DOCSLIB.ORG

Waiting for Godot

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Waiting for Godot ° WAITING FOR GODOT BY SAMUEL BECKETT BAM THE BROOKLYN ACADEMY OF MUSIC The look were Big on this season! Liberate your body with full easy tops sliding over voluminous skirts or narrowed trousers for an exciting new proportion! Layer.on a roomy vest or an uncon- structed blazer for polish in this new relaxed mood in dressing. Al the A&S nearest you. Abraham and Straus 1975s, 002,67 LEPERCQ SPACE SAM Thursday, May 25, 1978- Sunday, June 18,1978 The BAM Theatre Company with the cooperation of Goethe House, New York presents Samuel Beckett's Production of WAITING FOR GODOT by Samuel Beckett with Michael Egan Milo O'Shea Austin Pendeleton Sam Waterston R.J. Murray,Jr. directed by Walter D. Asmus scenery supervised by costumes supervised by lighting supervised by Carole Lee Carroll Dona Granata Shirley Prendergast This production is based on Samuel Beckett's own direction of Waiting For Godot at the Schiller Theater in Berlin during its 1974-75 season. BAM Theatre Company Board of Directors: Arne Vennema, Chairman/ Harvey Lichtenstein, President/ Hart ney J. Arthur/ Frank Dunlop/ Rita Hillman/ Berenice Weiler SAM Theatre Company Productions are made possible in part through a grant from the New York State Council on the Arts. The Brooklyn Academy of Music gratefully acknowledges the support of the National Endowment for the Arts, and the Department of Cultural Affairs of the City of New York. Brownstones THEY DON'T MAKE 'EM LIKE THAT ANYMORE Why? Because the painstaking With unique classic shapes and forms from craftsmanship involved in a Brownstone rooftops to stoop railings that speak out, structure is virtually a lost art today. But "I'm one of a kind." With spacious interiors not really lost. You can recapture it in the that offer endless possibilities for creating Brownstones of Brooklyn that exist today. your own particular "dream house." Interested? Then let us give you a little background about the place you can visit to find out everything you want to know about owning a Brownstone. In response to the growing back-to-the- city movement that began several years ago, community leaders requested Brooklyn anion to provide a facility where people could obtain information they needed about owning and renovating a Brownstone residence. Hence, the Brownstone Information Center, as part of our 10-year- old Cinderella restoration program that has been spurring the rebirth of Brooklyn, was born in 1975. Itself a restored Brownstone, the center is staffed by community members knowledgeable about current Brownstone availabilities. As a non-profit service, they provide information regarding where and what to look for, how to arrange financing, remodeling techniques, and the positive advantages that make a Brownstone home so conducive to gracious living. So, even if you're just thinking about buying a Brownstone, visit the center for an insight into a rewarding way of life. Start by calling for an appointment today. The Brownstone Information Center 93 Prospect Place Call Carol Leshner, 643-4293 By appointment only 0 Brooklyn Union Gas Cast for Waiting For Godot Restaurant Charcuterie Catering 11111) (in order of appearance/ Estragon Austin Pendleton AMMM Vladimir Sam Waterston Lunch Lucky Milo O'Shea daily Pozzo Michael Egan and on a boy R.J. Murray, Jr. matinee weekends 12 -2 Synopsis Pretheater dinner Act I 1.) A country road. A tree. Evening. at 6:15 2nd sitting Act ii at 8:45 Next day. Same Time. Same Place. Reservations recommended 624-8852 There will be one fifteen-minute intermission. 178 Atlantic Ave Brook!), N.Y STANDBYS AND UNDERSTUDIES Standbys and understudies never substitute for listed players unless a specific announcement is made at the time of the performance Understudy for Vladimir, Lucky -George McDaniel, for Estragon, Pozzo -Paul Perri. Beef Goulash I BAM's Sale Price Mailing List I vs If you're already on the BAM mailing list you know the value of receiving BAM's great Chicken Paprikash sale priced ticket offers. If you're not, why not fill out the blank below and hand it to culinary where I the nearest usher or mail it to SAM from you're home. Once you do, well send you ad- A perpetual controversy Is the fun. Because events, plus special opportunities to save up to 50% on our choosing sides halt vance notification of SAM our Szekely Goulash and Chicken top -priced seats. Paprika,. are prepared with old world loving care. So are the other delightful Name Hungarian specialties on our brimming menu We invite you to drop by for Address lunch or dinner before the show and pick your favorite. CI IY State Zip but here's my new address. I; I I' m already on your mailing