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ARNOLD MITTELMAN Producer/Director 799 Crandon
ARNOLD MITTELMAN Producer/Director 799 Crandon Boulevard, #505 Key Biscayne, FL 33149 [email protected] ARNOLD MITTELMAN is a producer and director with 40 years of theatrical achievement that has resulted in the creation and production of more than 300 artistically diverse plays, musicals and special events. Prior to coming to the world famous Coconut Grove Playhouse in 1985, Mr. Mittelman directed and produced Alone Together at Broadway's Music Box Theatre. Succeeding the esteemed actor José Ferrer as the Producing Artistic Director of Coconut Grove Playhouse, he continued to bring national and international focus to this renowned theater. Mr. Mittelman helped create more than 200 plays, musicals, educational and special events on two stages during his 21-year tenure at the Playhouse. These plays and musicals were highlighted by 28 World or American premieres. This body of work includes three Pulitzer Prize-winning playwrights directing their own work for the first time in a major theatrical production: Edward Albee - Seascape; David Auburn - Proof; and Nilo Cruz - Anna In the Tropics. Musical legends Cy Coleman, Charles Strouse, Jerry Herman, Jimmy Buffett, John Kander and Fred Ebb were in residence at the Playhouse to develop world premiere productions. The Coconut Grove Playhouse has also been honored by the participation of librettist/writers Herman Wouk, Alfred Uhry, Jerome Weidman and Terrence McNally. Too numerous to mention are the world famous stars and Tony award-winning directors, designers and choreographers who have worked with Mr. Mittelman. Forty Playhouse productions, featuring some of the industry's greatest theatrical talents and innovative partnerships between the not-for-profit and for-profit sectors, have transferred directly to Broadway, off-Broadway, toured, or gone on to other national and international venues (see below). -
A Transcultural Perspective on the Casting of the Rose Tattoo
RSA JOU R N A L 25/2014 GIULIANA MUS C IO A Transcultural Perspective on the Casting of The Rose Tattoo A transcultural perspective on the film The Rose Tattoo (Daniel Mann, 1955), written by Tennessee Williams, is motivated by its setting in an Italian-American community (specifically Sicilian) in Louisiana, and by its cast, which includes relevant Italian participation. A re-examination of its production and textuality illuminates not only Williams’ work but also the cultural interactions between Italy and the U.S. On the background, the popularity and critical appreciation of neorealist cinema.1 The production of the film The Rose Tattoo has a complicated history, which is worth recalling, in order to capture its peculiar transcultural implications in Williams’ own work, moving from some biographical elements. In the late 1940s Tennessee Williams was often traveling in Italy, and visited Sicily, invited by Luchino Visconti (who had directed The Glass Managerie in Rome, in 1946) for the shooting of La terra trema (1948), where he went with his partner Frank Merlo, an occasional actor of Sicilian origins (Williams, Notebooks 472). Thus his Italian experiences involved both his professional life, putting him in touch with the lively world of Italian postwar theater and film, and his affections, with new encounters and new friends. In the early 1950s Williams wrote The Rose Tattoo as a play for Anna Magnani, protagonist of the neorealist masterpiece Rome Open City (Roberto Rossellini, 1945). However, the Italian actress was not yet comfortable with acting in English and therefore the American stage version (1951) starred Maureen Stapleton instead and Method actor Eli Wallach. -
Undergraduate Play Reading List
