DOCSLIB.ORG

The Sisters Rosensweig by Wendy Wasserstein Directed by Nicholas Martin B.U

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Sisters Rosensweig by Wendy Wasserstein Directed by Nicholas Martin B.U © Huntington Theatre Company Boston, MA 02115 November 2005 No portion of this Teacher Curriculum Guide may be reproduced without written permis- sion from the Huntington Theatre Company’s Department of Education. Inquiries should be directed to: Donna Glick, Director of Education Huntington Theatre Company 264 Huntington Avenue Boston, MA 02115 teacher literary & Limelight curriculum guide The Sisters Rosensweig by Wendy Wasserstein Directed by Nicholas Martin B.U. Theatre November 4 - December 4, 2005 HUNTINGTON THEATRE COMPANY IN RESIDENCE AT BOSTON UNIVERSITY HUNTINGTON THEATRE COMPANY Nicholas Martin IN RESIDENCE AT BOSTON UNIVERSITY Norma Jean Calderwood Artistic Director Michael Maso Managing Director by Wendy Wasserstein Directed by Nicholas Martin Table of Contents STAFF Table of Contents This Teacher Literary and Curriculum Guide was 3 Synopsis prepared for the Huntington Theatre Company by 4 A Story Worth Telling Amanda Hennessey, Education Consultant 5 An Uncommon Woman Speaks With contributions by 8 Running Away from Home Or, Donna Glick, Everywhere You, Go There You Are Director of Education 9 A Matter of Faith - Religion in the Ilana Brownstein, Sisters Rosensweig Literary Manager 10 On Sisterhood Justin Waldman, Artistic Associate 11 A Wendy Wasserstein Chronology 12 Background/Objectives Melinda Jaz, Education Associate 13 Preparation and Key Issues Amanda Rota, 14 Mastery Assessment Education Department Manager 15 Open Response and Writing Jacqueline Bennett, 16 Media Assessment Education Intern 17 Questions for After the Performance Melissa Wagner-O’Malley, Layout & Design 18 Handout 1: Vocabulary Exclusive Television Partner: The Sisters Rosensweig by Wendy Wasserstein Directed by Nicholas Martin B.U. Theatre November 4 - December 4, 2005 SYNOPSIS The Sisters Rosensweig ne weekend in August 1991, while the Soviet Union is col- lapsing, Sara Goode’s sisters arrive at her London home to Ocelebrate her 54th birthday. Pfeni, 40, a journalist turned travel writer, has just returned from Bombay; Gorgeous, 46, is visiting from Newton, Massachusetts, leading a tour for her Temple Beth El sisterhood. All three Rosensweig sisters have found varying degrees of success in their careers, but their per- sonal lives seem stalled. Twice-divorced Sara, a successful international banker, has been featured on the cover of Fortune, but she can’t stop her teenaged daughter’s plans to rush off to join the Lithuanian resistance. “Dr. Gorgeous” hosts a popular radio call-in advice show that might be moving to television. With her Harvard- lawyer husband, beautiful children, and house in the suburbs, she seems to be living the dream her parents had for all three of their daughters. Yet her life is not as perfect as it appears. Even Pfeni is tempted to give up her peripatetic lifestyle as “a wan- dering Jew” to settle down and raise children with her bisexual theatre-director boyfriend, Geoffrey. She is dissatisfied with her exotic but lightweight travel reviews, and may finally write her serious book on the plight of women in Tajikistan. As the humor and tension builds, these three sisters struggle to define themselves and their relationship to each other and their faith. When Geoffrey invites his American friend, faux fur- rier Merv Kant, to join Sara’s birthday celebration, circum- stances begin to change, perceptions start to shift, and the prom- ise of “hope and rebirth” doesn’t sound as empty as it did before. Over the course of the weekend, the sisters learn that while they may never find that elusive moment of “pure, unadulterated happiness” they are each seeking, there are still other very real possibilities open to them. – MD Illustration: Tamin Bressan Limelight Literary & Curriculum Guide 2005-2006 3 at CUNY while working on her first play WENDY WASSERSTEIN at Playwrights Horizons. Two years later, still struggling to choose between the practical and the artistic, she applied to A Story Worth Telling Columbia Business School and the Yale School of Drama. Making the decision to follow her heart, she enrolled at Yale to very year I make