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~La6(8Ill COMPA.NIES INC
October 1999 Brooklyn Academy of Music 1999 Next Wave Festival BAMcinematek Brooklyn Philharmonic 651 ARTS ~' pi I'" T if II' II i fl ,- ,.. til 1 ~ - - . I I I' " . ,I •[, II' , 1 , i 1'1 1/ I I; , ~II m Jennifer Bartleli, House: Large Grid, 1998 BAM Next Wave Festival sponsored by PHILIP MORRIS ~lA6(8Ill COMPA.NIES INC. Brooklyn Academy of Music Bruce C. Ratner Chairman of the Board Karen Brooks Hopkins Joseph V. Melillo President Executive Prod ucer presents Moby Dick Running time: BAM Opera House approximately ninety October 5, 1999, at 7:00 p.m. (Next Wave Festival Gala) minutes. Songs and October 6-9 & 12-16, 1999, at 7:30 p.m. Stories from Moby Dick is performed without an Visual Design, Music, and Lyrics Laurie Anderson intermission. Performers Pip, The Whale, A Reader Laurie Anderson Ahab, Noah, Explorer Tom Nelis The Cook, Second Mate, Running Man Price Waldman Standing Man Anthony Turner Falling Man Miles Green Musicians Violin, keyboards, guitar, talking stick Laurie Anderson Bass, prepared bass, samples Skuli Sverrisson Artistic Collaborators Co-Visual Design Christopher Kondek Co-Set Design James Schuette Lighting Design Michael Chybowski Sound Design Miles Green Costume Design Susan Hilferty Electronics Design Bob Bielecki Video Systems Design Ben Rubin Staging Co-Direction Anne Bogart General Management Julie Crosby Production Management Bohdan Bushell Production Stage Management Lisa Porter Major support for this presentation was provided by The Ford Foundation with additional support from The Dime Savings Bank of New York, FSB. Next Wave Festival Gala is sponsored by Philip Morris Companies Inc. 17 Produced by electronic theater company, Inc. -
Legally Blonde: Introduction
Being true to yourself never goes out of style! WINNER BEST NEW MUSICAL 2011 OLIVIER AWARD EDUCATION KIT AUSTRALIAN PREMIERE SEASON • SYDNEY LYRIC LegallyBlonde.com.au facebook.com/ legallyblondemusical @legallyblondeoz Legally Blonde: INTRODUCTION INTRODUCTION This teacher’s guide has been developed as a teaching tool to assist teachers who are bringing their students to see the show. This guide is based on Camp Broadway’s StageNOTES, conceived for the original Broadway musical adaptation of Amanda Brown’s 2001 novel and the film released that same year, and has been adapted for use within the UK and Australia. The Australian Education Pack is intended to offer some pathways into the production, and focuses on some of the topics covered in Legally Blonde which may interest students and teachers. It is not an exhaustive analysis of the musical or the production, but instead aims to offer a variety of stimuli for debate, discussion and practical exploration. It is anticipated that the Education Pack will be best utilised after a group of students have seen the production with their teacher, and can engage in an informed discussion based on a sound awareness of the musical. We hope that the information provided here will both enhance the live theatre experience and provide readers with information they may not otherwise have been able to access. Legally Blonde is an uplifting, energising, feel-good show and with that in mind we hope this pack will be enjoyed through equally energising and enjoyable practical work in the classroom and drama studio. 1 Legally Blonde: INTRODUCTION LEgally Blonde Education Pack CONTENTS PAGE INTODUCTION 1. -
THTR 433A/ '16 CD II/ Syllabus-9.Pages
USCSchool of Costume Design II: THTR 433A Thurs. 2:00-4:50 Dramatic Arts Fall 2016 Location: Light Lab/PDE Instructor: Terry Ann Gordon Office: [email protected]/ floating office Office Hours: Thurs. 