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OSLO Big Winner at the 2017 Lucille Lortel Awards, Full List! by BWW News Desk May
Click Here for More Articles on 2017 AWARDS SEASON OSLO Big Winner at the 2017 Lucille Lortel Awards, Full List! by BWW News Desk May. 7, 2017 Tweet Share The Lortel Awards were presented May 7, 2017 at NYU Skirball Center beginning at 7:00 PM EST. This year's event was hosted by actor and comedian, Taran Killam, and once again served as a benefit for The Actors Fund. Leading the nominations this year with 7 each are the new musical, Hadestown - a folk opera produced by New York Theatre Workshop - and Sweeney Todd: The Demon Barber of Fleet Street, currently at the Barrow Street Theatre, which has been converted into a pie shop for the intimate staging. In the category of plays, both Paula Vogel's Indecent and J.T. Rogers' Oslo, current Broadway transfers, earned a total of 4 nominations, including for Outstanding Play. Playwrights Horizons' A Life also earned 4 total nominations, including for star David Hyde Pierce and director Anne Kauffman, earning her 4th career Lortel Award nomination; as did MCC Theater's YEN, including one for recent Academy Award nominee Lucas Hedges for Outstanding Lead Actor. Lighting Designer Ben Stanton earned a nomination for the fifth consecutive year - and his seventh career nomination, including a win in 2011 - for his work on YEN. Check below for live updates from the ceremony. Winners will be marked: **Winner** Outstanding Play Indecent Produced by Vineyard Theatre in association with La Jolla Playhouse and Yale Repertory Theatre Written by Paula Vogel, Created by Paula Vogel & Rebecca Taichman Oslo **Winner** Produced by Lincoln Center Theater Written by J.T. -
Rte Guide Tv Listings Ten
Rte guide tv listings ten Continue For the radio station RTS, watch Radio RTS 1. RTE1 redirects here. For sister service channel, see Irish television station This article needs additional quotes to check. Please help improve this article by adding quotes to reliable sources. Non-sources of materials can be challenged and removed. Найти источники: РТЗ Один - новости газеты книги ученый JSTOR (March 2020) (Learn how and when to remove this template message) RTÉ One / RTÉ a hAonCountryIrelandBroadcast areaIreland & Northern IrelandWorldwide (online)SloganFuel Your Imagination Stay at home (during the Covid 19 pandemic)HeadquartersDonnybrook, DublinProgrammingLanguage(s)EnglishIrishIrish Sign LanguagePicture format1080i 16:9 (HDTV) (2013–) 576i 16:9 (SDTV) (2005–) 576i 4:3 (SDTV) (1961–2005)Timeshift serviceRTÉ One +1OwnershipOwnerRaidió Teilifís ÉireannKey peopleGeorge Dixon(Channel Controller)Sister channelsRTÉ2RTÉ News NowRTÉjrTRTÉHistoryLaunched31 December 1961Former namesTelefís Éireann (1961–1966) RTÉ (1966–1978) RTÉ 1 (1978–1995)LinksWebsitewww.rte.ie/tv/rteone.htmlAvailabilityTerrestrialSaorviewChannel 1 (HD)Channel 11 (+1)Freeview (Northern Ireland only)Channel 52CableVirgin Media IrelandChannel 101Channel 107 (+1)Channel 135 (HD)Virgin Media UK (Northern Ireland only)Channel 875SatelliteSaorsatChannel 1 (HD)Channel 11 (+1)Sky IrelandChannel 101 (SD/HD)Channel 201 (+1)Channel 801 (SD)Sky UK (Northern Ireland only)Channel 161IPTVEir TVChannel 101Channel 107 (+1)Channel 115 (HD)Streaming mediaVirgin TV AnywhereWatch liveAer TVWatch live (Ireland only)RTÉ PlayerWatch live (Ireland Only / Worldwide - depending on rights) RT'One (Irish : RTH hAon) is the main television channel of the Irish state broadcaster, Raidi'teilif's Siranne (RTW), and it is the most popular and most popular television channel in Ireland. It was launched as Telefes Siranne on December 31, 1961, it was renamed RTH in 1966, and it was renamed RTS 1 after the launch of RTW 2 in 1978. -
About Endgame