a New Year’s res- study playwriting, where her classmates “ olution to get up at 6am every day, included Christopher Durang, Meryl go running, write for four hours, E Streep, and Signourney Weaver. At Yale learn to speak Italian, have lunch with a she became increasingly frustrated that friend, and have a meaningful relation- the plays she was reading and seeing did- ship. I’ve done none of that,” says Wendy n’t represent her experience or address Wasserstein. Nor has she managed to ful- the issues she and her friends cared most fill her parents’ dream by marrying — or about. “I wanted to be included, and I becoming — a doctor or lawyer. wanted my friends to be included.” She Maybe she hasn’t managed to create felt that since she’d spent her life trying her ideal life, but she has done well by to understand Hamlet, a male audience most objective standards. A Pulitzer should similarly be able to follow Prize- and Tony Award-winning play- female characters. wright, Wasserstein has been praised for For her M.F.A. thesis, Wasserstein her ability to capture the lives of a gener- wrote a play based on her experience at ation of women struggling to balance the Mount Holyoke. Uncommon Women and pressures and possibilities of family, Wendy Wasserstein; photo: Jürgen Frank Others, the story of five alumnae who career, life, and art, while maintaining gather several years post-graduation to some sense of personal identity. Terrence the Upper East Side further honed her compare stories and choices, resonated McNally has said she accomplishes this sharp, wry wit. After graduating from the with a generation of young women navi- because “her sly humor is based on acute Calhoun School, she went to Mount gating the world of opportunities newly perception, her passion comes from the Holyoke, because, she has said, “I thought available to them, and introduced a gut and her intelligence borders on the if I went to a Seven Sisters school my par- powerful new voice to the professional Talmudic.” Her early champion and ents would leave me alone for the rest of theatre. But Wasserstein turned down longtime supporter André Bishop puts it my life.” Instead of meeting a nice Jewish an opportunity to transfer the play to more simply: “she had the gift.” Wendy Wasserstein was born in Brooklyn, New York, in 1950, to Morris and Lola Wasserstein. The youngest of ...she became increasingly frustrated their four children, she joined siblings Sandra, Georgette, and Bruce. Her father that the plays she was reading and seeing was a textile manufacturer, her mother a dedicated amateur dancer and perfec- didn’t represent her experience... tionist. Young Wendy attended Yeshiva in Brooklyn where she first realized that she was funny. “An elementary school doctor, Wasserstein met playwriting, and Broadway when a potential producer Falstaff,” she has described herself. From began to suspect that the skills of humor suggested she change the ending so that then on, humor would serve her well — she had once used to get out of high the main character married a doctor after as an entrée to social circles, as a defining school gym class could be a ticket to all. Uncommon women don’t compromise. attribute, and as a coping mechanism for something more. Her next major plays included Isn’t It the more painful realities of life. She received her B.A. in history from Romantic, about a complicated mother- The Wassersteins moved to Manhattan Mount Holyoke in 1971, returned to daughter relationship, and The Heidi when Wendy was twelve. The move to New York, and studied creative writing Chronicles, the story of one woman’s 4 Huntington Theatre Company AN UNCOMMON WOMAN Speaks Wendy Wasserstein — playwright, sister, mother, and arts activist — spoke with Huntington Literary Manager Ilana Brownstein about the upcoming production of The Sisters Rosensweig, the need for arts in public schools, and her long-awaited return to Boston. IB: Do you remember the first play you saw? The first play that made you think: I could do this? WW: My Fair Lady. What enchanted me? Everything — the story, the ending, whatever happens to Eliza. It’s funny, I saw that play recently in London with Jonathan Pryce, and I thought, oh my God, this is about a 60-year-old man and a 21-year-old girl! But that didn’t occur to me when I was