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Dallas Theater Center Announces Changes to Season Schedule
Contact: Paula Paggi, PR/Media Relations Manager (972) 342-4991 ❘ [email protected] Dallas Theater Center Announces Changes to Season Schedule DALLAS (May 4, 2021) - Dallas Theater Center, the 2017 recipient of the Regional Theatre Tony Award®, unveils changes to the rest of their season. Working: A Musical and Public Works Dallas’ A Little Less Lonely will finish out the 2020-2021 schedule. Unfortunately challenges in finding an outdoor venue have led to the cancellation of War of the Worlds. The next show will be Working: A Musical presented at Strauss Square in the AT&T Performing Arts Center July 7-18. Based on Studs Terkel’s bestselling book, this unique musical features the real-life words of average working Americans. Through original songs by Stephen Schwartz (Wicked), Lin-Manuel Miranda (Hamilton, In the Heights), James Taylor and others, Working lifts up the voices of teachers, waiters, truck drivers and the essential workers who often go unnoticed but whose work uplifts our lives day in and day out. “Working is a glorious exploration of why humans strive to do a good day’s work each and every day - even during a pandemic. Simply put, we strive to build upon our parent’s dreams, to build our own dreams, and to build a future for our children’s dreams. Under the beautiful and heartfelt direction of Diane and Hal Brierley Resident Acting Company member, Tiana Kaye Blair, making her Dallas Theater Center directing debut, Working helps us understand the “American” dream takes many shapes and forms. We could not be happier to bring Dallas audiences safely together, outdoors and socially distanced, to share in this musical theater celebration of essential workers, generational dreams and our common humanity,” said Sarahbeth Grossman, Artistic Producer, Dallas Theater Center. -
February 7, 2021
VILLANOVA THEATRE PRESENTS STREAMING JANUARY 28 - FEBRUARY 7, 2021 About Villanova University Since 1842, Villanova University’s Augustinian Catholic intellectual tradition has been the cornerstone of an academic community in which students learn to think critically, act compassionately and succeed while serving others. There are more than 10,000 undergraduate, graduate and law students in the University’s six colleges – the College of Liberal Arts and Sciences, the Villanova School of Business, the College of Engineering, the M. Louise Fitzpatrick College of Nursing, the College of Professional Studies and the Villanova University School of Law. As students grow intellectually, Villanova prepares them to become ethical leaders who create positive change everywhere life takes them. In Gratitude The faculty, staff and students of Villanova Theatre extend sincere gratitude to those generous benefactors who have established endowed funds in support of our efforts: Marianne M. and Charles P. Connolly Jr. ’70 Dorothy Ann and Bernard A. Coyne, Ph.D. ̓55 Patricia M. ’78 and Joseph C. Franzetti ’78 The Donald R. Kurz Family Peter J. Lavezzoli ’60 Patricia A. Maskinas Msgr. Joseph F. X. McCahon ’65 Mary Anne C. Morgan ̓70 and Family & Friends of Brian G. Morgan ̓67, ̓70 Anthony T. Ponturo ’74 Eric J. Schaeffer and Susan Trimble Schaeffer ’78 The Thomas and Tracey Gravina Foundation For information about how you can support the Theatre Department, please contact Heather Potts-Brown, Director of Annual Giving, at (610) 519-4583. gratefully acknowledges the generous support of our many patrons & subscribers. We wish to offer special thanks to our donors. 20-21 Benefactors A Running Friend William R. -
