Directed by Andrew Vonderschmitt

Total Page:16

File Type:pdf, Size:1020Kb

Directed by Andrew Vonderschmitt by Peter Weiss Directed by Andrew Vonderschmitt Produced by special arrangement with Dramatic Publishing The Studio at Long Beach Playhouse Our five-play Studio season is presented with the gracious assistance of cast, crew and house volunteers. Long Beach Playhouse is financially supported through ticket sales; memberships; funding and grants from foundations, corporations and government programs; along with contributions of generous patrons like you. Coming soon... Visit or call the Box Office 562-494-1014 option 1 for the latest information on ticket packages and special offers. A note from Executive & Producing Artistic Director, Andrew Vonderschmitt Hello and welcome to the Playhouse. I wanted to take a moment of your time to say thank you. Thank you for your continued support of the Playhouse and thank you for supporting the arts in general. As an artist I understand the commitment and responsibility I have to you, the audience. Art is not created in a vacuum. It takes an observer to finish the formula. This particular art form, on this particular day and time, in this particular venue, is for you, and you alone. I honestly hope that you enjoy your visit with us and that you will return soon. I am always open to comment, complaint, compliment, concern, or just plain conversation. How’s that for alliteration? Of course, I enjoy compliments over complaints, but who doesn’t learn from input of any kind? A healthy dialogue with you, the audience, is very important to me. I can be reached via email, snail-mail, phone, fax, or you can drop by the Playhouse. However you choose to contact me and tell me how I’m doing, I welcome it. Thank you, once again, for your patronage. Enjoy the show. Andrew Vonderschmitt andrew@lbplayhouse.org • Office: 562-494-1014 ex 503 Cell: 714-390-2107 • Fax: 562-961-8616 5021 E. Anaheim St. LB, CA. 90804 The Setting July 13, 1808 The Asylum at Charenton Director’s Notes The year is 1808 and the Director at The Asylum at Charenton, Abbé de Coulmier, a liberal who held no medical degree, regularly allowed the inmates to write and stage plays as a form of therapy. Among these patients was the infamous Marquis de Sade. Weiss imagines the Marquis writing a play about the assassination of French Revolutionary Jean-Paul Marat, an inflammatory subject to say the least. Sade could write, in essence, a platform with which to discuss the validity of revolution and the value of social violence. A forum where he could argue opposing veiwpoints. To tell this story Weiss has chosen to employ a theatrical style, also French of origin, that would have been, in my opinion, among Sade’s favorites; Theatre of Cruelty. Antonin Artaud, a French playwright and surrealist, created Theatre of Cruelty when he broke from tradition with his own theories on how to effectively move an audience. The ultimate goal of which was to elicit a visceral, nearly animal response. Weiss set out to tell this story in a decidedly Brechtian/Epic Drama/Theatre of Cruelty bent. This is not passive theatre. You are part of it, whether you like it or not. Of course, it is our hope that you do like it and take your role of observer seriously. We do. Director Andrew Vonderschmitt Andrew is overwhelmed with the intensity of this production and the commitment of his team. Past directorial credits include, Jesus Christ Superstar, Avenue Q, Little Shop of Horrors, On The Verge, Picasso at the Lapin Agile, Frankenstein in Love, To Kill a Mockingbird and Moon Over Buffalo to name a few. He lives in Long Beach with his wife Martina, daughter Morgan Lee, and two cats, Laura Rosalyn and Jack Benny. Enjoy the show. Behind the Scenes Movement Directer Brian Bozanich Marat/Sade expands the list of Brian’s titles at the LBP. He has appeared on stage in Avenue Q, directed She Kills Monsters in the 2015 Collaborative Series, and serves as director of the the LBP Summer Youth Musical Theatre Conservatory. Brian just completed his fifteenth year as Visual and Performing Arts Coordinator at Saint Joseph High School. Stage Manager Amber Caras Amber is thrilled to be Stage Managing her first show at the Long Beach Playhouse. She has been working in technical theatre for over ten years, all around Orange and LA County. Amber attended Saddleback College and CSULB, graduating with her BA in Technical Theatre (Magna Cum Laude) in 2012. Since then, Amber has been working primarily in Stage Management for South Coast Repertory. Her favorite shows at SCR were The Fantasticks, tokyo fish story, and Vietgone. Amber also currently works as Production Support for Entertainment Design Corporation, which does large scale designs all around the globe. She also has worked the past 6 Rose Parades as