1:00-2:00: by appt/24 hr notice Contact Info: [email protected], 818-636-2729 Course Description and Overview This course is designed to acquaint students with the requirements, process and expectations for Film/TV Costume Designers, supervisors and crew. Emphasis will be placed on all aspects of the Costume process; Design, Prep: script analysis,“scene breakdown”, continuity, research, and budgeting; Shooting schedules, and wrap. The supporting/ancillary Costume Arts and Crafts will also be discussed. Students will gain an historical overview, researching a variety of designers processes, aesthetics and philosophies. Viewing films and film clips will support critique and class discussion. Projects focused on specific design styles and varied media will further support an overview of techniques and concepts. Current production procedures, vocabulary and technology will be covered. We will highlight those Production departments interacting closely with the Costume Department. Time permitting, extra-curricular programs will include rendering/drawing instruction, select field trips, and visiting TV/Film professionals. Students will be required to design a variety of projects structured to enhance their understanding of Film/TV production, concept, style and technique . Learning Objectives The course goal is for students to become familiar with the fundamentals of costume design for TV/Film. They will gain insight into the protocol and expectations required to succeed in this fast paced industry. We will touch on the multiple variations of production formats: Music Video, Tv: 4 camera vs episodic, Film, Commercials, Styling vs Costume Design. -
Paul Taylor Dance Company’S Engagement at Jacob’S Pillow Is Supported, in Part, by a Leadership Contribution from Carole and Dan Burack
PILLOWNOTES JACOB’S PILLOW EXTENDS SPECIAL THANKS by Suzanne Carbonneau TO OUR VISIONARY LEADERS The PillowNotes comprises essays commissioned from our Scholars-in-Residence to provide audiences with a broader context for viewing dance. VISIONARY LEADERS form an important foundation of support and demonstrate their passion for and commitment to Jacob’s Pillow through It is said that the body doesn’t lie, but this is wishful thinking. All earthly creatures do it, only some more artfully than others. annual gifts of $10,000 and above. —Paul Taylor, Private Domain Their deep affiliation ensures the success and longevity of the It was Martha Graham, materfamilias of American modern dance, who coined that aphorism about the inevitability of truth Pillow’s annual offerings, including educational initiatives, free public emerging from movement. Considered oracular since its first utterance, over time the idea has only gained in currency as one of programs, The School, the Archives, and more. those things that must be accurate because it sounds so true. But in gently, decisively pronouncing Graham’s idea hokum, choreographer Paul Taylor drew on first-hand experience— $25,000+ observations about the world he had been making since early childhood. To wit: Everyone lies. And, characteristically, in his 1987 autobiography Private Domain, Taylor took delight in the whole business: “I eventually appreciated the artistry of a movement Carole* & Dan Burack Christopher Jones* & Deb McAlister PRESENTS lie,” he wrote, “the guilty tail wagging, the overly steady gaze, the phony humility of drooping shoulders and caved-in chest, the PAUL TAYLOR The Barrington Foundation Wendy McCain decorative-looking little shuffles of pretended pain, the heavy, monumental dances of mock happiness.” Frank & Monique Cordasco Fred Moses* DANCE COMPANY Hon. -
MARTIN PAKLEDINAZ, Costume Designer
THE ELIXIR OF LOVE FOR FAMILIES PRODUCTION TEAM BIOGRAPHY MARTIN PAKLEDINAZ, Costume Designer Martin Pakledinaz is an American Tony Award-winning costume designer for stage and film. His work on Broadway includes The Pajama Game, The Trip to Bountiful, Wonderful Town, Thoroughly Modern Millie, Kiss Me, Kate, The Boys From Syracuse, The Diary Of Anne Frank, A Year With Frog And Toad, The Life, Anna Christie, The Father, and Golden Child. Off-Broadway work includes Two Gentlemen of Verona, Andrew Lippa's The Wild Party, Kimberly Akimbo, Give Me Your Answer, Do, Juvenalia, The Misanthrope, Kevin Kline's Hamlet, Twelve Dreams, Waste, and Troilus and Cressida. He won two Tony Awards for designing the costumes of Thoroughly Modern Millie and the 2000 revival of Kiss Me Kate, which also earned him the Drama Desk Award for Outstanding Costume Design. He has designed plays for the leading regional theatres of the United States, and the Royal Dramatic Theatre of Sweden. Opera credits include works at the New York Metropolitan Opera and the New York City Opera, as well as opera houses in Seattle, Los Angeles, St. Louis, Sante Fe, Houston, and Toronto. European houses include Salzburg, Paris, Amsterdam, Brussels, Helsinki, Gothenburg, and others. His dance credits include a long collaboration with Mark Morris, and dances for such diverse choreographers as George Balanchine, Eliot Feld, Deborah Hay, Daniel Pelzig, Kent Stowell, Helgi Tomasson, and Lila York. His collaborators in theatre include Rob Ashford, Gabriel Barre, Michael Blakemore, Scott Ellis, Colin Graham, Sir Peter Hall, Michael Kahn, James Lapine, Stephen Lawless, Kathleen Marshall, Charles Newell, David Petrarca, Peter Sellars, Bartlett Sher, Stephen Wadsworth, Garland Wright, and Francesca Zambello. -