list, Old Hungary Cocktails, Luncheon and Dinner daily. Return to, BAM Malting List 30 Lafayette Avenue Montague St. Elk lyn. Hts. 625-1609 Brooklyn. N.Y 11217 142 IIIIIIMMI Beckett directs G o d o t . M11111W7 by Walter D. Asmus (Translated by Ria Julian) BAR AND RESTAURANT Beckett is coming to Berlin to direct everybody, even if only taking part in- Open Daily Waiting for Godot. He is no stranger at the directly, is willing to help and clear them Schiller Theatre: after Endgame, Krapp's up. This atmosphere of constant, con- 11.30 am to 1:00 am Last Tape and Happy Days, this is his centrated alertness, and the pleasure in SUNDAY BRUNCH fourth visit as a director. He also took part following up processes, in which each in- in the rehearsals of Godot in 1965, and dividual might not always be directly in- Eggs Benedict, it was then that he met the actors Bollman, volved, is a further result of the iunauthor- Bloody Mary, 0.1 Wiger and Herm. Bollman and he had also itarian' working relationship. Coffee, $3.50 worked together on Endgame. The rehearsals are carried out in a Rehearsal conditions are ideal from rather conventional way: after a relatively 'HAPPY HOUR' 28 December to 8 March, mornings only, fast read-through of the script, the de- Monday thru Friday mostly on stage. Everybody taking part tailed work follows with increasing in- in the production brings enormous is 5 PM -7 PM sym- tensity. Content not being discussed, pathy and respect towards Beckett-to only necessary) situations are cleared All Drinks $1.00 (if such an extent that this will be inevitably, up, and with that explanations about the at the Bar Only though not obtrusively, reflected in the characters given. The great precision of working process. But he is not only re the work and the striving to keep the form Come to Minsky's for fine dining in spected as an authority, as a competent as tight as possible are fascinating in comfortable surroundings. interpreter of his own script; more than themselves. So the necessity to investi- that the working relationship with him gate the content of the play is being Now at two convenient locations: is characterized by caution, attention, pushed to the background for the time concessions and openness-criteria for at- being (which, of course, has also got some- 222 Seventh Ave. Park Slope titudes to set free like behavior in those thing to do with Beckett's well -known Brooklyn, N.Y. Tel. 499-2311 working with him. On this basis, every- aversion to 'explaining' his play). body tries to strengthen the 163 Remsen St. Brooklyn Heights tacit mutual Beckett subjects his own script trust, and to do their job with the highest Tel. 643-1444 constantly to critical control, in the most possible degree of understanding and ap- amazing and sympathetic way. He is also preciation towards Beckett. As the weeks open to suggestions any time, and he even go by, there is a strong and at the same asks for them. He aims for the best pos. time a very vivid and dynamic structure sible interpretation of his script. to the group, interchangable relationships Should uncertainty occur, ne 6 evolving. ready with a new suggestion the next day, Beckett's immaculate German is always precise and thought -through-even characterized by a typical idiomatic ex- if it does not always work immediately. actness which seems to influence the tone So it happens that before the second full of all taking part. The language gains gen- rehearsal, there is a two-page cut to be Our Maestro erally a slight over-emphasis, expressive discussed, because the scenic transfor-i of care and consciousness. As a result of mation remained unsatisfactory. The v. is in the this linguistic precision, most misunder- high degree of consciousness and self- standings are resolved from the beginning. control does not strike the actors as ma- The every-day colloquial tone ensures a king them performing animals-indeed, Kitchen strange, unauthoritarian accent, unusual they consciously accept it, intensify it, in the theatre. and build on it. ,Imax Should misunderstandings still a- rise, if only through chance mis-hearings, Wale t ss A maestro is a master of art. And at Cafe Patisserie the art is in the cook- The very famous restaurant in Brooklyn. ing. Each dish is virtuoso Perform. once. Enjoy our savory, homemade Before curtain at the Brooklyn Academy of Music. soups and salads,unusual sandwiches, French Quiches and our speciality - The season at the Brooklyn Academy of Music is in full swing tempting array of palate pleasing crepes. The master conf helot of Before curtain, let us make you welcome in the style Eclair have created pastries which that's made us a New York tradition for nearly a will surely inspire an encore (or two century.