UND E R G R A DU A T E PL A Y R E A DIN G L ISTS ± MSU D EPT. O F T H E A T R E (Approved 2/2010) List I ± plays with which theatre major M E DI E V A L students should be familiar when they Everyman enter MSU Second 6KHSKHUGV¶ Play Hansberry, Lorraine A Raisin in the Sun R E N A ISSA N C E Ibsen, Henrik Calderón, Pedro $'ROO¶V+RXVH Life is a Dream Miller, Arthur de Vega, Lope Death of a Salesman Fuenteovejuna Shakespeare Goldoni, Carlo Macbeth The Servant of Two Masters Romeo & Juliet Marlowe, Christopher A Midsummer Night's Dream Dr. Faustus (1604) Hamlet Shakespeare Sophocles Julius Caesar Oedipus Rex The Merchant of Venice Wilder, Thorton Othello Our Town Williams, Tennessee R EST O R A T I O N & N E O-C L ASSI C A L The Glass Menagerie T H E A T R E Behn, Aphra The Rover List II ± Plays with which Theatre Major Congreve, Richard Students should be Familiar by The Way of the World G raduation Goldsmith, Oliver She Stoops to Conquer Moliere C L ASSI C A L T H E A T R E Tartuffe Aeschylus The Misanthrope Agamemnon Sheridan, Richard Aristophanes The Rivals Lysistrata Euripides NIN E T E E N T H C E N T UR Y Medea Ibsen, Henrik Seneca Hedda Gabler Thyestes Jarry, Alfred Sophocles Ubu Roi Antigone Strindberg, August Miss Julie NIN E T E E N T H C E N T UR Y (C O N T.) Sartre, Jean Shaw, George Bernard No Exit Pygmalion Major Barbara 20T H C E N T UR Y ± M ID C E N T UR Y 0UV:DUUHQ¶V3rofession Albee, Edward Stone, John Augustus The Zoo Story Metamora :KR¶V$IUDLGRI9LUJLQLD:RROI" Beckett, Samuel E A R L Y 20T H C E N T UR Y Waiting for Godot Glaspell, Susan Endgame The Verge Genet Jean The Verge Treadwell, Sophie The Maids Machinal Ionesco, Eugene Chekhov, Anton The Bald Soprano The Cherry Orchard Miller, Arthur Coward, Noel The Crucible Blithe Spirit All My Sons Feydeau, Georges Williams, Tennessee A Flea in her Ear A Streetcar Named Desire Synge, J.M. -
King and Country: Shakespeare’S Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company
2016 BAM Winter/Spring #KingandCountry Brooklyn Academy of Music Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board BAM, the Royal Shakespeare Company, and Adam E. Max, Vice Chairman of the Board The Ohio State University present Katy Clark, President Joseph V. Melillo, Executive Producer King and Country: Shakespeare’s Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company BAM Harvey Theater Mar 24—May 1 Season Sponsor: Directed by Gregory Doran Set design by Stephen Brimson Lewis Global Tour Premier Partner Lighting design by Tim Mitchell Music by Paul Englishby Leadership support for King and Country Sound design by Martin Slavin provided by the Jerome L. Greene Foundation. Movement by Michael Ashcroft Fights by Terry King Major support for Henry V provided by Mark Pigott KBE. Major support provided by Alan Jones & Ashley Garrett; Frederick Iseman; Katheryn C. Patterson & Thomas L. Kempner Jr.; and Jewish Communal Fund. Additional support provided by Mercedes T. Bass; and Robert & Teresa Lindsay. #KingandCountry Royal Shakespeare Company King and Country: Shakespeare’s Great Cycle of Kings BAM Harvey Theater RICHARD II—Mar 24, Apr 1, 5, 8, 12, 14, 19, 26 & 29 at 7:30pm; Apr 17 at 3pm HENRY IV PART I—Mar 26, Apr 6, 15 & 20 at 7:30pm; Apr 2, 9, 23, 27 & 30 at 2pm HENRY IV PART II—Mar 28, Apr 2, 7, 9, 21, 23, 27 & 30 at 7:30pm; Apr 16 at 2pm HENRY V—Mar 31, Apr 13, 16, 22 & 28 at 7:30pm; Apr 3, 10, 24 & May 1 at 3pm ADDITIONAL CREATIVE TEAM Company Voice -
"Infidelity" As an "Act of Love": Patrick Marber's After Miss Julie (1995) As a Rewrite of August Strindberg's Miss Julie (1888)
