Bronwyn Steinberg MFA in Theatre (Directing), University of Ottawa, 2010 BA in Theatre, Linguistics and Jewish Studies, Univ
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The Front Page First Opened at the Times Square Theatre on August 14, 1928, It Was Instantly Heralded As a Classic
SUPPORT FOR THE 2019 SEASON OF THE FESTIVAL THEATRE IS GENEROUSLY PROVIDED BY DANIEL BERNSTEIN AND CLAIRE FOERSTER PRODUCTION SUPPORT IS GENEROUSLY PROVIDED BY NONA MACDONALD HEASLIP 2 DIRECTOR’S NOTES SCAVENGING FOR THE TRUTH BY GRAHAM ABBEY “Were it left to me to decide between a government without newspapers or newspapers without a government, I should not hesitate a moment to prefer the latter.” – Thomas Jefferson, 1787 When The Front Page first opened at the Times Square Theatre on August 14, 1928, it was instantly heralded as a classic. Nearly a century later, this iconic play has retained its place as one of the great American stage comedies of all time. Its lasting legacy stands as a testament to its unique DNA: part farce, part melodrama, with a healthy dose of romance thrown into the mix, The Front Page is at once a veneration and a reproof of the gritty, seductive world of Chicago journalism, firmly embedded in the freewheeling euphoria of the Roaring Twenties. According to playwrights (and former Chicago reporters) Charles MacArthur and Ben Hecht, the play allegedly found its genesis in two real-life events: a practical joke carried out on MacArthur as he was heading west on a train with his fiancée, and the escape and disappearance of the notorious gangster “Terrible” Tommy consuming the conflicted heart of a city O’Conner four days before his scheduled caught in the momentum of progress while execution at the Cook County Jail. celebrating the underdogs who were lost in its wake. O’Conner’s escape proved to be a seminal moment in the history of a city struggling Chicago’s metamorphosis through the to find its identity amidst the social, cultural “twisted twenties” is a paradox in and of and industrial renaissance of the 1920s. -
Noteworthy Spring 2016
noteworthy news from the university of toronto libraries Spring 2016 Lana Peters is the name adopted by Svetlana Alliluyeva, daughter of Josef Stalin IN THIS ISSUE Spring 2016 12 “35 years of Degrassi” event exhorts audience to “just do it” [ 3 ] Taking Note [ 11 ] Other Events [ 4 ] Going for Gold: 50 Years of the University of Toronto Archives [ 12 ] Friends of the Libraries Lecture Series [ 5 ] Understanding Canada’s Oldest Profession [ 12 ] Richard Charles Lee Canada-Hong Kong Library Events [ 6 ] Eureka! U of T Music Librarian Chances on Long-lost Treasure [ 14 ] Supporting Scientific Research [ 6 ] Ursula Franklin Collection at UTARMS [ 15 ] Exhibitions and Events [ 7 ] Renowned Philosopher Donates Books and Archives to UTL Special Collections [ 8 ] Rare Times at the Thomas Fisher Rare Book Library Cover image: Letters written by Josef Stalin’s daughter Svetlana Alliluyeva. Above: Degrassi’s Linda Schuyler hams it up with fans at a Friends of the Libraries Lecture. [ 2 ] TAKING NOTE noteworthy news from the university of toronto libraries WELCOME TO THE SPRING ISSUE In 2009, the founder of the worldwide Chief Librarian of Noteworthy. Our cover presents a fascinat- web, Tim Berners-Lee, gave a TED talk Larry P. Alford ing recent acquisition of the letters of about Linked Data, essentially calling for Editor Stalin’s daughter, Svetlana Alliluyeva, to a action on the transition from documents to Megan Campbell friend over a couple of decades before her data on the web. In practical terms, this death, through which the devastating means publishing information online in a Designer Maureen Morin effects of her father’s legacy may be under- way that can connect to other web resources. -
STUDY GUIDE TOOLS for TEACHERS Sponsored By