Load more

Recommended publications
  • Programming and Award-Winning Work in the Community
    Welcome UPCOMING Dear Friends, We are just concluding one of the most active summers in Old Globe history. A CATERED AFFAIR Each of the plays in our Shakespeare Festival received critical acclaim and enthusiastic audience response. The classic comedies Hay Fever and Bell,Book and Candle and our Sept 20 - Oct 28, 2007 downtown launch of the national tour of Avenue Q, were all tremendously successful Old Globe Theatre and well received. Now we begin the Globe’s 2007/2008 season with a stirring world-premiere OOO musical, A Catered Affair, with a world class creative team which includes Tony-Award winners John Doyle and Harvey Fierstein and celebrated composer John Bucchino. DR. SEUSS’ We are also very privileged to bring to The Old Globe stage Broadway luminaries HOW THE GRINCH Faith Prince and Tom Wopat in this remarkable new work. On the Cassius Carter Centre Stage, Rosemary Harris, the legendary Tony and STOLE CHRISTMAS! Emmy Award-winner, Academy-Award nominee and popular icon for her role in the Nov 25 - Dec 30, 2007 Spiderman movies is starring in the American premiere of Eric Emmanuel Schmitt’s Old Globe Theatre Oscar and the Pink Lady. What an embarrassment of riches on our stages this fall! We recently unveiled detailed construction plans for the rejuvenation of our OOO Balboa Park campus. The plans are part of the Theatre’s $75 million capital and endowment campaign, which designates $22 million to support this important facili- IN THIS CORNER ties project. The centerpieces include the new Conrad Prebys Theatre Center, which encompasses the remaining Old Globe Theatre, a new second stage theatre complex, Jan 5 - Feb 10, 2008 and a new education center, as well as a complete redesign of the Globe’s Copley Plaza Cassius Carter Centre Stage and dining area.
    [Show full text]
  • Leonard Garment
    National Equal Justice Library Oral History Collection Interview with Leonard Garment Conducted by Jim Flug July 24, 2002 Call number: NEJL-009 National Equal Justice Library Georgetown University Law Library 111 G Street NW Washington, DC 20001 Tel: (202) 662-4043 Fax: (202) 662-9911 Transcripts are protected by copyright and permission to publish must be obtained from NEJL at Georgetown University Law Library. Please contact the NEJL for more information. Georgetown University Law Center National Equal Justice Library Oral History Collection Interview with: Leonard Garment (LG) Conducted by: James Flug (JF) Interview date: July 24, 2002 JF:. I’m here because I was also, from 1973 to 1975, Executive Director of the National Legal Aid & Defender Association. Today is July 24, 2002, and I’m sitting here in the Rare Book Room of the National Equal Justice Library, and I’m pleased to introduce my interviewee, Leonard Garment. Mr. Garment was, during a key part of the history of the Legal Services Corporation, with the White House with the title of, I hope, special consultant to the President and then subsequently as acting counsel to the president. That was in President Nixon’s time. And then for President Ford, Assistant to the President and subsequently special representative to the United Nations Human Rights Commission. You were in private practice in New York at the time you joined the Nixon Administration, and you tell a story in your book that one of your first contacts with the Nixon Administration had to do with Legal Services. Do you want to retell that story? LG: The book is Crazy Rhythm.