English 252: Theatre in England 2006-2007 * [Optional Events
English 252: Theatre in England 2006-2007 * [Optional events — seen by some] Wednesday December 27 *2:30 p.m. Guys and Dolls (1950). Dir. Michael Grandage. Music & lyrics by Frank Loesser, Book by Jo Swerling and Abe Burrows. Based on a story and characters of Damon Runyon. Designer: Christopher Oram. Choreographer: Rob Ashford. Cast: Alex Ferns (Nathan Detroit), Samantha Janus (Miss Adelaide), Amy Nuttal (Sarah Brown), Norman Bowman (Sky Masterson), Steve Elias (Nicely Nicely Johnson), Nick Cavaliere (Big Julie), John Conroy (Arvide Abernathy), Gaye Brown (General Cartwright), Jo Servi (Lt. Brannigan), Sebastien Torkia (Benny Southstreet), Andrew Playfoot (Rusty Charlie/ Joey Biltmore), Denise Pitter (Agatha), Richard Costello (Calvin/The Greek), Keisha Atwell (Martha/Waitress), Robbie Scotcher (Harry the Horse), Dominic Watson (Angie the Ox/MC), Matt Flint (Society Max), Spencer Stafford (Brandy Bottle Bates), Darren Carnall (Scranton Slim), Taylor James (Liverlips Louis/Havana Boy), Louise Albright (Hot Box Girl Mary-Lou Albright), Louise Bearman (Hot Box Girl Mimi), Anna Woodside (Hot Box Girl Tallulha Bloom), Verity Bentham (Hotbox Girl Dolly Devine), Ashley Hale (Hotbox Girl Cutie Singleton/Havana Girl), Claire Taylor (Hot Box Girl Ruby Simmons). Dance Captain: Darren Carnall. Swing: Kate Alexander, Christopher Bennett, Vivien Carter, Rory Locke, Wayne Fitzsimmons. Thursday December 28 *2:30 p.m. George Gershwin. Porgy and Bess (1935). Lyrics by DuBose Heyward and Ira Gershwin. Book by Dubose and Dorothy Heyward. Dir. Trevor Nunn. Design by John Gunter. New Orchestrations by Gareth Valentine. Choreography by Kate Champion. Lighting by David Hersey. Costumes by Sue Blane. Cast: Clarke Peters (Porgy), Nicola Hughes (Bess), Cornell S. John (Crown), Dawn Hope (Serena), O-T Fagbenie (Sporting Life), Melanie E. -
Programming; Providing an Environment for the Growth and Education of Theatre Professionals, Audiences and the Community at Large
MARCH 2012 Welcome to This World Premiere production of Marc Acito and Jeffrey Stock’s enchanting A Room with a View marks the culmination of more than a year of development, workshops and rehearsals. It also represents The Old Globe’s ongoing commitment to launching new musicals and to making San Diego an artistic home for the best and brightest creative talent in theatre. A Room with HENRY DIROCCO HENRY a View follows a sheltered young English girl, Lucy Honeychurch, on her travels to Italy, where she learns about not only the world but also herself. We hope it will transport you to another time and place, sweeping you along on Lucy’s journey of discovery and romance. We are also pleased to welcome director Scott Schwartz back to The Old Globe. Scott directed the Globe’s immensely successful productions of Golda’s Balcony, Broadway Bound, Brighton Beach Memoirs and Lost in Yonkers. Scott has been both a vital part of the development of A Room with a View and an ideal director for its World Premiere production. As you may know, The Old Globe has embarked upon a nationwide search for new artistic leadership, assisted by the search firm AlbertHall&Associates. The firm was co-founded by former Globe Managing Director Tom Hall, whose knowledge of and commitment to The Old Globe will be a great asset to this process. We look forward to an exciting new chapter in the artistic life of The Old Globe as we continue to pursue our mission, serve our San Diego community and create some of the best theatre in the country. -
1998 Acquisitions
