngai
An Interview with Mae Ngai & David Henry Hwang Professors Mae Ngai and David Henry Hwang spoke with us about the impact of COVID-19 on Asian-American communities. We discussed historical forces that have shaped the "model minority" and "perpetual foreigner" stereotypes; the need for bystander training and intersectional allyship; whether art can catalyze social change; and more. Interviews were conducted separately and over the phone. This interview has been edited and condensed for clarity. By: Meghan Gilligan Racism against Asian Americans is not new. How would you contextualize the violence we’ ve witnessed in the past year within the larger history of anti-Asian racism in the U.S.? David Henry Hwang: I think Asians in this country have always been saddled with a perpetual foreigner stereotype. It doesn’t matter how many generations your forebears may have been here, you still get asked: “Where are you really from?” That is a microaggression, but as a result, the way that we are accepted or not accepted here is always a function of America’s relationship to Asia. In periods when there is hostility between the U.S. and Asia, Asian-Americans get caught in the crossfire. That includes World War II and the incarceration of Japanese Americans. It includes the murder of Vincent Chin in the 1980s, when there was tension between the U.S.and Japan, and unemployed auto workers mistook him for Japanese and killed him because they’d lost their jobs. It includes the racial profiling and hate attacks against South-Asian Muslims after 9/11. -
9 Short Plays from the Longest Year of Our Lives
LONG STORY SHORT 9 SHORT PLAYS FROM THE LONGEST YEAR OF OUR LIVES Sponsored by Linda Archer The Law Office of Steven Edward Buckingham Bob & Bev Howard Meghan Riordan & Chris Prince Debra & Tom Strange A Friend of The Warehouse Theatre THE WAREHOUSE THEATRE RECEIVES GENEROUS SUPPORT FROM THE JEAN T. AND HEYWARD G. PELHAM FOUNDATION AND THE HARRIET WYCHE ENDOWMENT BREAK Featuring MACHETE ORDER A LEG! by Marco Ramirez the 1 Sending our well wishes to by Cammi Stilwell Warehouse Theatre for a THIS IS DEREK by Paul Grellong spectacular show run. GERMS by Dorothy Fortenberry THE DESERT by Janine Salinas Schoenberg WAS HERE by Donald Jolly THE RELIEF OF TRUTH by Avery Sharpe SHOOTS fuelforbrands.com by Kristoffer Diaz HOPE by Bekah Brunstetter THE WAREHOUSE THEATRE PRESENTS LONG STORY SHORT BREAK Featuring MACHETE ORDER A LEG! by Marco Ramirez the 1 Sending our well wishes to by Cammi Stilwell Warehouse Theatre for a THIS IS DEREK by Paul Grellong spectacular show run. GERMS by Dorothy Fortenberry THE DESERT by Janine Salinas Schoenberg WAS HERE by Donald Jolly THE RELIEF OF TRUTH by Avery Sharpe SHOOTS fuelforbrands.com by Kristoffer Diaz HOPE by Bekah Brunstetter THE VIDEOTAPING OR MAKING OF ELECTRONIC OR OTHER AUDIO AND/OR VISUAL RECORDINGS OF THIS PRO- DUCTION OR DISTRIBUTING RECORDINGS OF ANY MEDIUM, INCLUDING THE INTERNET, IS STRICTLY PROHIB- ITED, A VIOLATION OF THE AUTHOR’S RIGHTS AND ACTIONABLE UNDER UNITED STATES COPYRIGHT LAW. FROM THE ARTISTIC DIRECTOR There have been many adjustments we’ve had to make at The Warehouse over the past 15 months. -
Curran San Francisco Announces Cast for the Bay Area Premiere of Soft Power a Play with a Musical by David Henry Hwang and Jeanine Tesori
FOR IMMEDIATE RELEASE Curran Press Contact: Julie Richter, Charles Zukow Associates [email protected] | 415.296.0677 CURRAN SAN FRANCISCO ANNOUNCES CAST FOR THE BAY AREA PREMIERE OF SOFT POWER A PLAY WITH A MUSICAL BY DAVID HENRY HWANG AND JEANINE TESORI JUNE 20 – JULY 10, 2018 SAN FRANCISCO (March 6, 2018) – Today, Curran announced the cast of SOFT POWER, a play with a musical by David Henry Hwang (play and lyrics) and Jeanine Tesori (music and additional lyrics). SOFT POWER will make its Bay Area premiere at San Francisco’s Curran theater (445 Geary Street), June 20 – July 8, 2018. Produced by Center Theatre Group, SOFT POWER comes to Curran after its world premiere at the Ahmanson Theatre in Los Angeles from May 3 through June 10, 2018. Tickets for SOFT POWER are currently only available to #CURRAN2018 subscribers. Single tickets will be announced at a later date. With