    [Show full text]
  • The Death of Donald Moffat, Legendary MOURNING Actor, Distinguished
    Senate Resolution No. 503 BY: Senator HARCKHAM MOURNING the death of Donald Moffat, legendary actor, distinguished citizen and gifted artist WHEREAS, It is the sense of this Legislative Body to honor and pay just tribute to the memory of those prominent individuals whose creative talents have contributed to the entertainment and cultural enrichment of the citizens of the State of New York; and WHEREAS, Donald Moffat, a beloved actor of stage, screen and television, died on Thursday, December 20, 2018, in Sleepy Hollow, New York, at the age of 87; and WHEREAS, Born in Plymouth, England, on December 26, 1930, Donald Moffat was the only child of Kathleen Mary (Smith) and Walter George Moffat; his parents ran a boarding house in Totnes, England; and WHEREAS, Upon the completion of his studies at the local King Edward VI School, Donald Moffat performed national service with the Royal Artillery from 1949 to 1951; he went on to study at the Royal Academy of Dramatic Art in London until 1954; and WHEREAS, This extraordinary stage, screen and television actor was a naturalized, thoroughly Americanized Englishman who in the early 1950s was a player with the Old Vic theater company, the London crucible of many of Britain's most ambitious performing arts; and WHEREAS, In 1956, at the age of 26, Donald Moffat realized his dream and moved to the United States, settling in Oregon, where he worked as a bartender and a lumberjack; he soon resolved to return to acting, and made his Broadway debut as two characters in "Under Milkwood" (1957); and WHEREAS,
    [Show full text]
  • National Endowment for the Arts Annual Report 1990
    National Endowment For The Arts Annual Report National Endowment For The Arts 1990 Annual Report National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts for the Fiscal Year ended September 30, 1990. Respectfully, Jc Frohnmayer Chairman The President The White House Washington, D.C. April 1991 CONTENTS Chairman’s Statement ............................................................5 The Agency and its Functions .............................................29 . The National Council on the Arts ........................................30 Programs Dance ........................................................................................ 32 Design Arts .............................................................................. 53 Expansion Arts .....................................................................66 ... Folk Arts .................................................................................. 92 Inter-Arts ..................................................................................103. Literature ..............................................................................121 .... Media Arts: Film/Radio/Television ..................................137 .. Museum ................................................................................155 .... Music ....................................................................................186 .... 236 ~O~eera-Musicalater ................................................................................
    [Show full text]
  • The Role of Irish-Language Film in Irish National Cinema Heather
    Finding a Voice: The Role of Irish-Language Film in Irish National Cinema Heather Macdougall A Thesis in the PhD Humanities Program Presented in Partial Fulfillment of the Requirements for the degree of Doctor of Philosophy at Concordia University Montreal, Quebec, Canada August 2012 © Heather Macdougall, 2012 ABSTRACT Finding a Voice: The Role of Irish-Language Film in Irish National Cinema Heather Macdougall, Ph.D. Concordia University, 2012 This dissertation investigates the history of film production in the minority language of Irish Gaelic. The objective is to determine what this history reveals about the changing roles of both the national language and national cinema in Ireland. The study of Irish- language film provides an illustrative and significant example of the participation of a minority perspective within a small national cinema. It is also illustrates the potential role of cinema in language maintenance and revitalization. Research is focused on policies and practices of filmmaking, with additional consideration given to film distribution, exhibition, and reception. Furthermore, films are analysed based on the strategies used by filmmakers to integrate the traditional Irish language with the modern medium of film, as well as their motivations for doing so. Research methods included archival work, textual analysis, personal interviews, and review of scholarly, popular, and trade publications. Case studies are offered on three movements in Irish-language film. First, the Irish- language organization Gael Linn produced documentaries in the 1950s and 1960s that promoted a strongly nationalist version of Irish history while also exacerbating the view of Irish as a “private discourse” of nationalism. Second, independent filmmaker Bob Quinn operated in the Irish-speaking area of Connemara in the 1970s; his fiction films from that era situated the regional affiliations of the language within the national context.