German Operetta on Broadway and in the West End, 1900–1940
Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds. -
2013 Thespian Festival Schedule
2013 THESPIAN FESTIVAL SCHEDULE This is the text of the daily schedule and workshop descriptions for the 2013 Thespian Festival as it will appear in the program Festival delegates will receive when they arrive. Disregard page numbers that occur in the text; they refer to the printed version. MOndaY 6:30 p.m Opening show 9:30 a.m. to 7:30 p.m. Making Magic, Defying Gravity Registration This show will repeat at 9:00 p.m. Sponsored by Disney Parks & Lied Center Resorts Creative Entertainment. Lied Center Noon Kimball main stage directors’ meeting 7:00 to 8:30 p.m. Kimball Theatre College auditions Pre-registration required. 1:30 p.m. Champions Club Lied main stage directors’ meeting Carson Theatre 7:00 p.m. Early show 2:30 to 4:00 p.m. I Never Saw Another Butterfly, by Celeste Raspanti. Troupe First workshop session 3994, Davenport (Iowa) North High School; Helen Duranleau- A limited number of workshops are offered on Monday and Brennan, director. Rating: no offensive language; could be Tuesday. The full workshop schedule begins on Wednes- viewed by anyone. This show will repeat at 9:00 p.m. day. See pages 47-50 for descriptions and locations of all Howell Theatre workshops and pages 51-75 for a complete checklist. The workshop list is also included in the Festival Mobile App and Main stage companies’ celebration preview mini-program. All workshops run twice a day unless other- All delegates welcome to watch. wise noted. Some workshops run in the first or second ses- Student Union Ballroom sion only; others repeat during the week. -
Marie-Luise Bolte Referenzen
Stummfilme begleiten p DIE KOMPONISTIN MARIE-LUISE BOLTE UND IHRE EINZIGARTIGE BEZIEHUNG ZUM GENRE pSTUMMFILM. p 1990p bis 2016 REFERENZEN _ LA CASCADE DE FEU (GEORGE MÉLIÈS, 1903) _ LE FEU D’ARTIFICE (GEORGE MÉLIÈS, 1903) _ LE LOCATAIRE DIABOLIQUE (GEORGE MÉLIÈS, 1904) _ DAS HUHN MIT DEN GOLDENEN EIERN (GASTON VELLE, 1905) _ LE MAGICIEN (GEORGE MÉLIÈS, 1905) _ L’HOMME À LA TÊTE EN CAOUTCHOUC (GEORGE MÉLIÈS, 1908) _ EIN MATROSENABENTEUER (OSCAR MESSTER, 1909) _ HEIMTÜCKISCHE RACHE (CAMILLE DE MORLHON, 1912) _ OSTERGLOCKEN (LOUIS FEUILLADE, 1912) _ A LA CONQUÊTE DU PÔLE (GEORGE MÉLIÈS, 1912) _ DAS TÖPFCHEN (EMIL ALBES, 1912) _ MARIAGE AU REVOLVER (JEAN DURAND, 1912) _ LE RAILWAY DE LA MORT (JEAN DURAND, 1912) _ CŒUR ARDANT (JEAN DURAND, 1912) _ IN NACHT UND EIS (MIME MISU, 1912) _ WIE SICH DER KIENTOPP RÄCHT (GUSTAV TRAUTSCHOLD, 1912/13) _ ERBLICH BELASTET (HARRY PIEL, 1913) _ DAS ROSA PANTÖFFELCHEN (FRANZ HOFER, 1913) _ DAS GESCHENK DES INDERS (LOUIS RALPH, 1913) _ DIE INSEL DER SELIGEN (MAX REINHARDT, D 1913) _ DER MANN IM KELLER (JOE MAY, 1914) _ HIS TRYSTING PLACES (CHARLIE CHAPLIN, 1914) _ FACE ON THE BARROOM FLOR (CHARLIE CHAPLIN, 1914) _ THE VAGABOND (CHARLIE CHAPLIN, 1914) _ WORK (CHARLIE CHAPLIN, 1914) STUMMFILME _ A NIGHT IN THE SHOW (CHARLIE CHAPLIN, 1914) _ DER GESTREIFTE DOMINO (ADOLF GÄRTNER, 1915) _ DIE TOTEN ERWACHEN (ADOLF GÄRTNER, 1915) _ ROBERT UND BERTRAM (MAX MACK, 1915) _ DER MAGISCHE GÜRTEL (HANS BRENNERT, 1917) _ DER GELBE SCHEIN (VICTOR JANSON, 1918) _ HAGENBECK-FILME (DOKUMENTARFILME 1918–1928) _ VERITAS VINCIT (JOE MAY, 1918) _ ICH MÖCHTE KEIN MANN SEIN (ERNST LUBITSCH, 1918) _ OPIUM (ROBERT REINERT, 1918) Kompilation für Salonorchester (Fl, Klar., V, V obl., Vc, Kb, Piano) _ DIE AUSTERNPRINZESSIN (ERNST LUBITSCH, 1919) _ ANNA MÜLLER LINKE KANDIDIERT (W. -
2018 Winter SAS Alumni Newsletter
