The Tempest, in Which I’M Delighted to Direct Martha Henry, Is a Play About the Yearning to Be Released From
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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 .............................................................................................. -
The Statement
THE STATEMENT A Robert Lantos Production A Norman Jewison Film Written by Ronald Harwood Starring Michael Caine Tilda Swinton Jeremy Northam Based on the Novel by Brian Moore A Sony Pictures Classics Release 120 minutes EAST COAST: WEST COAST: EXHIBITOR CONTACTS: FALCO INK BLOCK-KORENBROT SONY PICTURES CLASSICS SHANNON TREUSCH MELODY KORENBROT CARMELO PIRRONE ERIN BRUCE ZIGGY KOZLOWSKI ANGELA GRESHAM 850 SEVENTH AVENUE, 8271 MELROSE AVENUE, 550 MADISON AVENUE, SUITE 1005 SUITE 200 8TH FLOOR NEW YORK, NY 10024 LOS ANGELES, CA 90046 NEW YORK, NY 10022 PHONE: (212) 445-7100 PHONE: (323) 655-0593 PHONE: (212) 833-8833 FAX: (212) 445-0623 FAX: (323) 655-7302 FAX: (212) 833-8844 Visit the Sony Pictures Classics Internet site at: http:/www.sonyclassics.com THE STATEMENT A ROBERT LANTOS PRODUCTION A NORMAN JEWISON FILM Directed by NORMAN JEWISON Produced by ROBERT LANTOS NORMAN JEWISON Screenplay by RONALD HARWOOD Based on the novel by BRIAN MOORE Director of Photography KEVIN JEWISON Production Designer JEAN RABASSE Edited by STEPHEN RIVKIN, A.C.E. ANDREW S. EISEN Music by NORMAND CORBEIL Costume Designer CARINE SARFATI Casting by NINA GOLD Co-Producers SANDRA CUNNINGHAM YANNICK BERNARD ROBYN SLOVO Executive Producers DAVID M. THOMPSON MARK MUSSELMAN JASON PIETTE MICHAEL COWAN Associate Producer JULIA ROSENBERG a SERENDIPITY POINT FILMS ODESSA FILMS COMPANY PICTURES co-production in association with ASTRAL MEDIA in association with TELEFILM CANADA in association with CORUS ENTERTAINMENT in association with MOVISION in association with SONY PICTURES -
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. -
Film Reference Guide
REFERENCE GUIDE THIS LIST IS FOR YOUR REFERENCE ONLY. WE CANNOT PROVIDE DVDs OF THESE FILMS, AS THEY ARE NOT PART OF OUR OFFICIAL PROGRAMME. HOWEVER, WE HOPE YOU’LL EXPLORE THESE PAGES AND CHECK THEM OUT ON YOUR OWN. DRAMA 1:54 AVOIR 16 ANS / TO BE SIXTEEN 2016 / Director-Writer: Yan England / 106 min / 1979 / Director: Jean Pierre Lefebvre / Writers: Claude French / 14A Paquette, Jean Pierre Lefebvre / 125 min / French / NR Tim (Antoine Olivier Pilon) is a smart and athletic 16-year- An austere and moving study of youthful dissent and old dealing with personal tragedy and a school bully in this institutional repression told from the point of view of a honest coming-of-age sports movie from actor-turned- rebellious 16-year-old (Yves Benoît). filmmaker England. Also starring Sophie Nélisse. BACKROADS (BEARWALKER) 1:54 ACROSS THE LINE 2000 / Director-Writer: Shirley Cheechoo / 83 min / 2016 / Director: Director X / Writer: Floyd Kane / 87 min / English / NR English / 14A On a fictional Canadian reserve, a mysterious evil known as A hockey player in Atlantic Canada considers going pro, but “the Bearwalker” begins stalking the community. Meanwhile, the colour of his skin and the racial strife in his community police prejudice and racial injustice strike fear in the hearts become a sticking point for his hopes and dreams. Starring of four sisters. Stephan James, Sarah Jeffery and Shamier Anderson. BEEBA BOYS ACT OF THE HEART 2015 / Director-Writer: Deepa Mehta / 103 min / 1970 / Director-Writer: Paul Almond / 103 min / English / 14A English / PG Gang violence and a maelstrom of crime rock Vancouver ADORATION A deeply religious woman’s piety is tested when a in this flashy, dangerous thriller about the Indo-Canadian charismatic Augustinian monk becomes the guest underworld. -
William B. Davis-Where There's Smoke