a Carpenter for KTLA. Amber is thankful for the opportunity to work with such a wonderful team, and thanks everyone for their hard work on Marat/Sade. Music Directer Stephen Olear Stephen is very excited to make his playhouse debut as Music Director for Marat/Sade. He would like to thank Andrew and the rest of the fantastic staff at the Playhouse for this opportunity. He is honored to work with such an amazing and talented cast who made the job so easy and who were always willing to trying something different. His previous credits at the playhouse include Charles Dickens and his accordion in A Christmas Carol, Jesus Christ Superstar and Batboy. He would like to that Jerry for his constant support. Set Design Andrew Vonderschmitt Light Design Donny Jackson Costume Design Donna Fritsche Sound Design Kenny Nauta Dialect Coach Charles Norman Scenic Painter Phie Mura Prop Master Larry Mura Board Operator Amber Caras Costume Shop Abertha Montgomery, Rebecca Roth, Amanda Martin, Jennie Park Photography Mike Hardy Promotional Design Daisy Ramirez-Gutierrez Meet The Cast (in order of appearance) Elijah Douglas (The Inmate playing CUCURUCU) Elijah is pleased to make his LBP debut. His theatre credits include Charles Fuller's A Soldier's Play (Meritorious Achievement from the Kennedy Center), Aristophanes Lysistrata, Howard Sackler's The Great White Hope, and John Herrera's Some Kind Of Trouble at LB City College. He'd like to thank all of his theatre arts teachers/directors and Andrew for giving him a chance. He hopes everybody enjoys this insane play within a play. Colton Dillion (COULMIER) Colton makes his LBP debut in Marat/Sade. Recent Southern California credits include Yefim in Uncle Vanya, Bing Crosby in Tinseltown Christmas, Clown in The 39 Steps, James Keller in The Miracle Worker, and Matt in The Marriage of Bette and Boo. He can also be found on YouTube in Colton's Super Short Show alongside additional productions by Infinite Sum Ltd. He thanks his family and friends for their continued support. Lorne Stevenson (The Inmate playing THE HERALD) This is Lorne's second production at the Long COLTON DILLION Beach Playhouse and his first in the Studio. He previously played Judas in Jesus Christ Superstar. He'd like to thank his family; the cast and creative team and you the audience. Enjoy the show! lornestevenson025@gmail.com Tyler Gray (The Inmate playing ROUX) Tyler is honored to be a part of his third production at the Long Beach Playhouse. Previously, Tyler played Bernard in Death of a Salesman and Philugus in Lysistrata. Other theater credits include Julius Caesar, Jerry and Tom, Hamlet and A Midsummer Nights Dream. Meet The Cast (in order of appearance) Austin James (The Inmate playing CLOPIN) "Your reality is lies and balderdash and I'm delighted to say that I have no grasp of it whatsoever!" Austin studied Film and Theatre at Loyola Marymount University. Some favorite, recent roles include: You're a Good Man Charlie Brown's Schroeder, Fiddler on the Roof's Perchik, and Bye-Bye Birdie's Albert Peterson. Austin appreciates the love and support of his beautiful wife Carole and his Mom, Dad, Adam. Open the Gates! Lorraine Winslow (The Inmate playing POLPOCH) Lorraine, last seen at LBP downstairs in the production of By the Way Meet Vera Stark, has been jumping on stage since she was 3. Two favorite roles over roughly forty years are Sadie Thompson in Rain and Elaine Navazio in Last of the Red Hot Lovers. She lives in Long Beach with her roommate Kip Hogan and their two pups. Carole Louise Duffs (The Inmate playing ROSSIGNOL) Carole is thrilled to make her debut at the Long Beach Playhouse. Her favorite, recent performances include: Jesus Christ Superstar (Soul Girl), The Pirates of Chemo (Karen), and Fiddler on the Roof (Tzietel) She is also a Featured Singer for the Like a Mosaic Movement. Carole would like to thank her family, friends, and her talented husband, Austin. I love you and I like you-Break a Leg! Ashley Gilmore (The Inmate playing KOKOL) Ashley debuts at LBP in Marat/Sade. She lives in Long Beach and grew up around music at her father’s music store, Gilmore Music. She graduated from the renowned Orange County High School of the Performing Arts. She later attended LBCC in the Music and Theater program. Previous shows include The Wizard of Oz , Tom & Jerry and Tom Sawyer. Ashley would like to dedicate her performance to her late cousin Humberto Dominquez, who always enthusiastically supported her choices. Meet The Cast (in order of appearance) Liz Waite (The Inmate playing CORDAY) Liz Waite is has been doing theatre in Long Beach for eight years and producing radio at Long Beach City College for three. Previous shows include Long Bridge Over Deep Water, Rebel Without A Cause, Guys and Dolls, Fiddler on the Roof, and To Kill A Mockingbird.