"Infidelity" as an "Act of Love": Patrick Marber's After Miss Julie (1995) as a Rewrite of August Strindberg's Miss Julie (1888). مسـرحيــة After Miss Julie للكاتب البريطاني باتريك ماربر كإعادة إبداع لمسرحية Miss Julie للكاتب السويدي أوجست ستريندبرج Dr. Reda Shehata associate professor Department of English - Zagazig University د. رضا شحاته أستاذ مساعد بقسم اللغة اﻹنجليزية كلية اﻵداب - جامعة الزقازيق "Infidelity" as an "Act of Love" Patrick Marber's After Miss Julie (1995) "Infidelity" as an "Act of Love": Patrick Marber's After Miss Julie (1995) as a Rewrite of August Strindberg's Miss Julie (1888). Abstract Depending on Linda Hutcheon's notion of adaptation as "a creative and interpretative act of appropriation" and David Lane's concept of the updated "context of the story world in which the characters are placed," this paper undertakes a critical examination of Patrick Marber's After Miss Julie (1995) as a creative rewrite of August Strindberg's Miss Julie (1888). The play appears to be both a faithful adaptation and appropriation of its model, reflecting "matches" for certain features of it and "mismatches" for others. So in spite of Marber's different language, his adjustment of the "temporal and spatial dimensions" of the original, and his several additions and omissions, he retains the same theme, characters, and—to a considerable extent, plot. To some extent, he manages to stick to his master's brand of Naturalism by retaining the special form of conflict upon which the action is based. In addition to its depiction of the failure of post-war class system, it shows strong relevancy to the spirit of the 1990s, both in its implicit critique of some aspects of feminism (especially its call for gender equality) and its bold address of the masculine concerns of that period. -
Michael Warren Powellis
WELCOME to the Fifteenth Annual Last Frontier Theatre Conference. We at Prince William Sound Community College are very proud of this event, and hopefully by the end of the week you will see why. I started coming to Valdez (for the Conference) in 1995, its third year, and it became an annual pilgrimage for me. I quit jobs to make it here. I ran up credit cards. I did whatever it took for me to get to spend the week here. I crashed on the floor at the college, survived off the food at receptions, and worked on whatever anyone asked me to. No one was more important to me in those early years than Michael Warren Powell, the first coordinator of the Play Lab. I remember being in awe of how insightful the responding panel was critiquing plays that were all (in my opinion) pretty problematic. Michael and the other panelists became my idols. Which made it all the more important to me when one day I was hanging out with friends at the picnic tables in the middle of the park strip and we saw Michael walking our direction. He came up and engaged us in conversation, and we became friends. He let us know that he considered us his peers. In the late 90s, I decided that, of all the people I had met, there was no one whose life I wanted to emulate more than Michael’s. I made producing new work and nurturing playwrights my focus, and the answer to most of my questions can be found in the answer to the question “What would Michael do?” I am very excited to have him back with us this year. -
Announcing a VIEW from the BRIDGE
FOR IMMEDIATE RELEASE, PLEASE “One of the most powerful productions of a Miller play I have ever seen. By the end you feel both emotionally drained and unexpectedly elated — the classic hallmark of a great production.” - The Daily Telegraph “To say visionary director Ivo van Hove’s production is the best show in the West End is like saying Stonehenge is the current best rock arrangement in Wiltshire; it almost feels silly to compare this pure, primal, colossal thing with anything else on the West End. A guileless granite pillar of muscle and instinct, Mark Strong’s stupendous Eddie is a force of nature.” - Time Out “Intense and adventurous. One of the great theatrical productions of the decade.” -The London Times DIRECT FROM TWO SOLD-OUT ENGAGEMENTS IN