Saint Andrew School PROVIDING A QUALITY ROMAN CATHOLIC EDUCATION SAINT ANDREW SCHOOL Alumni Newsletter From theA PastorLUMNI NEWSLETTER Fall 2013 Inside WinterWinter 2018 2018this Issue I’m on the Top of the World! Inside In this , is Love: not that we have loved God, Inside While Jack (Leonardo DiCaprio) in the movie “Titanic” mounted Thisthis IssueIssue1 Pastor’s Message the bow of the great ocean liner and yelled; “I am the king of the world,” bI wouldut th likeat Hto believee lov thated ueachs … of our students can come to school and think that he or she is on top of the world. 1 Pastor’s1 Pastor’s Message5 Message Principal’s MessageWith age, it seems to me, nostalgia is more easily prompted than in Since the renovation of the courtyard entrance to Saint Andrew my youth.School, Little whenthings entering are enough. the Fr. McShainRecently Building, I heard I aam Frank taken 4 Principal’s4 Principal’s Message6 MessageClass Notes Sinatra songback and to thewell time … Growing when I wasup ina kida Polish/Italian and reminded- Americanof a then- home wherepopular we listened song sung to the by theHappy Carpenters Louie andentitled others “Top on of thethe PolkaWorld” 5 Class5 NotesClass Notes8 Summer Capital Projects station on(1972), Saturday which morning was recently and usedJerr yin Vale the soundtrackand other ofItalian Shrek Forever After (2010). Hearing that song always seemed to lift my 6 NCEA6 NCEA singers on Sunday afternoons, you will not find it bizarre then, that 10 Dedication Eventwe were nospirits strangers and put to a skipFridays in my with step. -
Early 20Th-Century Operetta from the German Stage: a Cosmopolitan Genre
This is a repository copy of Early 20th-Century Operetta from the German Stage: A Cosmopolitan Genre. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/150913/ Version: Accepted Version Article: Scott, DB orcid.org/0000-0002-5367-6579 (2016) Early 20th-Century Operetta from the German Stage: A Cosmopolitan Genre. The Musical Quarterly, 99 (2). pp. 254-279. ISSN 0027-4631 https://doi.org/10.1093/musqtl/gdw009 © The Author 2016. Published by Oxford University Press. This is an author produced version of a paper published in The Musical Quarterly. Uploaded in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Early 20th-Century Operetta from the German Stage: A Cosmopolitan Genre Derek B. Scott In the first four decades of the twentieth century, new operettas from the German stage enjoyed great success with audiences not only in cities in Europe and North America but elsewhere around the world.1 The transfer of operetta and musical theatre across countries and continents may be viewed as cosmopolitanism in action. -
Commartslectures00connrich.Pdf
of University California Berkeley Regional Oral History Office University of California The Bancroft Library Berkeley, California University History Series Betty Connors THE COMMITTEE FOR ARTS AND LECTURES, 1945-1980: THE CONNORS YEARS With an Introduction by Ruth Felt Interviews Conducted by Marilynn Rowland in 1998 Copyright 2000 by The Regents of the University of California Since 1954 the Regional Oral History Office has been interviewing leading participants in or well-placed witnesses to major events in the development of northern California, the West, and the nation. Oral history is a method of collecting historical information through tape-recorded interviews between a narrator with firsthand knowledge of historically significant events and a well- informed interviewer, with the goal of preserving substantive additions to the historical record. The tape recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is indexed, bound with photographs and illustrative materials, and placed in The Bancroft Library at the University of California, Berkeley, and in other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ************************************ All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Betty Connors dated January 28, 2001. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley. -