IN ASSOCIATION WITH BLINDER FILMS presents in coproduction with UMEDIA in association with FÍS ÉIREANN / SCREEN IRELAND, INEVITABLE PICTURES and EPIC PICTURES GROUP THE HAUNTINGS BEGIN IN THEATERS MARCH, 2020 Written and Directed by MIKE AHERN & ENDA LOUGHMAN Starring Maeve Higgins, Barry Ward, Risteárd Cooper, Jamie Beamish, Terri Chandler With Will Forte And Claudia O’Doherty 93 min. – Ireland / Belgium – MPAA Rating: R WEBSITE: www.CrankedUpFilms.com/ExtraOrdinary / http://rosesdrivingschool.com/ SOCIAL MEDIA: Facebook - Twitter - Instagram HASHTAG: #ExtraOrdinary #ChristianWinterComeback #CosmicWoman #EverydayHauntings STILLS/NOTES: Link TRAILER: https://www.youtube.com/watch?v=x1TvL5ZL6Sc For additional information please contact: New York: Leigh Wolfson: [email protected]: 212.373.6149 Nina Baron: [email protected] – 212.272.6150 Los Angeles: Margaret Gordon: [email protected] – 310.854.4726 Emily Maroon – [email protected] – 310.854.3289 Field: Sara Blue - [email protected] - 303-955-8854 1 LOGLINE Rose, a mostly sweet & mostly lonely Irish small-town driving instructor, must use her supernatural talents to save the daughter of Martin (also mostly sweet & lonely) from a washed-up rock star who is using her in a Satanic pact to reignite his fame. SHORT SYNOPSIS Rose, a sweet, lonely driving instructor in rural Ireland, is gifted with supernatural abilities. Rose has a love/hate relationship with her ‘talents’ & tries to ignore the constant spirit related requests from locals - to exorcise possessed rubbish bins or haunted gravel. But! Christian Winter, a washed up, one-hit-wonder rock star, has made a pact with the devil for a return to greatness! He puts a spell on a local teenager- making her levitate. -
The Shubert Foundation 2020 Grants
The Shubert Foundation 2020 Grants THEATRE About Face Theatre Chicago, IL $20,000 The Acting Company New York, NY 80,000 Actor's Express Atlanta, GA 30,000 The Actors' Gang Culver City, CA 45,000 Actor's Theatre of Charlotte Charlotte, NC 30,000 Actors Theatre of Louisville Louisville, KY 200,000 Adirondack Theatre Festival Glens Falls, NY 25,000 Adventure Theatre Glen Echo, MD 45,000 Alabama Shakespeare Festival Montgomery, AL 165,000 Alley Theatre Houston, TX 75,000 Alliance Theatre Company Atlanta, GA 220,000 American Blues Theater Chicago, IL 20,000 American Conservatory Theater San Francisco, CA 190,000 American Players Theatre Spring Green, WI 50,000 American Repertory Theatre Cambridge, MA 250,000 American Shakespeare Center Staunton, VA 30,000 American Stage Company St. Petersburg, FL 35,000 American Theater Group East Brunswick, NJ 15,000 Amphibian Stage Productions Fort Worth, TX 20,000 Antaeus Company Glendale, CA 15,000 Arden Theatre Company Philadelphia, PA 95,000 Arena Stage Washington, DC 325,000 Arizona Theatre Company Tucson, AZ 50,000 Arkansas Arts Center Children's Theatre Little Rock, AR 20,000 Ars Nova New York, NY 70,000 Artists Repertory Theatre Portland, OR 60,000 Arts Emerson Boston, MA 30,000 ArtsPower National Touring Theatre Cedar Grove, NJ 15,000 Asolo Repertory Theatre Sarasota, FL 65,000 Atlantic Theater Company New York, NY 200,000 Aurora Theatre Lawrenceville, GA 30,000 Aurora Theatre Company Berkeley, CA 40,000 Austin Playhouse Austin, TX 20,000 Azuka Theatre Philadelphia, PA 15,000 Barrington Stage Company -
Applause Magazine, Applause Building, 68 Long Acre, London WC2E 9JQ
1 GENE WIL Laughing all the way to the 23rd Making a difference LONDON'S THEATRE CRITI Are they going soft? PIUS SAVE £££ on your theatre tickets ,~~ 1~~EGm~ Gf1ll~ G~rick ~he ~ ~ e,London f F~[[ IIC~[I with ever~ full price ticket purchased ~t £23.50 Phone 0171-312 1991 9 771364 763009 Editor's Letter 'ThFl rul )U -; lmalid' was a phrase coined by the playwright and humourl:'t G eorge S. Kaufman to describe the ailing but always ~t:"o lh e m Broadway Theatre in the late 1930' s . " \\ . ;t" )ur ul\'n 'fabulous invalid' - the West End - seems in danger of 'e:' .m :: Lw er from lack of nourishmem, let' s hope that, like Broadway - presently in re . \ ,'1 'n - it too is resilient enough to make a comple te recovery and confound the r .: i " \\' ho accuse it of being an en vironmenta lly no-go area whose theatrical x ;'lrJ io n" refuse to stretch beyond tired reviva ls and boulevard bon-bons. I i, clUite true that the season just past has hardly been a vintage one. And while there is no question that the subsidised sector attracts new plays that, =5 'ears ago would a lmost certainly have found their way o nto Shaftes bury Avenue, l ere is, I am convinced, enough vitality and ingenuity left amo ng London's main -s tream producers to confirm that reports of the West End's te rminal dec line ;:m: greatly exaggerated. I have been a profeSSi onal reviewer long enough to appreciate the cyclical nature of the business. -