    [Show full text]
  • January 2020 the Lighthouse Robert Eggers the Irish Film Institute
    JANUARY 2020 THE LIGHTHOUSE ROBERT EGGERS THE IRISH FILM INSTITUTE The Irish Film Institute is Ireland’s EXHIBIT national cultural institution for film. It aims to exhibit the finest in independent, Irish and international cinema, preserve PRESERVE Ireland’s moving image heritage at the Irish Film Archive, and encourage EDUCATE engagement with film through its various educational programmes. THE NIGHT WINTER MENU OF IDEAS 2020 Fancy some healthy and hearty food this January? Look The Night of Ideas is a worldwide initiative, spearheaded by no further than the IFI Café Bar’s delicious winter menu, Institut Français, that celebrates the constant stream of ideas featuring new dishes including Wicklow Lamb Stew, between countries, cultures, and generations. The IFI and Vegetarian Lasagne, and Warm Winter Veg with Harissa the French Embassy are proud to present this third edition in Yoghurt and Beetroot Crisps. Book your table by emailing Ireland, the theme of which is ‘Being Alive’. For more details on [email protected] or by ringing 01-6798712. the event, please see page 15. NAME YOUR SEAT COMING SOON Parasite Naming a seat in the newly refurbished Cinema 1 is a Coming to the IFI in February are two of the year’s most fantastic way to demonstrate your own passion for film, anticipated new releases: Bong Joon Ho’s Parasite, winner of celebrate the memory of someone who loved the IFI, or the 2019 Palme d’Or and hotly tipped for Oscar glory, follows the gift a unique birthday or anniversary present to the film sinister relationship between an unemployed family and their fan in your life! The only limit is 50 characters and your patrons; and Céline Sciamma’s stunning Portrait of a Lady on Fire, imagination.
    [Show full text]
  • ^Q^^^Efib NIXON WHITE HOUSE
    ^Q^^^EfiB NIXON WHITE HOUSE Part 4, The John Ehrlichman Alphabetical Subject File, 1969 -1973 General Introduction p. v Introduction to the Ehrlichman Alphabetical Subject File p. ix User Instructions p. xi BIBLIOGRAPHY OF DOCUMENTS p. 1 INDEX BY SUBJECTS AND NAMES p. 59 GENERAL INTRODUCTION Once the bulk of the papers and tapes from the five-and- dramatically altering the control that previous Presidents had one-half years Richard Milhous Nixon served in the White exercised over materials produced during their time in office, House are released, his presidency will become the best thus ultimately producing new archival procedures for process- documented in United States history. Because of Nixon's un- ing such papers. This 1974 Presidential Recordings and Mate- precedented forced resignation from office in 1974, little about rials Preservation Act: 1) authorized the seizing of all Nixon his truncated administration appears normal in retrospect, in- documents and tapes, placing them in control of the federal cluding the complicated problems surrounding his presiden- government; and 2) mandated that any abuse-of-power infor- tial papers. The sheer magnitude of the collection overwhelms mation in this presidential material be made available to the scholars and nonspecialists alike. There are, for example, forty public as soon as possible. Consequently, federal archivists of million pages of documents in the White House Central Files the National Archives and Records Service of the GSA (now and 4,000 hours of recorded conversations. At the end of 1987, an independent agency known as the National Archives and only three million documents and 121/z hours of tapes have Records Administration, or NARA) began to establish guide- been opened, because unlike other sets of presidential papers, lines for reviewing all of the documents and tapes from the Watergate-related congressional legislation and a web of liti- White House Central Files.
    [Show full text]
  • Theatre Archive Project: Interview with Colin George
    THEATRE ARCHIVE PROJECT http://sounds.bl.uk Colin George – interview transcript Interviewer: Kate Harris 21 November 2005 Actor and Director. A Man for All Seasons; audiences; Birmingham Rep; children's theatre; Coventry Belgrade theatre; The Crucible Theatre, Sheffield; drama students; The Elizabethan Theatre Company; Albert Finney; Tyrone Guthrie; Peter Hall; Laurence Olivier; Look Back in Anger; Harold Pinter; The Playhouse Nottingham; The Playhouse, Sheffield; repertory; Maggie Smith; television. KH: This is an interview on the 21st of November with Colin George. Can I just confirm that I've got your permission to put this into the archive? CG: You have. KH: Brilliant, I'd just like to start by asking about how you began working in the theatre? CG: Yes, I began straight from Oxford. I'd been… I suppose inspired by Laurence Olivier principally and his film Henry V, but also I saw him as a boy, in his first Richard III, his first great performance, at the New Theatre, with Olivier, with Richardson and those great seasons they had, Hotspur, you know and so on and decided I'd go into the theatre. And my mother, God bless her, said, ‘Well, get a degree first darling, then you'll always have something to fall back on’, which proved absolutely right, because when I was middle aged - not middle aged, but getting on, three kids and that and no money having left Sheffield and all that - I went to Australia to set up a drama department and later worked for twelve years in Hong Kong, was head of acting at the drama… and that saved my life.