Rtport Ttrizonfr of Thu 5Tnte, ?Resident Llntuersity
Rtport tTrizonfr of thu 5tnte, ?resident Llntuersity 1981 1982 Report tTrizonfr of thu Statu ?resident l-tntaersity 1981 1982 J. RUSSELL NELSON Photos by Conley Photography: Pages 11,15,19,23, and27. BUREAU OF PUBLICATIONS. ARIZONA STATE UNIVERSITY O DECEMBER 1982 j{ew Chnllenges for ai{ew Era Because Arizona State University has dealt primarily Because resources are more limited, and many other with explosive growth and expansion, the modest enroll- governmental programs, particularly human services, ment increases anticipated in the 1980s pose some rather are becoming stronger contenders for the available state special challenges. To understand the implications of this funds, our challenge will be greater. change, it is helpful to recall the circumstances leading It is a time for reassessment. Chancellor R. Bromery up to it. of the University of Massachusetts observed the begin- The expansion began with the flood of veterans ning of that process several years ago when he wrote, enrolling in American colleges and universities following "The ever-expanding market for higher education has World War IL Returning veterans triggered a quarter begun to sense its own outer edges, and the educational century of growth and expansion unequalled in the his- 'Bulls' in and out of our institutions of higher learning tory of higher education. Impressive as those national have begun to make place for the'Bearsl The philosophy figures were - from 2 million to 9 million students - of almost limitless growth that characterized the 1950s they did not begin to match the growth which occurred and 1960s has been replaced by the concepts of limited at Arizona State University. -
CASEY CLARK Musical Direction by MICHAEL SANTANGELO
Presents 13 the musical Music and Lyrics by Jason Robert Brown Book by Dan Elish and Robert Horn Producer Artistic Director NOEL S. RUIZ BERNADETTE MESCALL RODRIGUEZ Costume/Scenic Design Sound Design PATRICK GROSSMAN MICHAEL SANTANGELO Assistant Director Lighting Design JILLIAN MESCALL TORRE JOSEPH NAFTAL Production Stage Manager CASEY CLARK Musical Direction by MICHAEL SANTANGELO Directed/Choreographed by PATRICK GROSSMAN 13, The Musical is presented through special arrangement with Musical Theatre International (MTI). All authorized performance materials are also supplied by MTI. 421 W 54th Street, New York, NY 10019 Phone: 212-541-4684 Fax: 212-397-4684 www.MTIShows.com – THE CAST – Evan…………………….………..………………..……......……..…….DYLAN WHELAN Patrice………………………...……..…………..………………..…............EMILY SARRA Brett………………………..……………………………….....………...MARK MAURICE Eddie………………………….…………...…………………..…………….MIKE BURKE Malcolm…...……….…………………………..……………..…..HARRISON SCHENKEL Lucy……………………………....………..…………...………….....EMILY HANNAWAY Kendra…………………...........……….……………………...…………….EMILY TORRE Cassie………………………………......…......….………………..…MARISSA CASAZZA Molly…………...............................…………………………………..CATHERINE BROGAN Simon…….....……...…...………………….………………………....KENNY FERGUSON Richie……………………………………...………………………….CHRISTIAN ARMA Charlotte..……………………………………….……………...….COURTNEY KENYON Archie………………………………………………………...……JONATHAN PERSICO Cheerleader………………………..…………….….………………….……ALEX ARSO – THE BAND – Conductor/Keyboard………………………..………..MICHAEL SANTANGELO Guitar…………………………………………...………….CHAD -