Triskele Fall 2004.Pmd
TRISKELE A newsletter of UWM’s Center for Celtic Studies Volume III, Issue II Samhain, 2004 Fáilte! Croeso! Mannbet! Kroesan! Fair Faa Ye! Welcome! Midwest ACIS Comes to Milwaukee The annual Midwest Regional meeting of the American Conference for Irish Studies (ACIS) was held on the UWM campus from Thursday, October 14, through Saturday, October 16. ACIS is an interdisciplinary scholarly organization founded in 1960. The conference was organized by José Lanters, Nancy Walczyk, and John Gleeson, under the auspices of the Center for Celtic Studies. On Thursday evening, the meeting kicked off in great style with a reception for the delegates in County Clare Irish Inn, with Irish music by Cé. In the course of the evening, James Liddy’s autobiography, The Doctor’s House (Salmon Press, 2004), fresh off the plane from Ireland, was launched, read from, toasted, sold, and sanctioned by the presence of emeritus archbishop Rembert Weakland, who had joined us for the occasion. Friday was a full day, with an exciting academic program of eight panels of four speakers each, on topics ranging from literature and history to music, art and politics. Professor Seamus Caulfield’s Frank Gleeson, Tom Kilroy, James Liddy, plenary lecture, “Neolithic Rocks to Riverdance,” accompanied by Jose Lanters, Josephine Craven, Joe slides and presented with verve and humor, gave his enthusiastic Dowling and Eamonn O’Neill audience an insight into the many and varied aspects of the archaeological excavations at Céide Fields in Co. Mayo. A reception at the Irish Cultural and Heritage Center, hosted by Charles Sheehan, Irish Consulate of Chicago, concluded the day, and included even more delights, in the form of James Fraher’s photographic images of Ireland, and enchanting music by Melanie O’Reilly and Seán O Nualláin. -
Cois Coiribe 2016
COIRIBE COIS Rio The Magazine for GOLD NUI Galway Galway 2020 MedTech in Galway A Changing Campus Alumni & Friends Autumn 2016 NUI Galway Affinity Card. You get, we give. You get a unique credit card and we give back to NUI Galway when you register and each year your Affinity card is active. Our introductory offer gives you a competitive rate of 2.9%¹ APR interest on balance transfers for first 12 months. bankofireland.com/alumni 1890 365 100 Lending criteria terms and conditions apply to all credit cards. Credit cards are liable to Government Stamp Duty of €30. Credit cannot be offered to anyone under 18 years of age. Bank of Ireland is regulated by the Central Bank of Ireland. ¹Available if you don’t currently hold a credit card with Bank of Ireland, whether you have an account with us or not. At the end of the introductory period the annual interest rates revert back to 2 COIS COIRIBEthe standard rate applicable to your card at that time. OMI008172 - NUIG Affinity A4_Portrait Ad_v13.indd 1 03/08/2016 12:35 NUI Galway CONTENTS 2 FOCAL ÓN UACHTARÁN NEWS Affinity Card. 4 The Year in Pictures 6 Research Round-up 10 University News You get, we give. 14 Campus News 26 Student Success FEATURES 16 A New Direction for Sport 22 1916 – Centenary Year 4 24 NASA Mission 28 A Changing Campus - Capital Development 32 Giving Stem Cells a heartbeat 34 MedTech in Galway 24 41 TG4 @ 20 42 Galway 2020 GRADUATES 36 Aoibheann McNamara 37 Paul O’Hara 38 Grads in Silicon Valley 44 Graduations GALWAY UNIVERSITY FOUNDATION 46 Empowering Excellence ALUMNI 6 18 50 Alumni Awards 38 52 Alumni Events 56 Class Notes 64 Obituaries CONTRIBUTORS Jo Lavelle, John Fallon, Ronan McGreevy, Joyce McCreevy, Joe Connolly, Dónall Ó Braonáin, Conor McNamara, Liz McConnell, Ruth Hynes, Sheila Gorham. -
Annual Report 2012