    [Show full text]
  • Irish Film Institute What Happened After? 15
    Irish Film Studyguide Tony Tracy Contents SECTION ONE A brief history of Irish film 3 Recurring Themes 6 SECTION TWO Inside I’m Dancing INTRODUCTION Cast & Synopsis 7 This studyguide has been devised to accompany the Irish film strand of our Transition Year Moving Image Module, the pilot project of the Story and Structure 7 Arts Council Working Group on Film and Young People. In keeping Key Scene Analysis I 7 with TY Guidelines which suggest a curriculum that relates to the Themes 8 world outside school, this strand offers students and teachers an opportunity to engage with and question various representations Key Scene Analysis II 9 of Ireland on screen. The guide commences with a brief history Student Worksheet 11 of the film industry in Ireland, highlighting recurrent themes and stories as well as mentioning key figures. Detailed analyses of two films – Bloody Sunday Inside I'm Dancing and Bloody Sunday – follow, along with student worksheets. Finally, Lenny Abrahamson, director of the highly Cast & Synopsis 12 successful Adam & Paul, gives an illuminating interview in which he Making & Filming History 12/13 outlines the background to the story, his approach as a filmmaker and Characters 13/14 his response to the film’s achievements. We hope you find this guide a useful and stimulating accompaniment to your teaching of Irish film. Key Scene Analysis 14 Alicia McGivern Style 15 Irish FIlm Institute What happened after? 15 References 16 WRITER – TONY TRACY Student Worksheet 17 Tony Tracy was former Senior Education Officer at the Irish Film Institute. During his time at IFI, he wrote the very popular Adam & Paul Introduction to Film Studies as well as notes for teachers on a range Interview with Lenny Abrahamson, director 18 of films including My Left Foot, The Third Man, and French Cinema.
    [Show full text]
  • Theatre Archive Project Archive
    University of Sheffield Library. Special Collections and Archives Ref: MS 349 Title: Theatre Archive Project: Archive Scope: A collection of interviews on CD-ROM with those visiting or working in the theatre between 1945 and 1968, created by the Theatre Archive Project (British Library and De Montfort University); also copies of some correspondence Dates: 1958-2008 Level: Fonds Extent: 3 boxes Name of creator: Theatre Archive Project Administrative / biographical history: Beginning in 2003, the Theatre Archive Project is a major reinvestigation of British theatre history between 1945 and 1968, from the perspectives of both the members of the audience and those working in the theatre at the time. It encompasses both the post-war theatre archives held by the British Library, and also their post-1968 scripts collection. In addition, many oral history interviews have been carried out with visitors and theatre practitioners. The Project began at the University of Sheffield and later transferred to De Montfort University. The archive at Sheffield contains 170 CD-ROMs of interviews with theatre workers and audience members, including Glenda Jackson, Brian Rix, Susan Engel and Michael Frayn. There is also a collection of copies of correspondence between Gyorgy Lengyel and Michel and Suria Saint Denis, and between Gyorgy Lengyel and Sir John Gielgud, dating from 1958 to 1999. Related collections: De Montfort University Library Source: Deposited by Theatre Archive Project staff, 2005-2009 System of arrangement: As received Subjects: Theatre Conditions of access: Available to all researchers, by appointment Restrictions: None Copyright: According to document Finding aids: Listed MS 349 THEATRE ARCHIVE PROJECT: ARCHIVE 349/1 Interviews on CD-ROM (Alphabetical listing) Interviewee Abstract Interviewer Date of Interview Disc no.