3/695 WHERE THERE’S SMOKE . Musings of a Cigarette Smoking Man A Memoir by WILLIAM B. DAVIS ECW Press Copyright © William B. Davis, 2011 Published by ECW Press 2120 Queen Street East, Suite 200, Toronto, Ontario, Canada M4E 1E2 416-694-3348 / [email protected] All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmit- ted in any form by any process — electronic, mechanical, photocopying, recording, or otherwise — without the prior written permission of the copyright owners and ECW Press. The scanning, uploading, and distribu- tion of this book via the Internet or via any other means without the permission of the publisher is illegal and punishable by law. Please purchase only authorized electronic editions, and do not participate in or en- courage electronic piracy of copyrighted materials. Your support of the author’s rights is appreciated. Library and Archives Canada Cataloguing in Publication Davis, William B., 1938– Where there’s smoke : musings of a cigarette smoking man : a memoir / William B. Davis. ISBN 978-1-77041-052-7 Also issued as: 978-1-77090-047-9 (pdf); 978-1-77090-046-2 (epub) 1. Davis, William B., 1938-. 2. Actors—United States—Biography. 3. Actors—Canada—Biography. i. Title. PN2287.D323A3 2011 791.4302’8092 C2011-902825-5 Editor: Jennifer Hale 6/695 Cover, text design, and photo section: Tania Craan Cover photo: © Fox Broadcasting/Photofest Photo insert: page 6: photo by Kevin Clark; page 7 (bottom): © Fox Broadcasting/Photofest; page 8: © Fox Broadcasting (Photographer: Carin Baer)/Photofest. All other images courtesy William B. -
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. -
8798 – 2016 Stratford Festival Gala Packages.Indd
CORPORATE / INDIVIDUAL CDN PHOTO BY DON DIXON BY PHOTO 2016 Stratford Festival Gala HONOURING GORDON PINSENT MONDAY, SEPTEMBER 26, 2016 FOUR SEASONS HOTEL, TORONTO Antoni Cimolino, Artistic Director GALA CO-CHAIRS: BARRY AVRICH, ROBERT BADUN, WENDY PITBLADO Anita Gaff ney, Executive Director CORPORATE / INDIVIDUAL CDN presents a gala evening in honour of GORDON PINSENT MONDAY, SEPTEMBER 26, 2016 GORDON PINSENT Born in Grand Falls, Newfoundland, Gordon Pinsent began his stage career in Winnipeg under the direction of John Hirsch. His fi rst appearances at the Stratford Festival were in 1962 when he performed in Macbeth (with Christopher Plummer and Kate Reid), The Taming of the Shrew and Cyrano de Bergerac (also with Christopher Plummer). He returned to the Festival in 1975 as the lead in Brecht’s Trumpets and Drums with Tom Kneebone and Jackie Burroughs. His television career began in the early 1960s and includes the series A Gift to Last (which he created), The Red Green Show, Quentin Durgens, M.P., Due South, Wind at My Back and Power Play. Gordon’s fi lm credits include Sarah Polley’s acclaimed Away from Her (Genie and ACTRA awards for Best Actor), The Rowdyman, Who Has Seen the Wind, John and the Missus, The Grand Seduction (Canadian Screen Award) and The Shipping News. In addition to writing the screenplays for both The Rowdyman and John and the Missus, Gordon has published a two-volume memoir, By the Way and Next. In 2007, he received a star on Canada’s Walk of Fame. Other awards include the Earle Grey Award for lifetime achievement in television and a Governor General’s Performing Arts Award. -
Marion-Walker-Fonds.Pdf
University of Toronto Archives Loryl MacDonald February 1999 Marion Walker Personal Papers B1998-0036 Marion Walker Personal Papers University of Toronto Archives B1998-0036 Accession No. Provenance Heading B1998-0036 Walker, Marion Dorothy Records [1920?]-1998, 3.53 m textual; graphic; works of art Access: All material is open. Biographical Note: Marion Dorothy Walker (1919 - 1998) was a production assistant at Hart House Theatre and a professor in the Department of Fine Arts, University of Toronto. Ms. Walker was born in Toronto, September 23, 1919. Her father, George Walker, was the head of Woolworth’s Canada. Ms. Walker attended Bishop Strachan School. During her early years, she was a figure skater and talented golfer. She won the Ontario Junior Girl’s Golf Tournament in 1939 and 1940. Ms. Walker’s main interests, however, were in the arts. She received her B.A. in English and Fine Arts in 1942 from the University of Toronto. When Hart House Theatre opened after the war in 1946, Ms. Walker became its Production Assistant. In this capacity, she designed and painted sets, made props and created costumes. From her Hart House Theatre work, she earned a reputation for her stage flair, sensitivity to colour and line, and daring use of unusual materials. Ms. Walker eventually left the Theatre in 1957 to become a librarian and reader in the University of Toronto’s Department of Fine Arts. She also began graduate studies in art history. Upon completing her M.A. in 1963, Ms. Walker was appointed Special Lecturer in the Department of Fine Arts. Later, in 1977, she became Assistant Professor in the Department. -