Cover Back Spine: (TBA) Front PMS 032U Knock out Annual Report 2012 LETTER FROM THE MAYOR 4 PART I: 2007–2012: A PERIOD OF AGENCY INNOVATION 11 PART II: AGENCY PORTFOLIO, FY12 37 PROGRAMSERVICES 39 PROGRAM SERVICES AWARD RECIPIENTS 40 CULTURAL DEVELOPMENT FUND PANELISTS 50 CULTURAL AFTER SCHOOL ADVENTURES GRANT RECIPIENTS 53 CULTURAL INSTITUTIONS GROUP 58 CAPITALPROJECTS 63 CAPITAL PROJECTS FUNDED 66 RIBBON CUTTINGS 68 GROUNDBREAKINGS 69 EQUIPMENT PURCHASES 69 COMMUNITY ARTS DEVELOPMENT PROGRAM 70 30TH ANNUAL AWARDS FOR EXCELLENCE IN DESIGN RECIPIENTS 71 PERCENT FOR ART PROGRAM 72 MATERIALS FOR THE ARTS 74 RECIPIENTS OF DONATED GOODS 76 PARTICIPATING SCHOOLS IN ARTS EDUCATION PROGRAMS 88 CULTURAL AFFAIRS ADVISORY COMMISSION 90 MAYOR’S AWARDS FOR ARTS AND CULTURE 91 DEPARTMENT OF CULTURAL AFFAIRS STAFF 92 P HO TO CREDITSPHOTO 94 ACKNOWLEDGEMENTS 95 4 Letter from The Mayor NEW YORK CITY: STRENGTHENING INVESTMENT IN THE ARTS Our City’s cultural organizations are essential arts are to New York City’s vibrancy and to improving to ensuring that New York remains one of the world’s the lives of New Yorkers and visitors from around the great cities. A magnet for talent from around the world, world. In addition, the development of new information our creative community is also a thriving small business technology systems has enabled the Department to track sector that exists in every neighborhood throughout these services and further advocate on behalf of culture’s the five boroughs. That is why our Administration has tremendous impact on our City. made supporting the arts a top priority, and why over And we continue to push boundaries in expanding our the past five years—despite challenging times—we have service to the creative sector. -
Abbey Theatre's
Under the leadership of Artistic Director Barbara Gaines and Executive Director Criss Henderson, Chicago A NOTE FROM DIRECTOR CAITRÍONA MCLAUGHLIN Shakespeare has redefined what a great American Shakespeare theater can be—a company that defies When Neil Murray and Graham McLaren (directors of theatrical category. This Regional Tony Award-winning the Abbey Theatre) asked me to direct Roddy Doyle’s theater’s year-round season features as many as twenty new play Two Pints and tour it to pubs around productions and 650 performances—including plays, Ireland, I was thrilled. As someone who has made musicals, world premieres, family programming, and presentations from around the globe. theatre in an array of found and site-sympathetic The work is enjoyed by 225,000 audience members annually, with one in four under the age of spaces, including pubs, shops, piers, beneath eighteen. Chicago Shakespeare is the city’s leading producer of international work, and touring flyovers, and one time inside a de-sanctified church, its own productions across five continents has garnered multiple accolades, including the putting theatre on in pubs around Ireland felt like a prestigious Laurence Olivier Award. Emblematic of its role as a global theater, the company sort of homecoming. I suspect every theatre director spearheaded Shakespeare 400 Chicago, celebrating Shakespeare’s legacy in a citywide, based outside of Dublin has had a production of yearlong international arts and culture festival, which engaged 1.1 million people. The Theater’s some sort or another perform in a pub, so why did nationally acclaimed arts in literacy programs support the work of English and drama teachers, this feel different? and bring Shakespeare to life on stage for tens of thousands of their students each school year. -
Shakespeare on Film, Video & Stage
William Shakespeare on Film, Video and Stage Titles in bold red font with an asterisk (*) represent the crème de la crème – first choice titles in each category. These are the titles you’ll probably want to explore first. Titles in bold black font are the second- tier – outstanding films that are the next level of artistry and craftsmanship. Once you have experienced the top tier, these are where you should go next. They may not represent the highest achievement in each genre, but they are definitely a cut above the rest. Finally, the titles which are in a regular black font constitute the rest of the films within the genre. I would be the first to admit that some of these may actually be worthy of being “ranked” more highly, but it is a ridiculously subjective matter. Bibliography Shakespeare on Silent Film Robert Hamilton Ball, Theatre Arts