Recommended publications
  • OSLO Casting Announcement
    MICHAEL ARONOV, ADAM DANNHEISSER, JENNIFER EHLE, DANIEL JENKINS, DARIUSH KASHANI, JEFFERSON MAYS, DANIEL ORESKES, HENNY RUSSELL, JOSEPH SIRAVO, T. RYDER SMITH TO BE FEATURED IN THE LINCOLN CENTER THEATER PRODUCTION OF “OSLO” a new play by J.T. ROGERS directed by BARTLETT SHER PREVIEWS BEGIN THURSDAY, JUNE 16 OPENING NIGHT IS MONDAY, JULY 11 AT THE MITZI E. NEWHOUSE THEATER Lincoln Center Theater (under the direction of André Bishop) has announced that Michael Aronov, Adam Dannheisser, Jennifer Ehle, Daniel Jenkins, Dariush Kashani, Jefferson Mays, Daniel Oreskes, Henny Russell, Joseph Siravo, and T. Ryder Smith will be featured in the cast of its upcoming production of OSLO, a new play by J.T. Rogers, directed by Bartlett Sher. Commissioned by Lincoln Center Theater, OSLO begins performances Thursday, June 16 and will open Monday, July 11 at the Mitzi E. Newhouse Theater (150 West 65 Street). Additional casting will be announced at a later date. It’s 1993. The world watches the impossible: Israeli Prime Minister Yitzhak Rabin and Palestinian Liberation Organization Chairman Yasser Arafat, standing together in the White House Rose Garden, signing the first ever peace agreement between Israel and the PLO. How were the negotiations kept secret? Why were they held in a castle in the middle of Norway? And who are these mysterious negotiators? A darkly comic epic, OSLO tells the true, but until now, untold story of how one young couple, Norwegian diplomat Mona Juul (to be played by Jennifer Ehle) and her husband social scientist Terje Rød-Larsen (to be played by Jefferson Mays), planned and orchestrated top-secret, high-level meetings between the State of Israel and the Palestine Liberation Organization, which culminated in the signing of the historic 1993 Oslo Accords.
    [Show full text]
  • United States Theatre Programs Collection O-016
    http://oac.cdlib.org/findaid/ark:/13030/c8s46xqw No online items Inventory of the United States Theatre Programs Collection O-016 Liz Phillips University of California, Davis Library, Dept. of Special Collections 2017 1st Floor, Shields Library, University of California 100 North West Quad Davis, CA 95616-5292 speccoll@ucdavis.edu URL: https://www.library.ucdavis.edu/archives-and-special-collections/ Inventory of the United States O-016 1 Theatre Programs Collection O-016 Language of Material: English Contributing Institution: University of California, Davis Library, Dept. of Special Collections Title: United States Theatre Programs Collection Creator: University of California, Davis. Library Identifier/Call Number: O-016 Physical Description: 38.6 linear feet Date (inclusive): 1870-2019 Abstract: Mostly 19th and early 20th century programs, including a large group of souvenir programs. Researchers should contact Archives and Special Collections to request collections, as many are stored offsite. Scope and Contents Collection is mainly 19th and early 20th century programs, including a large group of souvenir programs. Access Collection is open for research. Processing Information Liz Phillips converted this collection list to EAD. Preferred Citation [Identification of item], United States Theatre Programs Collection, O-016, Archives and Special Collections, UC Davis Library, University of California, Davis. Publication Rights All applicable copyrights for the collection are protected under chapter 17 of the U.S. Copyright Code. Requests for permission to publish or quote from manuscripts must be submitted in writing to the Head of Special Collections. Permission for publication is given on behalf of the Regents of the University of California as the owner of the physical items.