LONDON YOUNG VIC’S OLIVIER AWARD-WINNING PRODUCTION OF ARTHUR MILLER’S “A VIEW FROM THE BRIDGE” Directed by IVO VAN HOVE STARRING MARK STRONG, NICOLA WALKER, PHOEBE FOX, EMUN ELLIOTT, MICHAEL GOULD IS COMING TO BROADWAY THIS FALL PREVIEWS BEGIN WEDNESDAY EVENING, OCTOBER 21 OPENING NIGHT IS THURSDAY, NOVEMBER 12 AT THE LYCEUM THEATRE Direct from two completely sold-out engagements in London, producers Scott Rudin and Lincoln Center Theater will bring the Young Vic’s critically-acclaimed production of Arthur Miller’s A VIEW FROM THE BRIDGE to Broadway this fall. The production, which swept the 2015 Olivier Awards — winning for Best Revival, Best Director, and Best Actor (Mark Strong) —will begin previews Wednesday evening, October 21 and open on Thursday, November 12 at the Lyceum Theatre, 149 West 45 Street. -
MACBETH Classic Stage Company JOHN DOYLE, Artistic Director TONI MARIE DAVIS, Chief Operating Officer/GM Presents MACBETH by WILLIAM SHAKESPEARE
MACBETH Classic Stage Company JOHN DOYLE, Artistic Director TONI MARIE DAVIS, Chief Operating Officer/GM presents MACBETH BY WILLIAM SHAKESPEARE WITH BARZIN AKHAVAN, RAFFI BARSOUMIAN, NADIA BOWERS, N’JAMEH CAMARA, ERIK LOCHTEFELD, MARY BETH PEIL, COREY STOLL, BARBARA WALSH, ANTONIO MICHAEL WOODARD COSTUME DESIGN LIGHTING DESIGN SOUND DESIGN ANN HOULD-WARD SOLOMON WEISBARD MATT STINE FIGHT DIRECTOR PROPS SUPERVISOR THOMAS SCHALL ALEXANDER WYLIE ASSOCIATE ASSOCIATE ASSOCIATE SCENIC DESIGN COSTUME DESIGN SOUND DESIGN DAVID L. ARSENAULT AMY PRICE AJ SURASKY-YSASI PRESS PRODUCTION CASTING REPRESENTATIVES STAGE MANAGER TELSEY + COMPANY BLAKE ZIDELL AND BERNITA ROBINSON KARYN CASL, CSA ASSOCIATES ASSISTANT DESTINY LILLY STAGE MANAGER JESSICA FLEISCHMAN DIRECTED AND DESIGNED BY JOHN DOYLE MACBETH (in alphabetical order) Macduff, Captain ............................................................................ BARZIN AKHAVAN Malcolm ......................................................................................... RAFFI BARSOUMIAN Lady Macbeth ....................................................................................... NADIA BOWERS Lady Macduff, Gentlewoman ................................................... N’JAMEH CAMARA Banquo, Old Siward ......................................................................ERIK LOCHTEFELD Duncan, Old Woman .........................................................................MARY BETH PEIL Macbeth..................................................................................................... -
Preliminary Pages
Distribution Agreement In presenting this thesis as a partial fulfillment of the requirements for a degree from Emory University, I hereby grant to Emory University and its agents the non-exclusive license to archive, make accessible, and display my thesis in whole or in part in all forms of media, now or hereafter known, including display on the world wide web. I understand that I may select some access restrictions as part of the online submission of this thesis. I retain all ownership rights to the copyright of the thesis. I also retain the right to use in future works (such as articles or books) all or part of this thesis. Signature: Leesa Haspel April 14, 2010 Becoming Miss Julie: A Study in Practical Dramaturgy by Leesa Haspel Adviser Donald McManus Department of Theater Studies Donald McManus Adviser Lisa Paulsen Committee Member Joseph Skibell Committee Member April 14, 2010 Becoming Miss Julie: A Study in Practical Dramaturgy By Leesa Haspel Adviser Donald McManus An abstract of A thesis submitted to the Faculty of Emory College of Arts and Sciences of Emory University in partial fulfillment of the requirements of the degree of Bachelor of Arts with Honors Department of Theater Studies 2010 Abstract Becoming Miss Julie: A Study in Practical Dramaturgy By Leesa Haspel This paper serves to document and reflect upon an actor’s experience using research to inform and develop a role. Theater Emory’s 2009 production of Miss Julie serves as the case study, describing the process of creating the titular role. An overview of the history of dramaturgy, a dramaturgical protocol, exploration of relevant acting styles, analysis of the Theater Emory production, and personal reflection on the experience of developing Miss Julie cohere to create a guide advocating the use of practical dramaturgy in contemporary acting. -