SOFT POWER, a contemporary comedy explodes into a musical fantasia in the first collaboration between two of America’s great theatre artists: Tony Award winners David Henry Hwang (M. Butterfly, Flower Drum Song) and Jeanine Tesori (Fun Home). Directed by Leigh Silverman (Violet) and choreographed by Sam Pinkleton (Natasha, Pierre, & the Great Comet of 1812), SOFT POWER rewinds our recent political history and plays it back, a century later, through the Chinese lens of a future, beloved East-meets-West musical. In the musical, a Chinese executive who is visiting America finds himself falling in love with a good-hearted U.S. leader as the power balance between their two countries shifts following the 2016 election. -
Songs by Title Karaoke Night with the Patman
Songs By Title Karaoke Night with the Patman Title Versions Title Versions 10 Years 3 Libras Wasteland SC Perfect Circle SI 10,000 Maniacs 3 Of Hearts Because The Night SC Love Is Enough SC Candy Everybody Wants DK 30 Seconds To Mars More Than This SC Kill SC These Are The Days SC 311 Trouble Me SC All Mixed Up SC 100 Proof Aged In Soul Don't Tread On Me SC Somebody's Been Sleeping SC Down SC 10CC Love Song SC I'm Not In Love DK You Wouldn't Believe SC Things We Do For Love SC 38 Special 112 Back Where You Belong SI Come See Me SC Caught Up In You SC Dance With Me SC Hold On Loosely AH It's Over Now SC If I'd Been The One SC Only You SC Rockin' Onto The Night SC Peaches And Cream SC Second Chance SC U Already Know SC Teacher, Teacher SC 12 Gauge Wild Eyed Southern Boys SC Dunkie Butt SC 3LW 1910 Fruitgum Co. No More (Baby I'm A Do Right) SC 1, 2, 3 Redlight SC 3T Simon Says DK Anything SC 1975 Tease Me SC The Sound SI 4 Non Blondes 2 Live Crew What's Up DK Doo Wah Diddy SC 4 P.M. Me So Horny SC Lay Down Your Love SC We Want Some Pussy SC Sukiyaki DK 2 Pac 4 Runner California Love (Original Version) SC Ripples SC Changes SC That Was Him SC Thugz Mansion SC 42nd Street 20 Fingers 42nd Street Song SC Short Dick Man SC We're In The Money SC 3 Doors Down 5 Seconds Of Summer Away From The Sun SC Amnesia SI Be Like That SC She Looks So Perfect SI Behind Those Eyes SC 5 Stairsteps Duck & Run SC Ooh Child SC Here By Me CB 50 Cent Here Without You CB Disco Inferno SC Kryptonite SC If I Can't SC Let Me Go SC In Da Club HT Live For Today SC P.I.M.P. -
Tarzan the Censored
TARZAN THE CENSORED by Jerry L. Schneider Forward In "Edgar Rice Burroughs: Master of Adventure" by Richard A. Lupoff, the author stated that the Ballantine Books' versions of the Tarzan series were edited (evidently for political correctness), not the "all complete and unabridged" as Ballantine stated on the paperbacks. So, armed with the earliest hardcover editions that I owned in my collection (McClurg, A. L. Burt, Grosset & Dunlap, Burroughs Inc., and Canaveral Press) and post 1969 Ballantine editions, I scanned through them for discrepancies and changes. There were changes from the early hardcovers that I found in some of the paperbacks. Some of the books in the Tarzan series were edited for "political correctness" with regards to ethnicity dialects and derogatory terms. Hard to read dialects (or hard to typeset) were changed to an easier form (i.e. hit's changed to it's, heat to eat, and hour to our), while extremely derogatory terms such as Jew (see Tarzan and the Golden Lion) and nigger were altered or eliminated (not for the betterment of the story as the alteration in the words has lessened the impact the originals imparted to the reader—the level of anger toward the character who spoke the words has been lessened). The term "black" remained in place in some books but removed from others—no rhyme or reason to the changes. Esmeralda's original dialect in "Tarzan of the Apes" remained in place through 1969, then edited downward to an easier and friendlier version. Because of these changes, an in-depth look at the various editions of "Tarzan of the Apes" is shown below, while the other books in the Tarzan series are only compared by using an early hardcover version and the first version that was edited, usually the Ballantine edition. -
Finding, Reclaiming, and Reinventing Identity Through DNA: the DNA Trail