2014 STUDY GUIDE TOOLS FOR TEACHERS sponsored by Tom McCamus, Seana McKenna Support for the 2014 season of the Tom Patterson Theatre is generously provided by Richard Rooney & Laura Dinner Production support is generously provided by Karon Bales & Charles Beall Table of Contents The Place The Stratford Festival Story ........................................................................................ 1 The Play The Playwright: William Shakespeare ........................................................................ 3 A Shakespearean Timeline ......................................................................................... 4 Cast of Characters ...................................................................................................... 6 Plot Synopsis ............................................................................................................... 7 Sources and Origins .................................................................................................... 8 Stratford Festival Production History ......................................................................... 9 The Production Artistic Team and Cast ............................................................................................... 10 Lesson Plans and Activities Creating Atmosphere .......................................................................................... 11 Mad World, Mad Kings, Mad Composition! ........................................................ 14 Discussion Topics .............................................................................................. -
Uvisno "Acting Is Handed on from Actor to Actor
Inaide the Stratford Festival uviSNO "Acting is handed on from actor to actor. It's the only way to do it... from observing the people who came before you. That is really the way theatre goes" In OFFSTAGE ONSTAGE: Inside the Stratford Festival, Stratford cameras go backstage during an entire season to capture the creative spirit at the heart of a treasured Canadian theatre company. For five decades, the Festival's stage has been home to the world's great plays and performers. Award-winning director John N. Smith (The Boys of St. Vincent), given unprecedented access backstage, offers a fascinating look at the personalities and the production process behind live theatre performance. Peek into William Hutt's dressing room as he does his vocal warm-ups before Twelfth Night. Watch Martha Henry command the stage in Who's Afraid of Virginia Woolf? Observe an up-and-coming generation of young performers who learn from the masters. Meet dozens of artists, craftspeople and technicians who reveal their secrets, from shoemaking, sword fighting and sound effects to makeup and mechanical monkeys. Join us behind the scenes of Canada's premier classical theatre institution ... and discover the love for the stage that drives this artistic company. Resource guide on reverse side, DIRECTOR: John N. Smith PRODUCER: Gerry Flahive 83 minutes Order number: C9102 042 Closed captioned. A decoder is required. TO ORDER NFB VIDEOS, CALL TODAY! -800-267-7710 (Canada) 1-800-542-2164 (USA) © 2002 National Film Board of Canada. A licence is required for any reproduction, television broadcast, sale, rental or public screening. -
Shakespeare on Film, Video & Stage
William Shakespeare on Film, Video and Stage Titles in bold red font with an asterisk (*) represent the crème de la crème – first choice titles in each category. These are the titles you’ll probably want to explore first. Titles in bold black font are the second- tier – outstanding films that are the next level of artistry and craftsmanship. Once you have experienced the top tier, these are where you should go next. They may not represent the highest achievement in each genre, but they are definitely a cut above the rest. Finally, the titles which are in a regular black font constitute the rest of the films within the genre. I would be the first to admit that some of these may actually be worthy of being “ranked” more highly, but it is a ridiculously subjective matter. Bibliography Shakespeare on Silent Film Robert Hamilton Ball, Theatre Arts Books, 1968. (Reissued by Routledge, 2016.) Shakespeare and the Film Roger Manvell, Praeger, 1971. Shakespeare