SEE HOW THEY RAN... Level of Excellence
Mort Ransen's Margaret's Museum proved to be the audience favourite in 1996, playing 16 weeks on 30 screens, and demonstrating the viability of regional cinema if produced at this SEE HOW THEY RAN... level of excellence. Both female leads, Helena Bonham Carter and Kate Nelligan, turn in strong performances, and the film has resurrected the career of a talented director who has been toiling In descending order of length of run, here in the trenches of Canadian cinema for over 30 years. are the Canadian feature films and documentaries that The Toronto critics, however, chose Bruce McDonald's Hard played in Greater Toronto from November 1, 1995, to Core Logo and Robert Lepage's Le confessional as the year's best. October 31, 1996. (The first number in pararenthesis Hard Core Logo, which received the greatest number of votes for represents the total number of weeks the film played, Best Film, Best Screenplay and Best Director (shared with the second the total number of screens.) Robert Lepage), is McDonald's finest film to date: an innovative mock-documentary from a director working at the top of his form, and although not as widely popular as Margaret's Museum, Hard Core Logo is a major step forward for McDonald. Robert Lepage was also named top director and his script for Le Margaret's Museum Mort Lulu Srinivas Krishna, confessional was a tight second to Noel S. Baker's Hard Core Logo. Ransen, Malofilm (16/30) Alliance Releasing (2/2) Lepage has moved easily from stage to film and his reputation Le confessionnal Mesmer Roger Spottiswoode, in Europe alone assures him of generous funding whenever he Robert Lepage, Alliance Cineplex (2/2) decides to venture into theatre or film. -
The First 40 Years WHEN THEATRES RECEIVED THIS MEMO IT BECAME OFFICIAL – EFFECTIVE APRIL 1, 1976, CANADIAN PERFORMERS WERE NO LONGER UNDER the JURISDICTION of the U.S
EQUITY QUARTERLY SUMMER 2016 THE BIRTH OF EQUITY HOW WE MOVED FORWARD FOLLOW OUR TIMELINE The First 40 Years WHEN THEATRES RECEIVED THIS MEMO IT BECAME OFFICIAL – EFFECTIVE APRIL 1, 1976, CANADIAN PERFORMERS WERE NO LONGER UNDER THE JURISDICTION OF THE U.S. ACTORS’ EQUITY ASSOCIATION. WE NOW HAD OUR OWN ORGANIZATION – CANADIAN ACTORS’ EQUITY ASSOCIATION. A LOT HAS HAPPENED SINCE THEN. FOLLOW THE TIMELINE THAT FLOWS THROUGH THE MAGAZINE TO FIND OUT HOW EQUITY HAS IMPROVED CONDITIONS FOR CANADIAN PERFORMERS OVER THE LAST 40 YEARS. 1976 Canadian Actors’ Equity Association is formed with 2,000 EQ PAST members. Reciprocal Agreements are signed 1 NOTES FROM THE PAST with ACTRA, AEA, AGMA and UDA. 2 LETTERS AND NEWS 3 EQ HONOURS 4 THE BIRTH OF EQUITY – AN INSIDER’S VIEW 9 GROWING PAINS AND ACCOMPLISHMENTS 1977 Notes from the past The first CTA, negotiated between Equity and PACT, takes effect. The three-year Our President and Executive Director agreement introduces reflect on 40 years of Equity separate clauses for directors and Executive Director Arden R. Ryshpan: Did you know 40 years ago that this choreographers. was what you wanted to do for a living? President Allan Teichman: No. I’m one of those people who sort of fell into the business. I started doing more and more of it until I went “OK, this is a sign.” ARR: My dad was an actor and directed a lot. I grew up amusing myself backstage, in the days before daycare. AT: I think my dad’s comment at the time was “Good luck buddy! I hope you know what you’re doing.” ARR: It’s certainly a tough business to be in – but if people think the money isn’t great now, let’s go back 40 years.