The Japanese Journal of American Studies, No. 23 (2012) Finding, Reclaiming, and Reinventing Identity through DNA: The DNA Trail Yuko KURAHASHI* The DNA Trail: A Genealogy of Short Plays about Ancestry, Identity, and Utter Confusion (2011) is a collection of seven fifteen-to-twenty minute plays by veteran Asian American playwrights whose plays have been staged nationally and internationally since the 1980s. The plays include Philip Kan Gotanda’s “Child Is Father to Man,” Velina Hasu Houston’s “Mother Road,” David Henry Hwang’s “A Very DNA Reunion,” Elizabeth Wong’s “Finding Your Inner Zulu,” Shishir Kurup’s “Bolt from the Blue,” Lina Patel’s “That Could Be You,” and Jamil Khoury’s “WASP: White Arab Slovak Pole.” Conceived by Jamil Khoury and commissioned and developed by Silk Road Theatre Project in Chicago in association with the Goodman Theatre, a full production of the seven plays was mounted at Silk Road Theatre Project in March and April 2010.1 On January 22, 2011, Visions and Voices: The USC Arts and Humanities Initiative presented a staged reading at the Uni- versity of Southern California, Los Angeles, using revised scripts. The staged reading was directed by Goodman Theatre associate producer Steve Scott, who had also directed the original production.2 San Francisco–based playwright Gotanda has written plays that reflect his yearning to learn the stories of his Japanese American parents, and their friends and relatives. His plays include A Song for a Nisei Fisherman (1980), The Wash (1985), Ballad of Yachiyo (1996), and Sisters *Associate Professor, Kent State University 285 286 YUKO KURAHASHI Matsumoto (1997). -
M. Butterfly As Total Theatre
M. Butterfly as Total Theatre Mª Isabel Seguro Gómez Universitat de Barcelona [email protected] Abstract The aim of this article is to analyse David Henry Hwang’s M. Butterfly from the perspective of a semiotics on theatre, following the work of Elaine Aston and George Savona (1991). The reason for such an approach is that Hwang’s play has mostly been analysed as a critique of the interconnections between imperialism and sexism, neglecting its theatricality. My argument is that the theatrical techniques used by the playwright are also a fundamental aspect to be considered in the deconstruction of the Orient and the Other. In a 1988 interview, David Henry Hwang expressed what could be considered as his manifest on theatre whilst M. Butterfly was still being performed with great commercial success on Broadway:1 I am generally interested in ways to create total theatre, theatre which utilizes whatever the medium has to offer to create an effect—just to keep an audience interested—whether there’s dance or music or opera or comedy. All these things are very theatrical, even makeup changes and costumes—possibly because I grew up in a generation which isn’t that acquainted with theatre. For theatre to hold my interest, it needs to pull out all its stops and take advantage of everything it has— what it can do better than film and television. So it’s very important for me to exploit those elements.… (1989a: 152-53) From this perspective, I would like to analyse the theatricality of M. Butterfly as an aspect of the play to which, traditionally, not much attention has been paid to as to its content and plot. -
Tarzan's Quest
Tarzan's Quest By Edgar Rice Burroughs Tarzan's Quest 1. THE PRINCESS SBOROV "My dear Jane, you know everyone." "Not quite, Hazel; but one sees everyone in the Savoy." "Who is that woman at the second table to our right?—the one who spoke so cordially. There is something very familiar about her—I'm sure I've seen her before." "You probably have. Don't you remember Kitty Krause?" "O-oh, yes; now I recall her. But she went with an older crowd." "Yes, she's a full generation ahead of us; but Kitty'd like to forget that and have everyone else forget it." "Let's see—she married Peters, the cotton king, didn't she?" "Yes, and when he died he left her so many millions she didn't have enough fingers to count 'em on; so the poor woman will never know how rich she is." "Is that her son with her?" "Son, my dear! That's her new husband." "Husband? Why, she's old enough to—" "Yes, of course; but you see he's a prince, and Kitty always was— er—well, ambitious." "Yes, I recall now—something of a climber; but she climbed pretty high, even in aristocratic old Baltimore, with those Peters millions." "But she's an awfully good soul, Hazel. I'm really very fond of her. There isn't anything she wouldn't do for a friend, and underneath that one silly complex of hers is a heart of gold." "And kind to her mother! If anyone ever says I'm good-hearted, I'll —" "S-sh, Hazel; she's coming over." The older woman, followed by her husband, swooped down upon them. -