The Bates Student
Bates College SCARAB The aB tes Student Archives and Special Collections 2-26-1947 The aB tes Student - volume 73 number 15 - February 26, 1947 Bates College Follow this and additional works at: http://scarab.bates.edu/bates_student Recommended Citation Bates College, "The aB tes Student - volume 73 number 15 - February 26, 1947" (1947). The Bates Student. 945. http://scarab.bates.edu/bates_student/945 This Newspaper is brought to you for free and open access by the Archives and Special Collections at SCARAB. It has been accepted for inclusion in The aB tes Student by an authorized administrator of SCARAB. For more information, please contact [email protected]. 51 She ■ Vol. LXII. No. 39. BATES COLLEGE, LEWISTON, MAINE, FEBRUARY 26, 1947 Price: Fifteen Cents Varsity, Jayvees Sweep State Series; Capture Third Sports Title In Past Married Set Plans Calendar Science Groups Plan Wednesday, Feb. 26—Physical Basketball Title ex Ball And Chain Education Ski Trip at North Con- Exhibit March 13, 14 way, 7 a. m. to 5:30 p. m. May be For Ed Petro, Team Friday night, February 21, the the 27th or 28th depending on wea- ['he Jordan-Ramsdell scientific young married veteran set on cam- ther. Turning on a jet propelled offensive in the second half of ■iety and the Lawrence Chemi- pus met in Chas; Hall and organ- ; society will present a science U. Of Life Program ized the "Ball and Caain" Club Thursday, Feb. 27—Debating last night's game, the Bobcats swept to their third State xiiibit in Hedge Laboratory and with Mr. -
Ronald Davis Oral History Collection on the Performing Arts
Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability. -
30 Rock and Philosophy: We Want to Go to There (The Blackwell
ftoc.indd viii 6/5/10 10:15:56 AM 30 ROCK AND PHILOSOPHY ffirs.indd i 6/5/10 10:15:35 AM The Blackwell Philosophy and Pop Culture Series Series Editor: William Irwin South Park and Philosophy X-Men and Philosophy Edited by Robert Arp Edited by Rebecca Housel and J. Jeremy Wisnewski Metallica and Philosophy Edited by William Irwin Terminator and Philosophy Edited by Richard Brown and Family Guy and Philosophy Kevin Decker Edited by J. Jeremy Wisnewski Heroes and Philosophy The Daily Show and Philosophy Edited by David Kyle Johnson Edited by Jason Holt Twilight and Philosophy Lost and Philosophy Edited by Rebecca Housel and Edited by Sharon Kaye J. Jeremy Wisnewski 24 and Philosophy Final Fantasy and Philosophy Edited by Richard Davis, Jennifer Edited by Jason P. Blahuta and Hart Weed, and Ronald Weed Michel S. Beaulieu Battlestar Galactica and Iron Man and Philosophy Philosophy Edited by Mark D. White Edited by Jason T. Eberl Alice in Wonderland and The Offi ce and Philosophy Philosophy Edited by J. Jeremy Wisnewski Edited by Richard Brian Davis Batman and Philosophy True Blood and Philosophy Edited by Mark D. White and Edited by George Dunn and Robert Arp Rebecca Housel House and Philosophy Mad Men and Philosophy Edited by Henry Jacoby Edited by Rod Carveth and Watchman and Philosophy James South Edited by Mark D. White ffirs.indd ii 6/5/10 10:15:36 AM 30 ROCK AND PHILOSOPHY WE WANT TO GO TO THERE Edited by J. Jeremy Wisnewski John Wiley & Sons, Inc. ffirs.indd iii 6/5/10 10:15:36 AM To pages everywhere .