young. I thought it was wonderful. It is wonderful — I was right. The Sisters Rosensweig, Playbill, 1993 So why playwriting? I grew up going to plays. I grew up in New York: I used to go to The June Taylor School of the Dance on Saturdays, then my mom and dad took me to the theatre. My parents loved growth from idealistic naïf to adult, the theatre, they loved Broadway. I think playwriting for me is very much part of being Ph.D., and mother. For this play, a New Yorker, about my childhood in New York. I was the youngest child, and my sisters Wasserstein was awarded the Pulitzer always listened to Broadway show albums. And my mother Lola is a dancer, and she still, Prize and Tony Award — she was the first gosh, she still dances at the Broadway Dance Center. woman to win both awards for the same play. Questions of identity, history, and And it was always the writing that drew you? purpose continue to run through her Not dancing? subsequent plays, which include The No no no, I’m a shy person. It was always Sisters Rosensweig, American Daughter, and the writing. Old Money. Her most recent play, Third, is scheduled to open in New York in the fall Much has changed since you wrote this play.
Load more

Recommended publications
  • Brooklyn Boy
    41st Season • 392nd Production SEGERSTROM STAGE / SEPTEMBER 3 - OCTOBER 10, 2004 David Emmes Martin Benson PRODUCING ARTISTIC DIRECTOR ARTISTIC DIRECTOR IN ASSOCIATION WITH Manhattan Theatre Club presents the world premiere of BROOKLYN BOY BY Donald Margulies SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN ORIGINAL MUSIC AND SOUND DESIGN Ralph Funicello Jess Goldstein Chris Parry Michael Roth DRAMATURG PRODUCTION MANAGER STAGE MANAGER Jerry Patch Tom Aberger *Scott Harrison DIRECTED BY Daniel Sullivan HONORARY PRODUCERS CORPORATE PRODUCER Elaine and Martin Weinberg The Citigroup Private Bank Brooklyn Boy was commissioned and developed by South Coast Repertory Brooklyn Boy • SOUTH COAST REPERTORY P1 CAST OF CHARACTERS (In order of appearance) Eric Weiss .................................................................................... Adam Arkin* Manny Weiss ................................................................................ Allan Miller* Ira Zimmer ...................................................................................... Arye Gross* Nina .............................................................................................. Dana Reeve* Alison .......................................................................................... Ari Graynor* Melanie Fine ................................................................................ Mimi Lieber* Tyler Shaw .................................................................................... Kevin Isola* SETTING All scenes are set in the present in Brooklyn,
    [Show full text]
  • THE VISITOR March 24–May 10
    PRESS CONTACT: [email protected] // 212-539-8624 THE PUBLIC THEATER ANNOUNCES COMPLETE CASTING FOR WORLD PREMIERE MUSICAL THE VISITOR March 24–May 10 Music by Tom Kitt Lyrics by Brian Yorkey Book by Kwame Kwei-Armah & Brian Yorkey Choreography by Lorin Latarro Directed by Daniel Sullivan Joseph Papp Free Preview Performance Tuesday, March 24 February 13, 2020 – The Public Theater (Artistic Director, Oskar Eustis; Executive Director, Patrick Willingham) announced complete casting today for the world premiere musical THE VISITOR, with music by Pulitzer Prize winner Tom Kitt, lyrics by Pulitzer Prize winner Brian Yorkey, book by Kwame Kwei- Armah and Brian Yorkey, and choreography by Lorin Latarro. Directed by Tony Award winner Daniel Sullivan, this new musical will begin performances in the Newman Theater with a Joseph Papp Free Preview performance on Tuesday, March 24. THE VISITOR will run through Sunday, May 10, with an official press opening on Wednesday, April 15. The complete cast of THE VISITOR features Jacqueline Antaramian (Mouna), Robert Ariza (Ensemble), Anthony Chan (Ensemble), Delius Doherty (Ensemble), C.K. Edwards (Ensemble), Will Erat (Ensemble), Sean Ewing (Swing), Marla Louissaint (Ensemble), Ahmad Maksoud (Ensemble), Dimitri Joseph Moïse (Ensemble), Takafumi Nikaido (Ensemble/Drummer), Bex Odorisio (Ensemble), David Hyde Pierce (Walter), Paul Pontrelli (Ensemble), Lance Roberts (Ensemble), Ari’el Stachel (Tarek), and Stephanie Torns (Swing), with Alysha Deslorieux joining the company as Zainab, replacing the previously announced Joaquina Kalukango, who withdrew due to scheduling conflicts. With heart, humor, and lush new songs, Pulitzer Prize and Tony-winning team Tom Kitt and Brian Yorkey with Kwame Kwei-Armah bring their soul-stirring new musical based on the acclaimed independent film, THE VISITOR by Thomas McCarthy, to The Public for its world premiere.