    [Show full text]
  • Modes of Being and Time in the Theatre of Samuel Beckett
    f.'lODES Ol!' BEING AND TIME IN THE THEATRE OF SANUEL BECKETT MODES OF BEING AND TIME IN THE THEATRE OF SAMUEL BECKETT By ANNA E.V. PRETO, B.A., LICENCE ES LETTRES A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree TvIaster of Arts !-1cMaster Uni versi ty October 1974 MASTER OF ARTS (1974) McMASTER UNIVERSITY (Romance Languages) Hamilton, Ontario TITLE: Modes of Being and Time in the Theatre of Samuel Beckett AUTHOR: Anna E.V. Preto, B.A. (University of British Columbia) Licence es Lettres (Universite de Grenoble) SUPERVISOR: Dr. Brian S. Pocknell NUNBER OF PAGES: vi, 163 ii AKNOWLEDGEMENTS I wish to thank Dr. Brian S. Pocknell for his interest, his encouragement and counsel in the patient supervision of this dissertation. I also wish to thank McMaster University for its generous financial assistance. iii CONTENTS I An Introduction to the Beckett Situation 1 II Being on the Threshold to Eternity: Waiting for Godot and Endgame 35 III The Facets of the Prism: Beckett's Remaining Plays 74 IV The Language of the Characters and Time 117 Conclusion 147 Bibliography 153 iv PREFACE Beckett as an author has inspired an impressive range of critical studies to date. The imposing amounts of critical material bear witness to the richness of his writings, which present a wealth of themes and techniques. His plays concentrate for us the problem-themes that already concerned him in his earlier prose works, and bring them to the stage in a more streamlined form. The essential problem which evolves from Beckett's own earlier writings comes to the fore, downstage, in the plays: it is that of being in time, a purgatorial state, the lot of mankind and of Beckett's characters, who are representative of mankind.
    [Show full text]
  • Robin Robinson (Director)
    WHO’S WHO I THE WICKHAMS: CHRISTMAS AT PEMBERLEY Robin Robinson (Director) Main Street Theater: The Best Christmas Pageant Ever, Alexander and the Terrible, Horrible, No Good, Very Bad Day, Curious George: The Golden Meatball, Hello, Mrs. Piggle-Wiggle, Click, Clack, Moo: Cows That Type, The Last Wife, Ramona Quimby, Duck for President, Seussical, She Loves Me, Quilters, Our Country’s Good, Serious Money, Into The Woods, The Art Of Self Defense, Chocolate Cake, Old Doves (World Premiere), How To Say Goodbye. Stages: Merrily We Roll Along; The World Of Beauty (World Premiere); Theatre Lab Houston: Avenue X; Search And Destroy; Hyde Park Theatre In Austin: Colonel Mustard (World Premiere); Capitol City Playhouse: Stud Silo (World Premiere); South Pacific; Grayson College: Over 80 Productions including Working, Treasure Island, Dead Man’s Cell Phone, Othello, Godspell, Pippin, Grapes Of Wrath, Charlotte’s Web. Film: The Prodigy (Actor); Who's Who for Outstanding Educators; 2014 Texas Educational Theatre Association Educator of the Year for Community WHO’S WHO I THE WICKHAMS: CHRISTMAS AT PEMBERLEY Colleges. Education: M.A., Texas Woman’s University, Directing; B.S., University of Texas, Austin, Education. Member, TTAO (Texas Theatre Adjudicators & Officials). Alan Brincks (Mr. Fitzwilliam Darcy) Main Street Theater: Private Lives, Miss Bennet: Christmas at Pemberley (2018); Alley Theatre: All New Festival- The Supreme Leader; The Classical Theatre Company: The Fair Maid of the West; Unity Theatre: And Then There Were None. Landing Theatre: The Visit. Caduceus Theatre Co: Porcelain; Arkansas Shakespeare Festival: Love’s Labour’s Lost, Julius Caesar; Company One: Green Eyes; Virginia Stage Company: A Christmas Carol; Nebraska Shakespeare Festival: A Midsummer Night’s Dream, Hamlet, Romeo and Juliet; Quintessence Theatre: The Three Musketeers, Romeo and Juliet, Richard II, As You Like It, The Metamorphosis, Mourning Becomes Electra.