Books, 1968. (Reissued by Routledge, 2016.) Shakespeare and the Film Roger Manvell, Praeger, 1971. Shakespeare on Film Jack J. Jorgens, Indiana University Press, 1977. Shakespeare on Television: An Anthology of Essays and Reviews J.C. Bulman, H.R. Coursen, eds., UPNE, 1988. The BBC Shakespeare Plays: Making the Televised Canon Susan Willis, The University of North Carolina Press, 1991. Shakespeare on Screen: An International Filmography and Videography Kenneth S. Rothwell, Neil Schuman Pub., 1991. Still in Movement: Shakespeare on Screen Lorne M. Buchman, Oxford University Press, 1991. Shakespeare Observed: Studies in Performance on Stage and Screen Samuel Crowl, Ohio University Press, 1992. Shakespeare and the Moving Image: The Plays on Film and Television Anthony Davies & Stanley Wells, eds., Cambridge University Press, 1994. -
Englishness in Buffy the Vampire Slayer
Pateman, Matthew. « “You Say Tomato” Englishness in Buffy the Vampire Slayer », Cercles 8 (2003) : 103-113 <www.cercles.com>. ©Cercles 2003. Toute reproduction, même partielle, par quelque procédé que ce soit, est in- terdite sans autorisation préalable (loi du 11 mars 1957, al. 1 de l’art. 40). ISSN : 1292-8968. Matthew Pateman The University of Hull “YOU SAY TOMATO” Englishness in Buffy the Vampire Slayer After finally managing to have Lolita published, Vladimir Nabokov had to confront the various criticisms and concerns regarding his novel. Apart from the obvious attacks against its supposed immorality, Nabokov also had to contend with a range of interpretations that, for the great exponent of subtlety and care, seemed to be reductive and simplifying in the extreme. Among these was included a reading that tended to see the figure of Humbert as represen- tative of Old Europe and which read Lolita herself as synecdochic of America. Thus the novel becomes a tale of brash, crude, young America being debau- ched by the sophisticated but depraved and perverse Europe (Nabokov, “On a book entitled Lolita” 314). While there may be some critical interest in this reading, on its own it inevitably serves to reduce this colossally self-conscious, allusive, intelligent and moving work to the level of a rather blunt allegory. By only allowing the characters to act in one fashion, here as the ciphers of an al- legorical puzzle, the text loses much of its multiplicity and also the thematic, sympathetic and inter-personal resonances it should be allowed. Buffy the Vampire Slayer is not, of course, Lolita. -
Redalyc.DRUID THEATRE's ECONOMICS: the FIRST DECADE
Ilha do Desterro: A Journal of English Language, Literatures in English and Cultural Studies E-ISSN: 2175-8026 [email protected] Universidade Federal de Santa Catarina Brasil Troupe, Shelley DRUID THEATRE’S ECONOMICS: THE FIRST DECADE Ilha do Desterro: A Journal of English Language, Literatures in English and Cultural Studies, núm. 58, enero-junio, 2010, pp. 459-478 Universidade Federal de Santa Catarina Florianópolis, Brasil Available in: http://www.redalyc.org/articulo.oa?id=478348696022 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Druid Theatre's Economics: the First Decade 459 DRUID THEATRE’S ECONOMICS: THE FIRST DECADE Shelley Troupe National University of Ireland Galway Abstract: This article considers the relationship between Druid Theatre’s productions and its administration during the company’s first decade by investigating the links between three features: the company’s fundraising practices; Druid’s infrastructure development in terms of personnel and physical space; and the organisation’s programming choices. Druid’s artistic partnership with Irish playwright Tom Murphy is also examined as it assisted in launching Druid’s international touring when Murphy’s Conversations on a Homecoming was the first Druid production to travel outside of the United States/United Kingdom festival circuit. Keywords: Druid Theatre, Tom Murphy, Ireland, funding, Irish theatre. Druid Theatre commenced production in the summer of 1975 with a repertory of three plays: J.M. Synge’s The Playboy of the Western World, Brian Friel’s The Loves of Cass Maguire and Kevin Laffan’s It’s a Two Foot Six Inches Above the Ground World.