    [Show full text]
  • The Women's Voices Theater Festival
    STUDY GUIDE In the fall of 2015, more than 50 professional theaters in Washington, D.C. are each producing at least one world premiere play by a female playwright. The Women’s Voices Theater Festival is history’s largest collaboration of theater companies working simultaneously to produce original works by female writers. CONSIDER WHY A WOMEN’S VOICES THEATER FESTIVAL? • Why is it important If someone asked you to quickly name three playwrights, who would they be? for artists of diverse backgrounds to have Shakespeare likely tops your list. Perhaps you remember Arthur Miller, Tennessee their work seen by Williams or August Wilson. Sophocles, Molière, Marlowe, Ibsen, Chekov, Shaw, O’Neill — these are among the most famous Western playwrights. They are central audiences? to the dramatic canon. A “canon” is an authoritative list of important works — think of it as the official “Top 40” of dramatic literature. Their plays are the most likely • What is the impact of to be seen onstage and assigned in schools. seeing a play that you can connect to your own A large group is often missing from the canon, professional stages, traditional experience? reading lists and your education in theater: women playwrights. Plays by women are as important, artistic, rigorous, compelling and producible as • How would you react plays by men. They are also plentiful. Women’s perspectives are also key to more if you knew that you fully understanding our world. and the playwright of According to a recent Washington Post article, surveys say that D.C. audiences a production you were are 61 percent female and Broadway audiences are 68 percent female.
    [Show full text]
  • American Women Playwrights: Late 20Th to 21St Century IRP, Fall 2014, Syllabus
    American Women Playwrights: Late 20th to 21st Century IRP, Fall 2014, Syllabus Coordinator: Dolores Walker Readings: Hudes, Quiara Alegria, Water By The Spoonful (Theatre Communications Group, 2012, ISBN-13: 9781559364386; $14.95) Nottage, Lynn, Intimate Apparel/Fabulation (Theatre Communications Group, 2006, ISBN-13: 9781559362795; $14.95) Ruhl, Sarah, TBA Vogel, Paula, How I Learned to Drive (Dramatists Play Service, rev. ed., 1997, ISBN-13: 9780822216230; $8). Session One (Prior to Session One, the class will receive excerpts from a Maria Irene Fornes play) Historical background of women playwrights in America 1920 – 1980 Development of women playwrights since 1980 Discussion of those contemporary women playwrights preferred by individual members of the class Exploration of the differences in reading plays and novels Excerpts from work by Maria Irene Fornes; exploration of her playwriting theories and her influence on other playwrights Assignment Session Two: Read the following handouts: Excerpts from Marsha Norman’s Night Mother Dramatists Guild Journal articles - Norman’s techniques for writing plays Gussow, Mel, Entering the Mainstream: The Plays of Beth Henley, Marsha Norman, and Wendy Wasserstein Session Two - Marsha Norman, playwright and Julliard professor Exploration of Norman’s playwriting style and playwriting techniques Excerpts from Night Mother read aloud and analyzed Paula Vogel, playwright and Yale Professor of Playwriting – biography Assignment Session Three: Handout: Interviews with Vogel about her playwriting techniques Read Paula Vogel’s How I Learned to Drive Session Three Exploration of Vogel’s playwriting techniques Youtube: Interview with Vogel Youtube: Paula Vogel on Plot Comparison of Norman and Vogel’s techniques How I Learned to Drive (Vogel) Assignment Session Four: Youtube: Women In Theatre: Paula Vogel (26 min) Session Four How I Learned to Drive (Vogel) (continued) Using Vogel’s playwriting theories, the class continues to analyze theme, style, plot and characterizations.