on Film Jack J. Jorgens, Indiana University Press, 1977. Shakespeare on Television: An Anthology of Essays and Reviews J.C. Bulman, H.R. Coursen, eds., UPNE, 1988. The BBC Shakespeare Plays: Making the Televised Canon Susan Willis, The University of North Carolina Press, 1991. Shakespeare on Screen: An International Filmography and Videography Kenneth S. Rothwell, Neil Schuman Pub., 1991. Still in Movement: Shakespeare on Screen Lorne M. Buchman, Oxford University Press, 1991. Shakespeare Observed: Studies in Performance on Stage and Screen Samuel Crowl, Ohio University Press, 1992. Shakespeare and the Moving Image: The Plays on Film and Television Anthony Davies & Stanley Wells, eds., Cambridge University Press, 1994. -
Visual Media Use and Intermediality in Shakespeare Productions
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Birmingham Research Archive, E-theses Repository STRANGE BEDFELLOWS? VISUAL MEDIA USE AND INTERMEDIALITY IN SHAKESPEARE PRODUCTIONS By SHARI LYNN FOSTER A thesis submitted to the University of Birmingham for the degree of Masters of Literature College of Arts and Law School of Humanities Shakespeare Institute University of Birmingham October 2013 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT Drawing on archive material, reviews and personal observation, this thesis examines the use of visual media in stage productions of Shakespeare’s plays. Utilizing examples from the period between 1905 and 2007, the thesis focuses on intermedial productions, explores the media use in Shakespeare productions, and asks why certain Shakespeare plays seem to be more adaptable to the inclusion of visual media. Chapter one considers the technology and societal shifts affecting the theatre art and the audience and Klaus Bruhn Jensen’s three level definition of intermediality which provides a framework for the categorizing the media usage within Shakespeare productions. -
2016 Study Guide
2016 STUDY ProductionGUIDE Sponsor 2016 STUDY GUIDE EDUCATION PROGRAM PARTNER BREATH OF KINGS: REBELLION | REDEMPTION BY WILLIAM SHAKESPEARE CONCEIVED AND ADAPTED BY GRAHAM ABBEY WORLD PREMIÈRE COMMISSIONED BY THE STRATFORD FESTIVAL DIRECTORS MITCHELL CUSHMAN AND WEYNI MENGESHA TOOLS FOR TEACHERS sponsored by PRODUCTION SUPPORT is generously provided by The Brian Linehan Charitable Foundation and by Martie & Bob Sachs INDIVIDUAL THEATRE SPONSORS Support for the 2016 Support for the 2016 Support for the 2016 Support for the 2016 season of the Festival season of the Avon season of the Tom season of the Studio Theatre is generously Theatre is generously Patterson Theatre is Theatre is generously provided by provided by the generously provided by provided by Claire & Daniel Birmingham family Richard Rooney & Sandra & Jim Pitblado Bernstein Laura Dinner CORPORATE THEATRE PARTNER Sponsor for the 2016 season of the Tom Patterson Theatre Cover: From left: Graham Abbey, Tom Rooney, Araya Mengesha, Geraint Wyn Davies.. Photography by Don Dixon. Table of Contents The Place The Stratford Festival Story ........................................................................................ 1 The Play The Playwright: William Shakespeare ........................................................................ 3 A Shakespearean Timeline ......................................................................................... 4 Plot Synopsis .............................................................................................................. -
The Tempest, in Which I’M Delighted to Direct Martha Henry, Is a Play About the Yearning to Be Released From