EXTENSIONS of REMARKS 24939 EXTENSIONS of REMARKS ARMS RACE RESOLUTION Ty Are Often More Visible Than Signs of Hope
September 20, 1983 EXTENSIONS OF REMARKS 24939 EXTENSIONS OF REMARKS ARMS RACE RESOLUTION ty are often more visible than signs of hope. Recent studies reveal that during the We are called to see beyond our own limited period from 1978 to 1982 conventional arms HON. BOB EDGAR horizons, to view the world through the transfer agreements between developing eyes of Christ. countries and the arms suppliers have to OF PENNSYLVANIA When, as Christ's people, we see the taled $120 billion. The non-Communist IN THE HOUSE OF REPRESENTATIVES burden of the arms race on the creation, on world has accounted for $76 billion of this nations, and on all peoples, we are com Tuesday, September 20, 1983 total, the Communist world $44 billion. The pelled to renew our commitment to achiev Soviet Union has sold $33 billion and the •Mr. EDGAR. Mr. Speaker, this past ing disarmament in ways that will guaran United States, $30 billion. While sales and week I received-as did all my congres tee the peace, security, and integrity of all agreements vary from year to year, the sional colleages-a most powerful and peoples. trend has been ever upward. Each super Numerous aspects of the arms race, with compelling resolution on the many di far-reaching implications for our own socie power has its preferred clients, depending mensions of the arms race. It comes ty and the whole world, challenge us in this on its ideological and strategic interest. from the general assembly of the Pres witness. There are factors that disturb the For the merchants the arms trade has the byterian Church U.S.A. -
Broadway in Fort Lauderdale 2020 2021 SAR 03132020 Final
FOR IMMEDIATE RELEASE Contacts: Charlotte Vermaak 954.626.7821 NEW PROGRAMMING STRUCTURE! MORE BROADWAY SHOWS, MORE VARIETY THE 2020 / 2021 BANK OF AMERICA BROADWAY IN FORT LAUDERDALE SEASON WITH PRESENTING SPONSOR CLEVELAND CLINIC INCLUDES: 5 SOUTH FLORIDA PREMIERES TO KILL A MOCKINGBIRD October 13 – 25, 2020 Two-time 2019 Tony®-Award Winner TOOTSIE Dec 15 – 27, 2020 PRETTY WOMAN: THE MUSICAL Mar 9 – 21, 2021 THE RETURN OF Tony®, Grammy®, Olivier Award and the Pulitzer Prize Winner HAMILTON Apr 13 – May 2, 2021 And THE NEW PRODUCTION OF CATS Nov 17 – 29, 2020 Introducing: SUBSCRIBER CHOICE Ten time Tony Award® and Grammy® Winner Subscriber Choice: THE BAND’S VISIT Jan 12 – 17, 2021 Subscriber Choice: THE PROM Feb 23 – 28, 2021 Six-show subscription package starts at $281* FORT LAUDERDALE, FLORIDA March 13, 2020 – Broadway in Fort Lauderdale is proud to announce its 29th season at the Broward Center for the Performing Arts. We are committed to bringing the best of Broadway to you every season, which is why we’re excited to introduce SUBSCRIBER CHOICE. This new subscription structure will allow us to bring a greater variety of shows to The Broward Center so you can customize your Broadway experience. With SUBSCRIBER CHOICE, your seats are secured for the 5 two-week shows. You then will choose between the one-week Subscriber Choice shows THE BAND’S VISIT or THE PROM to complete your 6-show package. Want more Broadway? Choose both and make it a 7-show package. The 2020 / 2021 Bank of America Broadway in Fort Lauderdale season showcases Broadway’s finest hits with a subscription package power-packed with 31 Tony Awards among them.