    [Show full text]
  • Kennedy Center Education Department. Funding Also Play, the Booklet Presents a Description of the Prinipal Characters Mormons
    DOCUMENT RESUME ED 381 835 CS 508 902 AUTHOR Carr, John C. TITLE "Angels in America Part 1: Millennium Approaches." Spotlight on Theater Notes. INSTITUTION John F. Kennedy Center for the Performing Arts, Washington, D.C. SPONS AGENCY Department of Education, Washington, DC. PUB DATE [95) NOTE 17p.; Produced by the Performance Plus Program, Kennedy Center Education Department. Funding also provided by the Kennedy Center Corporate Fund. For other guides in this series, see CS 508 903-906. PUB TYPE Guides General (050) EDRS PRICE MF01/PC01 Plus Postage. DESCRIPTORS Acquired Immune Defi-:ency Syndrome; Acting; *Cultural Enrichment; *Drama; Higher Education; Homophobia; Homosexuality; Interviews; Playwriting; Popular Culture; Program Descriptions; Secondary Education; United States History IDENTIFIERS American Myths; *Angels in America ABSTRACT This booklet presents a variety of materials concerning the first part of Tony Kushner's play "Angels in America: A Gay Fantasia on National Themes." After a briefintroduction to the play, the booklet presents a description of the prinipal characters in the play, a profile of the playwright, information on funding of the play, an interview with the playwright, descriptions of some of the motifs in the play (including AIDS, Angels, Roy Cohn, and Mormons), a quiz about plays, biographical information on actors and designers, and a 10-item list of additional readings. (RS) Reproductions supplied by EDRS are the best that can be made from the original document. ****):***:%****************************************************)%*****)%*
    [Show full text]
  • The Great Society Program Book Published February 2, 2018
    THE GREAT SOCIETY 2017/18 SEASON COMING IN 2018 TO ARENA STAGE Part of the Women’s American Masterpiece Voices Theater Festival SOVEREIGNTY AUGUST WILSON’S NOW PLAYING THROUGH FEBRUARY 18 TWO TRAINS Epic Political Thrill Ride RUNNING THE GREAT SOCIETY MARCH 30 — APRIL 29 NOW PLAYING THROUGH MARCH 11 World-Premiere Musical Inspirational True Story SNOW CHILD HOLD THESE TRUTHS APRIL 13 — MAY 20 FEBRUARY 23 — APRIL 8 SUBSCRIBE TODAY! 202-488-3300 ARENASTAGE.ORG THE GREAT SOCIETY TABLE OF CONTENTS 4 Artistically Speaking 5 From the Executive Director 6 Molly Smith’s 20th Anniversary Season 9 Dramaturg’s Note 11 Title Page 13 Time / Cast List 15 Bios — Cast 19 Bios — Creative Team 21 For this Production 23 Arena Stage Leadership ARENA STAGE 1101 Sixth Street SW Washington, DC 20024-2461 24 Board of Trustees / Theatre Forward ADMINISTRATION 202-554-9066 SALES OFFICE 202-488-3300 TTY 202-484-0247 25 Full Circle Society arenastage.org 26 Thank You — The Annual Fund © 2018 Arena Stage. All editorial and advertising material is fully protected and must not 29 Thank You — Institutional Donors be reproduced in any manner without written permission. 30 Theater Staff The Great Society Program Book Published February 2, 2018 Cover Illustration by Richard Davies Tom Program Book Staff Amy Horan, Associate Director of Marketing Shawn Helm, Graphic Designer 2017/18 SEASON 3 ARTISTICALLY SPEAKING Historians often argue whether history is cyclical or linear. The Great Society makes an argument for both sides of this dispute. Taking place during the most tumultuous days in Lyndon Baines Johnson’s (LBJ) second term, this play depicts the president fighting wars both at home and abroad as he faces opposition to his domestic programs and the role of the United States in the Vietnam War.