SUPPORT FOR THE 2018 SEASON OF THE FESTIVAL THEATRE IS GENEROUSLY PROVIDED BY DANIEL BERNSTEIN & CLAIRE FOERSTER PRODUCTION SUPPORT IS GENEROUSLY PROVIDED BY JANE PETERSEN BURFIELD & FAMILY, BY DR. DESTA LEAVINE IN MEMORY OF PAULINE LEAVINE, BY DR. M.L. MYERS, BY THE WESTAWAY CHARITABLE FOUNDATION, AND BY JACK WHITESIDE 2 CLASSICLASSIC FILMS OscarWildeCinema.com TM CINEPLEX EVENTS OPERA | DANCE | STAGE | GALLERY | CLASSIC FILMS For more information, visit Cineplex.com/Events @CineplexEvents EVENTS ™/® Cineplex Entertainment LP or used under license. CE_0226_EVCN_CPX_Events_Print_AD_5.375x8.375_v4.indd 1 2018-03-08 7:41 AM THE WILL TO BE FREE We all want to be free. But finding true freedom within our communities, within our families and within ourselves is no easy task. Nor is it easy to reconcile our own freedom with the political, religious and cultural freedoms of others. Happily, the conflict created by our search for freedom makes for great theatre... Shakespeare’s The Tempest, in which I’m delighted to direct Martha Henry, is a play about the yearning to be released from CLASSICCLASSI FILMS imprisonment, as revenge and forgiveness vie OscarWildeCinema.com TM for the upper hand in Prospero’s heart. Erin Shields’s exciting new interpretation of Milton’s Paradise Lost takes an ultra- contemporary look at humanity’s age-old desire for free will – and the consequences of acting on it. I’m very proud that we have the internationally renowned Robert Lepage with us directing Shakespeare’s Coriolanus, a play about early Roman democracy. It is as important to understanding the current state of our democratic institutions as is Shakespeare’s play about the end of the Roman Republic, Julius Caesar. -
Stratford Festival Story
2016 STUDY GUIDE 2016 STUDY GUIDE EDUCATION PROGRAM PARTNER MACBETH BY WILLIAM SHAKESPEARE DIRECTOR ANTONI CIMOLINO TOOLS FOR TEACHERS sponsored by PRODUCTION SUPPORT is generously provided by Jane Petersen Burfield & Family, by Barbara & John Schubert, by the Tremain Family, and by Chip & Barbara Vallis INDIVIDUAL THEATRE SPONSORS Support for the 2016 Support for the 2016 Support for the 2016 Support for the 2016 season of the Festival season of the Avon season of the Tom season of the Studio Theatre is generously Theatre is generously Patterson Theatre is Theatre is generously provided by provided by the generously provided by provided by Claire & Daniel Birmingham family Richard Rooney & Sandra & Jim Pitblado Bernstein Laura Dinner CORPORATE THEATRE PARTNER Sponsor for the 2016 season of the Tom Patterson Theatre Cover: Ian Lake. Photography by Don Dixon. Table of Contents The Place The Stratford Festival Story ........................................................................................ 1 The Play The Playwright: William Shakespeare ........................................................................ 3 A Shakespearean Timeline ......................................................................................... 4 Plot Synopsis ............................................................................................................... 6 Sources, Origins and Production History .................................................................... 7 The Historical Macbeth ............................................................................................ -
Program of the 2019 Shakespearean Theatre Conference Festival and Festivity
Program of the 2019 Shakespearean Theatre Conference Festival and Festivity 20-22 June 2019 University of Waterloo Stratford Festival Stratford, Ontario, Canada 2019 Shakespearean Theatre Conference: Festival and Festivity Wednesday, June 19 7:30-9:00 Wine and Cheese Reception (Stratford Festival Archives) Thursday, June 20 8:30-5:00 Registration (UW-Stratford Campus) 9:00-10:30 Short Paper Session #1 – Festivity, Ritual, and Sacrifice (3022/24) Chair: Andrew Moore (St. Thomas University) Peter Byrne (Kent State University-Trumbull), “‘Blood and Revenge’: The Saturnalia of Titus Andronicus” John Langdon (Shakespeare Institute), “Death on the Side: Festive Sacrifice in A Midsummer Night’s Dream, with a Glance at Plays within Plays” James W. Stone (American University), “‘Is this a holiday?’ Festivity and Sacrifice in Julius Caesar” Short Paper Session #2 – Locating Festivity (3129) Chair: Niels Herold (Oakland University) Katherine Steele Brokaw (University of California, Merced), “Shakespeare in the (National) Park: Performance, Ecology, and the Great Outdoors” Wes Pearce (University of Regina), “Summertime Shakespeare as Tourist Destination” Short Paper Session #3 – Women and Dream On Stage, Then and Now (2024) Chair: Katherine Acheson (University of Waterloo) David J. Amelang (Freie Universität Berlin), “Female Protagonism on the Early Modern European Stage” Jessica Boyles (Mary Baldwin University), “‘The Lost Exchange’: Ophelia’s Absence from ‘To be, or not to be’” Corinne Brown (Independent Scholar), “Re-reading A Midsummer Night’s Dream in the Context of Tudor History and Peter Sellars’ 2014 Staging of the Play” 10:30-11:00 Coffee Break 11:00-12:30 Welcome and Announcements (3022/24) Katherine Acheson, Associate Dean of Arts First Plenary Paper Chair: Paul Werstine (King’s University College, Western University) M.J. -
The Merry Wives of Windsor 2019 House Program.Pdf
SUPPORT FOR THE 2019 SEASON OF THE FESTIVAL THEATRE IS GENEROUSLY PROVIDED BY DANIEL BERNSTEIN AND CLAIRE FOERSTER PRODUCTION SUPPORT IS GENEROUSLY PROVIDED BY JANE PETERSEN BURFIELD & FAMILY, BY DR. DESTA LEAVINE IN MEMORY OF PAULINE LEAVINE AND BY DR. M. LEE MYERS 2 DIRECTOR’S NOTES A COMMUNITY TRANSFORMED BY THEATRE BY ANTONI CIMOLINO The Merry Wives of Windsor is the only play Shakespeare set in his own contemporary time and place. Yet it somehow has the feeling of a memory play. Ben Jonson accused Shakespeare, his friend and rival, of having “small Latin and less Greek,” and this play features a Latin lesson taken by a struggling young student named Will. Might the rural, small-town community in Merry Wives be modelled on the Stratford of the playwright’s youth? We can’t know that for sure, but we can certainly see that the hero of this play is the community, and that community is led – by example, at least – by two remarkable women. Alice Ford and Meg Page, the BRIGIT WILSON (LEFT), SOPHIA WALKER, GERAINT WYN DAVIES (INSET) “merry wives” of the title, take whatever ill fortune offers them and, through wit, differences. Shakespeare has a deep love wisdom, and brio, ensure a happy outcome for the underdog and the marginalized. for themselves and those they love. Here, the oddballs, eccentrics, and This brilliant comedy about harassment, foreigners do not merely find inclusion jealousy, and revenge tames through but also drive positive change in the laughter the green-eyed monster that community by virtue of their diverse views. -
Schools Guide.Indd
P.O Box 520 Box P.O ON | N5A 6V2 Canada Stratford On sale to schools December 5, 2019 FESTIVAL THEATRE TOM PATTERSON THEATRE Much Ado About Nothing Richard III Chicago All’s Well That Ends Well Hamlet Here’s What It Takes The Miser Frankenstein Revived AVON THEATRE STUDIO THEATRE Schulich Children’s Plays Three Tall Women Wendy & Peter Pan The Rez Sisters Monty Python’s Spamalot Hamlet-911 Wolf Hall LAZARIDIS HALL 2020 stratfordfestival.ca AT THE TOM PATTERSON THEATRE 1.800.567.1600 | 519.273.1600 An Undiscovered Shakespeare SCHOOLS GUIDE COVER: LAURA CONDLLN. 2020 DESIGN AND CONCEPT SKETCHES BY PUNCH & JUDY INC. PHOTOGRAPHY BY DAVID COOPER. 36 1 800 567 1600 | 519 273 1600 STRATFORDFESTIVAL.CA 1 FESTIVAL THEATRE Much Ado About Nothing Chicago Hamlet The Miser AVON THEATRE Schulich Children’s Plays Wendy & Peter Pan Monty Python’s Spamalot 2020A SEASON TO CELEBRATE Wolf Hall TOM PATTERSON THEATRE Richard III “Since it began in 1953, the Stratford Festival has attracted almost All’s Well That Ends Well 29 million theatre lovers from around the world. In 2020, we unveil our Here’s What It Takes new Tom Patterson Theatre, named for our Festival’s founder. A bespoke Frankenstein Revived home for thrilling theatre, and for creativity, enrichment and enjoyment expanding beyond the auditorium, this stunning new facility opens a new chapter in our history.” STUDIO THEATRE Three Tall Women The Rez Sisters Antoni Cimolino Hamlet-911 Artistic Director LAZARIDIS HALL AT THE TOM PATTERSON THEATRE An Undiscovered Shakespeare We acknowledge that the Stratford Festival is located on the traditional lands of the Huron-Wendat, the Haudenosaunee, and the Anishinaabe.