Reminds of 9/11 Tragic Situation
‘Come from Away’ reminds of 9/11 tragic situation Posted by Bob Evans BROADWAY’S TONY® AWARD-WINNING “MUST-SEE MUSICAL” (NPR) COME FROM AWAY PLAYS KANSAS CITY’S MUSIC HALL FEBRUARY 11-16, 2020 Kansas City is thrilled to announce the national tour of COME FROM AWAY, a Broadway musical about the true story of the small town that welcomed the world, will make its Kansas City debut at the Music Hall February 11-16, 2020. Tickets for COME FROM AWAY are on sale now and are available online at Ticketmaster.com, or at the Music Hall box office, at 301 W. 13th Street. Groups of 10+ call 1.866.314.7687. The touring production of COME FROM AWAY will star Marika Aubrey (Lincoln Center’s South Pacific), Kevin Carolan (Disney’s Newsies), Harter Clingman (Peter and The Starcatcher), Nick Duckart (In the Heights), Chamblee Ferguson, Christine Toy Johnson (The Music Man), Julie Johnson (Memphis), James Earl Jones II (The Gershwin’s Porgy and Bess), Julia Knitel (Beautiful), Andrew Samonsky (South Pacific), Sharone Sayegh (The Band’s Visit), Danielle K. Thomas (Avenue Q), Jenny Ashman, Jane Bunting, Amelia Cormack, Aaron Michael Ray, Kilty Reidy and Brandon Springman. With a book, music and lyrics by Tony® and Grammy Award® nominees Irene Sankoff & David Hein,COME FROM AWAY is directed by Tony Award® winner Christopher Ashley (Come From Away), musical staging by two-time Tony Award® nominee Kelly Devine(Come From Away, Rocky), with music supervision by Grammy Award® nominee Ian Eisendrath (Come From Away), scenic design by Tony Award® winner Beowulf Boritt (Act One), costume design by Tony Award® nominee Toni-Leslie James (Jelly’s Last Jam), lighting design by two-time Tony Award® winner Howell Binkley (Hamilton), sound design by Tony Award® nominee Gareth Owen (End of the Rainbow), orchestrations by Tony Award® nominee August Eriksmoen (Bright Star), music arrangements by Grammy Award® nominee Ian Eisendrath and casting by Telsey + Company. -
Finding Aid for the Gary L. Hill Broadway Theatre Guild Stage Door Collection Collection 349
Finding aid for the Gary L. Hill Broadway Theatre Guild Stage Door collection Collection 349 This finding aid was produced using ArchivesSpace on July 20, 2021. Describing Archives: A Content Standard Grand Rapids History and Special Collections 111 Library Street NE Grand Rapids, Michigan 49503 [email protected] URL: https://www.grpl.org/research/history/ Finding aid for the Gary L. Hill Broadway Theatre Guild Stage Door collection Collection 349 Table of Contents Summary Information ......................................................................................................................................... 4 Biographical / Historical ...................................................................................................................................... 4 Scope and Contents .............................................................................................................................................. 6 Administrative Information ............................................................................................................................... 6 Controlled Access Headings ............................................................................................................................... 7 Collection Inventory ............................................................................................................................................. 7 Series I. Historical & Biographical information. ......................................................................................