    [Show full text]
  • Read Ebook {PDF EPUB} the Sisters Rosensweig by Wendy Wasserstein the Sisters Rosensweig by Wendy Wasserstein
    Read Ebook {PDF EPUB} The Sisters Rosensweig by Wendy Wasserstein The Sisters Rosensweig by Wendy Wasserstein. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 661a66744c7d4e98 • Your IP : 116.202.236.252 • Performance & security by Cloudflare. Books Like The Sisters Rosensweig by Wendy Wasserstein | Suggested Reading. Divine Secrets of the Ya-Ya Sisterhood (1996), by Rebecca Wells, accounts for the Ya-Yas, a circle of women whose activities seem to center on Siddalee's mother, Vivi. This is a book about female friendship, love, and the power of forgiveness as expressed in the memoirs of the Ya-Ya Sisterhood. Schindler's List (1982), by Thomas Keneally, recalls the story of Oscar Schindler, a Jewish businessman and wartime profiteer who, during World War II, saved more Jews from the gas chamber than did any other individual. The book is a great source for understanding the unspeakable horrors of the Holocaust and its impact on the Jews of Poland.
    [Show full text]
  • From Superiority to Equality?: Men's Voices in Wendy Wasserstein's Plays
    Hacettepe University Graduate School of Social Sciences Department of American Culture and Literature FROM SUPERIORITY TO EQUALITY?: MEN’S VOICES IN WENDY WASSERSTEIN’S PLAYS Duygu Beste Başer Master’s Thesis Ankara, 2016 FROM SUPERIORITY TO EQUALITY?: MEN’S VOICES IN WENDY WASSERSTEIN’S PLAYS Duygu Beste Başer Hacettepe University Graduate School of Social Sciences Department of American Culture and Literature Master’s Thesis Ankara, 2016 iii To my parents... iv ACKNOWLEDGEMENTS I would like to express my sincere gratitude to my thesis supervisor Assoc. Prof. Dr. Tanfer Emin TUNÇ for her invaluable guidance throughout my thesis writing process. I am deeply grateful for her constructive feedback and inspirational suggestions. I would also like to express my respect to the members of the Department of American Culture and Literature. They all helped me broaden my horizons, see things from a different perspective, and taught me how to be a better person. Thank you Prof. Dr. Meldan TANRISAL, Prof. Dr. Ufuk ÖZDAĞ, Assoc. Prof. Dr. Bilge MUTLUAY ÇETİNTAŞ, Assist. Prof. Dr. Barış GÜMÜŞBAŞ, Assist. Prof. Dr. Ayça GERMEN, Assist. Prof. Dr. Cem KILIÇARSLAN, Assist. Prof. Dr. Özge ÖZBEK AKIMAN, Dr. Ceylan ÖZCAN, Dr. Gözde ERDOĞAN and Assoc. Prof. Dr. Nur GÖKALP AKKERMAN whose retirement saddened all her students. I want to thank my family for always being there. They were always supportive and encouraging with every decision I made in my life. I am grateful to them for always allowing me to experience life by myself. I sincerely thank my supportive best friend and lifelong companion, Batuhan Baybars ÖZCAN for his patience during this process.