1998 Acquisitions PAINTINGS PRINTS Carl Rice Embrey, Shells, 1972. Acrylic on panel, 47 7/8 x 71 7/8 in. Albert Belleroche, Rêverie, 1903. Lithograph, image 13 3/4 x Museum purchase with funds from Charline and Red McCombs, 17 1/4 in. Museum purchase, 1998.5. 1998.3. Henry Caro-Delvaille, Maternité, ca.1905. Lithograph, Ernest Lawson, Harbor in Winter, ca. 1908. Oil on canvas, image 22 x 17 1/4 in. Museum purchase, 1998.6. 24 1/4 x 29 1/2 in. Bequest of Gloria and Dan Oppenheimer, Honoré Daumier, Ne vous y frottez pas (Don’t Meddle With It), 1834. 1998.10. Lithograph, image 13 1/4 x 17 3/4 in. Museum purchase in memory Bill Reily, Variations on a Xuande Bowl, 1959. Oil on canvas, of Alexander J. Oppenheimer, 1998.23. 70 1/2 x 54 in. Gift of Maryanne MacGuarin Leeper in memory of Marsden Hartley, Apples in a Basket, 1923. Lithograph, image Blanche and John Palmer Leeper, 1998.21. 13 1/2 x 18 1/2 in. Museum purchase in memory of Alexander J. Kent Rush, Untitled, 1978. Collage with acrylic, charcoal, and Oppenheimer, 1998.24. graphite on panel, 67 x 48 in. Gift of Jane and Arthur Stieren, Maximilian Kurzweil, Der Polster (The Pillow), ca.1903. 1998.9. Woodcut, image 11 1/4 x 10 1/4 in. Gift of Mr. and Mrs. Frederic J. SCULPTURE Oppenheimer in memory of Alexander J. Oppenheimer, 1998.4. Pierre-Jean David d’Angers, Philopoemen, 1837. Gilded bronze, Louis LeGrand, The End, ca.1887. Two etching and aquatints, 19 in. -
Catalogue of Photographs of Performers at the Embassy Theatre
Catalogue of Photographs of Performers and Shows in the Archives of the Embassy Theatre Foundation The archives of the Embassy Theatre Foundation hold more than 3000 artifacts, including more than 600 photographs of vaudevillians inscribed to Bud Berger (long-time stage man- ager at the Embassy Theatre, known as the Emboyd until 1952); more than 300 posters, playbills, programs, stools, and even guitars signed by the stars and casts of shows that have played at the Embassy Theatre over the past forty years, rang- ing from classic and current Broadway shows to acrobatic groups, choral ensembles, dance shows, ballet, stand-up comedians, rock bands, country singers, travel films, silent films, theatre organists, and so on; and hundreds of publicity photographs of performers, shows, and events at the theatre, primarily from the period following the establishment of the Embassy Theatre Foundation and its rescue of the theatre from the wrecking ball in 1975; and a nearly complete run of the journal of the American Theatre Organ Society. The archive is now almost fully catalogued and preserved in archival housing. Earlier excerpts from the catalogue (available on the Archives page of the Embassy Theatre’s web site) cover the photographs inscribed to Bud Berger and the posters, playbills, programs, stools, and so on from later shows at the Embassy. This is the third excerpt, covering the public- ity photographs of the last forty-five years and a few photographs of earlier events, Bud Berger, and other members of the stage crew. The publicity photographs are primarily of individ- ual performers, but a few shows are presented as well, including Ain’t Misbehavin’, Annie, Barnum, Bubbling Brown Sugar, Cabaret, California Suite, Cats, A Christ- mas Carol, Dancin’, Evita, Gypsy, I'm Getting My Act Together And Taking It On The Road, Joseph and the Amazing Technicolor Dreamcoat, Peter Pan, Same Time Next Year, Side by Side by Sondheim, and Ziegfeld: A Night at the Follies. -
FY19 Annual Report View Report
Annual Report 2018–19 3 Introduction 5 Metropolitan Opera Board of Directors 6 Season Repertory and Events 14 Artist Roster 16 The Financial Results 20 Our Patrons On the cover: Yannick Nézet-Séguin takes a bow after his first official performance as Jeanette Lerman-Neubauer Music Director PHOTO: JONATHAN TICHLER / MET OPERA 2 Introduction The 2018–19 season was a historic one for the Metropolitan Opera. Not only did the company present more than 200 exiting performances, but we also welcomed Yannick Nézet-Séguin as the Met’s new Jeanette Lerman- Neubauer Music Director. Maestro Nézet-Séguin is only the third conductor to hold the title of Music Director since the company’s founding in 1883. I am also happy to report that the 2018–19 season marked the fifth year running in which the company’s finances were balanced or very nearly so, as we recorded a very small deficit of less than 1% of