    [Show full text]
  • A Prolific Artist, David Designed Lighting for World Premiere
    DAVID THAYER PRODUCTIONS INCLUSIVE CAREER LIST 1948-2016 A prolific artist, David designed lighting for world premiere productions of 21 plays, 7 operas, more than 100 dances, and over 150 other productions on campus and elsewhere. This 54 page pdf is a list created by David of the productions he designed. 2016 VANYA AND SONIA AND MASHA AND SPIKE — Christopher Durang Dir — Eric Forsythe Scenic Design— Alex Casillas Costume Design —Hayley Ryan Lighting Design — David Thayer Assistant Lighting Design — Hoejeong Yoo Sound Designer — Wade Hampton Stage Manager — Lindsay Warnick University Theatres production David Thayer Theatre: November 10-19 PERICLES — William Shakespeare Dir — Christine Kellogg Scenic Design— Shelly Ford Costume Design — Emily Ganfield Lighting Design — David Thayer Sound Designer — Frank Thomas Movement Coach — Paul Kalina Stage Manager — Laura F. Wendt Riverside in the Park: June 17, 18, 19, 28, 29, July 1, 2, 3, 7 FAIR MAID OF THE WEST — Adapted by Kevin Theis from plays by Thomas Haywood Dir — Sam Osheroff Scenic Design— Shelly Ford Costume Design — Emily Ganfield Lighting Design — David Thayer Sound Designer — Frank Thomas Movement Coach — Paul Kalina Stage Manager — Laura F. Wendt Riverside in the Park: June 24, 25, 26, 30, July 5, 6, 8,9, 10 2015 SHIPWRECKED! An Entertainment—The Amazing Adventures of Louis de Rougemont (as Told by Himself)– Donald Margulies Dir — Sam Osheroff Scenic Design— Kevin Dudley Costume Design — Sarah Bush Lighting Design — David Thayer Sound Designer — Drew Bielinski, Violet Virnig Movement
    [Show full text]
  • IN THIS ISSUE L7
    Issue No. 140 March 1989 Price 40p I l7 \ r IN THIS ISSUE Letters to the Editor History of Maynooth - Series Sports News Political Party Notes Childrens Corner Street Talking Resident's Associations News vlng• a Party? Hire all your requirements from us (Delpb/Cutlery/Glass/Table LinenZTables and Chairs etc.) " OR GIVE YOURSELF A TREA T I AND LET US LOOK AFTER ALL YOUR CA TERING - Pot6p O'Bpi6R Gatspinf1 GO. },l;(). "WOODVILLE", PAGESTOWN, MAYNOOTH. PHONE: 286566 ~ 00 "" 0 o EDITORIAL MAYNOOTH NEWSLETTER published by The Travellers PUTTING THE PAT MAYNOOTH COMMUNITY INTO pATRICK COUNCIL Travellers have been in the national news recently, as Dublin County Coun­ S1. Patrick's Day this year promises to Editorial Board cil has attempted to pursue a policy of be an occasion of hilarity, as the Kay McKeogh siting halting sites throughout the Community Council have laid out a day Peter Denman county. These plans have been re­ of fun, starting with the parade, and Ann McStravick sisted by various interests, despite the finishing with a dance in the Parish Suzanne Redmond plea from the ArChbishop of Dublin, Dr. Hall. The Parade is expected to be ElizahAth Ui Bhriain Desmond Connell for some compas­ bigger and better than ever, and RTE Mary Simon sion in this area. have promised they will come this year. Carol-Ann -Reaper Most of the protests against the siting For those soher enough to take it , the of halting sites relate to the anticipated afternoon will be spent in the Harbour The opinions and statements ex­ problems - vandalism, crime, dirt, falls Field, watching Daisy Satchwell con­ pressed in the articles are those of the in property values, assuming that all of tributing the most desirable pat that contributors and not necessarily those these are inevitable, while little atten­ has ever been lusted after.
    [Show full text]