    [Show full text]
  • Daniel Krane
    [email protected] 508-667-1883 Brooklyn, NY Daniel Krane Directing: Falsettos William Finn/James Lapine Princeton Summer Theater NY/Regional Puck’s Midsummer Mischief* Annika Bennett Princeton Summer Theater Uncommon Women and Others Wendy Wasserstein Princeton Summer Theater Greetings from Mars* Annika Bennett Princeton Summer Theater Untitled* Zara Jayant Theater for One Directing: The Analysing Engine* Andrew Lovett Lewis Center for the Arts Educational The Flick Annie Baker Theatre Intime Blue Heart Caryl Churchill Theatre Intime We are Proud to Present… Jackie Sibblies Drury Lewis Center for the Arts Don’t Trifle With Love* Calvin van Zytfeld Princeton Department of Music Dear Friends and Family * Daniel Krane Theatre Intime Discordant Lullaby* Emily Fockler Theatre Intime Assistant Directing Tar Sands Songbook*, Tanya Kalmanovitch En Garde Arts dir. Katie Pearl Mila, Great Sorcerer*, Andrea Clearfield PROTOTYPE Festival dir. Kevin Newbury Performance The Joshua Tree* Daniel Krane Dixon Place Nervous/System* Andrew Schneider MIT CAST Production American Juggalo* Sean Pollock The New Ohio Theater Assisting Maverick* Beacham/Demas The Connelly Theater Intimate Apparel Lynn Nottage McCarter Theatre Center Club Drosselmeyer: 1941* Kellian Pletcher Oberon/A.R.T. Theater Artistic Director Princeton Summer Theater Fall 2017-present Management Fundraising and Events Intern Brooklyn Arts Exchange Spring 2019 Public Works Intern The Public Theater Summer 2017 Artistic Director Princeton Shakespeare Spring-Fall 2017 Company Education Princeton
    [Show full text]
  • Drama Winners the First 50 Years: 1917-1966 Pulitzer Drama Checklist 1966 No Award Given  1965 the Subject Was Roses by Frank D
    The Pulitzer Prizes Drama Winners The First 50 Years: 1917-1966 Pulitzer Drama Checklist 1966 No award given 1965 The Subject Was Roses by Frank D. Gilroy 1964 No award given 1963 No award given 1962 How to Succeed in Business Without Really Trying by Loesser and Burrows 1961 All the Way Home by Tad Mosel 1960 Fiorello! by Weidman, Abbott, Bock, and Harnick 1959 J.B. by Archibald MacLeish 1958 Look Homeward, Angel by Ketti Frings 1957 Long Day’s Journey Into Night by Eugene O’Neill 1956 The Diary of Anne Frank by Albert Hackett and Frances Goodrich 1955 Cat on a Hot Tin Roof by Tennessee Williams 1954 The Teahouse of the August Moon by John Patrick 1953 Picnic by William Inge 1952 The Shrike by Joseph Kramm 1951 No award given 1950 South Pacific by Richard Rodgers, Oscar Hammerstein II and Joshua Logan 1949 Death of a Salesman by Arthur Miller 1948 A Streetcar Named Desire by Tennessee Williams 1947 No award given 1946 State of the Union by Russel Crouse and Howard Lindsay 1945 Harvey by Mary Coyle Chase 1944 No award given 1943 The Skin of Our Teeth by Thornton Wilder 1942 No award given 1941 There Shall Be No Night by Robert E. Sherwood 1940 The Time of Your Life by William Saroyan 1939 Abe Lincoln in Illinois by Robert E. Sherwood 1938 Our Town by Thornton Wilder 1937 You Can’t Take It With You by Moss Hart and George S. Kaufman 1936 Idiot’s Delight by Robert E. Sherwood 1935 The Old Maid by Zoë Akins 1934 Men in White by Sidney Kingsley 1933 Both Your Houses by Maxwell Anderson 1932 Of Thee I Sing by George S.