expenses. The season opened with the premiere of a new staging of Saint-Saëns’s epic Samson et Dalila and also included three other new productions, as well as three exhilarating full cycles of Wagner’s Ring and a full slate of 18 revivals. The Live in HD series of cinema transmissions brought opera to audiences around the world for the 13th season, with ten broadcasts reaching more than two million people. Combined earned revenue for the Met (box office, media, and presentations) totaled $121 million. As in past seasons, total paid attendance for the season in the opera house was 75%. The new productions in the 2018–19 season were the work of three distinguished directors, two having had previous successes at the Met and one making his company debut. -
Introduction
THE NEW YORK PUBLIC LIBRARY FOR THE PERFORMING ARTS THE OLIVE WONG PROJECT PERFORMANCE COSTUME DESIGN RESEARCH GUIDE INTRODUCTION COSTUME DESIGN AND PERFORMANCE WRITTEN AND EDITED BY AILEEN ABERCROMBIE The New York Public Library for the Perform- newspapers, sketches, lithographs, poster art ing Arts, located in Lincoln Center Plaza, is and photo- graphs. In this introduction, I will nestled between four of the most infuential share with you some of Olive’s selections from performing arts buildings in New York City: the NYPL collection. Avery Fisher Hall, Te Metropolitan Opera, the Vivian Beaumont Teater (home to the Lincoln There are typically two ways to discuss cos- Center Teater), and David H. Koch Teater. tume design: “manner of dress” and “the history Te library matches its illustrious location with of costume design”. “Manner of dress” contextu- one of the largest collections of material per- alizes the way people dress in their time period taining to the performing arts in the world. due to environment, gender, position, economic constraints and attitude. Tis is essentially the The library catalogs the history of the perform- anthropological approach to costume design. ing arts through collections acquired by notable Others study “the history of costume design”, photographers, directors, designers, perform- examining the way costume designers interpret ers, composers, and patrons. Here in NYC the the manner of dress in their time period: where so many artists live and work we have the history of the profession and the profession- an opportunity, through the library, to hear als. Tis discussion also talks about costume sound recording of early flms, to see shows designers’ backstory, their process, their that closed on Broadway years ago, and get to relationships and their work. -
Asides Magazine for SALOMÉ
2015|2016 SEASON Issue 1 TABLE OF Dear Friend, CONTENTS A few years ago in New York, I had an unforgettable theatrical experience. It was Mies Julie, ® 1 Title page Yäel Farber’s adaptation of Recipient of the 2012 Regional Theatre Tony Award 3 Cast Strindberg’s play, transferring Artistic Director Michael Kahn from its acclaimed run at the Executive Director Chris Jennings 5 About STC Edinburgh Fringe Festival. Setting the text in post- Apartheid South Africa, Yaël managed to miraculously 5 About ACA re-create the visceral shock of the original play while daringly mapping its exploration of gender and social 6 The Stories Not Told class inequalities onto an unmistakably contemporary by Drew Lichtenberg landscape. I was captivated and excited. Most importantly, I admired Yaël’s ability to transform 10 Director’s Word classical texts to speak to some of the most pressing issues of our time. I was not surprised to see Yaël by Yaël Farber quickly become one of the most sought-after directors 14 Salomé as History in international theatre. Her recent production of The adapted and directed by Yaël Farber Crucible at the Old Vic in London was nominated for and Fetish an Olivier Award, the highest honor in British theatre, by Gail P. Streete and her documentary piece, Nirbhaya, on the subject of a brutal sexual assault in India, has toured the world to Performances begin October 6, 2015 20 Creating Salomé critical acclaim. Opening Night October 13, 2015 21 Cast Biographies We presented Mies Julie to Washington audiences in our Lansburgh Theatre 2013–2014 season, where it was nominated for a Helen 27 Play in Process Hayes Award for Outstanding Visiting Production.