    [Show full text]
  • A Study of Shared Dynamics Between the Plays of Paula Vogel and Sarah Ruhl
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Oregon Scholars' Bank PLAYFUL CONVERSATIONS: A STUDY OF SHARED DYNAMICS BETWEEN THE PLAYS OF PAULA VOGEL AND SARAH RUHL by JEFFREY J. PETERSEN A THESIS Presented to the Department of Theater Arts and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts December 2009 ii "Playful Conversations: A Study of Shared Dynamics Between the Plays of Paula Vogel and Sarah Ruhl," a thesis prepared by Jeffrey J. Petersen in partial fulfillment of the requirements for the Master of Arts degree in the Department of Theater Arts. This thesis has been approved and accepted by: Dr. John B. Schmor, Chair of the Examining Committee Date I Committee in Charge: Dr. John Schmor, Chair Dr. Jennifer Schlueter Accepted by: Dean of the Graduate School iii An Abstract of the Thesis of Jeffrey J. Petersen for the degree of Master of Arts in the Department of Theater Arts to be taken December 2009 Title: PLAYFUL CONVERSATIONS: A STUDY OF SHARED DYNAMICS BETWEEN THE PLAYS OF PAULA VOGEL AND SARAH RUHL Approved: Dr. John B. Schmor Pulitzer Prize winning playwright Paula Vogel, playwright and educator, has blazed a trail in American theatre, opening new avenues for female playwrights. In 2005 Vogel's student Sarah Ruhl burst onto the scene with her play The Clean House. As one of the most produced playwrights of 2005, Ruhl has been celebrated as the new voice of American theatre.
    [Show full text]
  • Bargaining Power on Broadway: Why Congress Should Pass the Playwrights Licensing Antitrust Initiative Act in the Era of Hollywood on Broadway Ashley Kelly
    Journal of Law and Policy Volume 16 | Issue 2 Article 8 2009 Bargaining Power on Broadway: Why Congress Should Pass the Playwrights Licensing Antitrust Initiative Act in the Era of Hollywood on Broadway Ashley Kelly Follow this and additional works at: https://brooklynworks.brooklaw.edu/jlp Recommended Citation Ashley Kelly, Bargaining Power on Broadway: Why Congress Should Pass the Playwrights Licensing Antitrust Initiative Act in the Era of Hollywood on Broadway, 16 J. L. & Pol'y (2008). Available at: https://brooklynworks.brooklaw.edu/jlp/vol16/iss2/8 This Note is brought to you for free and open access by the Law Journals at BrooklynWorks. It has been accepted for inclusion in Journal of Law and Policy by an authorized editor of BrooklynWorks. KELLY 7/21/08 4:06 PM BARGAINING POWER ON BROADWAY: WHY CONGRESS SHOULD PASS THE PLAYWRIGHTS LICENSING ANTITRUST INITIATIVE ACT IN THE ERA OF HOLLYWOOD ON BROADWAY Ashley Kelly∗ INTRODUCTION The presence of “pic-to-legit musicals” on Broadway has been around for decades.1 In recent years, Broadway has seen its share of motion pictures turned into musical hits2 as well as ∗ Brooklyn Law School, Class of 2009; B.A. Barnard College, 2004. The author wishes to thank Ralph Sevush and David Faux, Brooklyn Law School ‘05, for giving her the opportunity to intern with the Dramatists Guild. She would also like to thank her parents, Hugh and Suzy Kelly, and her brothers, Chris and Sean, for understanding why she could not come home for Thanksgiving. Finally, she wishes to thank Will Page for keeping her head on straight.
    [Show full text]