    [Show full text]
  • The Lady in the Van
    BBC Films THE LADY IN THE VAN Directed by Nicholas Hytner Written by Alan Bennett from his memoir 103 min East Coast Publicity West Coast Publicity Distributor Springer Associates PR Block-Korenbrot Sony Pictures Classics Gary Springer Eric Osuna Carmelo Pirrone 1501 Broadway, Suite 506 6100 Wilshire Blvd., Ste 170 Maya Anand New York, NY 10036 Los Angeles, CA 90048 550 Madison Ave. 212-354-4660 tel 323-634-7001 tel New York, NY 10022 gary@springerassociatespr.com 323-634-7030 fax 212-833-8833 tel 212-833-8844 fax CREDITS CAST Maggie Smith MISS SHEPHERD Alex Jennings ALAN BENNETT Jim Broadbent UNDERWOOD Frances De La Tour MRS VAUGHAN WILLIAMS Roger Allam RUFUS DIRECTED BY Nicholas Hytner WRITTEN BY Alan Bennett from his memoir EXECUTIVE PRODUCERS Christine Langan, Ed Wethered, Charles Moore, Miles Ketley PRODUCERS Kevin Loader, Nicholas Hytner, Damian Jones DIRECTOR OF PHOTOGRAPHY Andrew Dunn PRODUCTION DESIGNER John Beard EDITOR Tariq Anwar COMPOSER George Fenton COSTUME DESIGNER Natalie Ward HAIR AND MAKE UP DESIGNER Naomi Donne CASTING DIRECTOR Toby Whale SYNOPSIS Alan Bennett’s story is based on the true story of Miss Shepherd (played by a magnificent Maggie Smith), a woman of uncertain origins who “temporarily” parked her van in Bennett’s London driveway and proceeded to live there for 15 years. What begins as a begrudged favor becomes a relationship that will change both their lives. Filmed on the street and in the house where Bennett and Miss Shepherd lived all those years, acclaimed director Nicholas Hytner reunites with iconic writer Alan Bennett (The Madness of King George, The History Boys) to bring this rare and touching portrait to the screen.
    [Show full text]
  • PFT's EDUCATION PACK
    PFT’s EDUCATION PACK - TRAVESTIES 1 PFT’s EDUCATION PACK - TRAVESTIES 2 TRAVESTIES by Tom Stoppard CONTENTS 3 Cast & Creatives 4 Introduction to Pitlochry Festival Theatre 5 Introduction to the Play 6 Introduction to the Author 7 Characters in the Play 8 Play Synopsis (+ videos) 9 Real People behind the Characters: Tristan Tzara 10 Real People behind the Characters: James Joyce 11 Real People behind the Characters: Lenin 12, 13 Real People behind the Characters: Henry Carr 14 - 16 History & Background to the Play 17, 18 Parallels between Travesties & The Importance of being Earnest (+ videos) 19 - 22 Five Questions with the Designer 23 Resource articles and reviews PFT’s EDUCATION PACK - TRAVESTIES 3 CAST & CREATIVES Henry Carr Mark Elstob Tristan Tzara Graham Mackay Bruce James Joyce Alex Scott Fairley Lenin Alan Steele Bennett Carl Patrick Gwendolen Camrie Palmer Cecily Lucie-Mae Sumner Nadya Helen Logan Director: Richard Baron Set & Costume Designer: Adrian Rees Lighting Designer: Wayne Dowdeswell Choreographer: Chris Stuart Wilson Sound Designer: Jon Beales Assistant Director (Dialect): Helen Logan Stage Manager: Kate Schofield Assistant Stage Manager (Book): Helen Ashman Assistant Stage Manager (Floor): Lily Howarth Production Photographer: Douglas McBride Please note that all copy, content and images in this education pack are copyrighted and all the designs featured are the intellectual property of the designers. PFT’s EDUCATION PACK - TRAVESTIES 4 Introduction to PFT A unique repertory theatre in the heart of Highland Perthshire. We produce six plays in a summer season. This year we have presented: Chicago by Fred Ebb, Bob Fosse and John Kander The Rise and Fall of Little Voice by Jim Cartwright Travesties by Tom Stoppard Quality Street by J M Barrie Before the Party by Rodney Ackland (based on a short story by Somerset Maughan) The Last Witch by Rona Munro We have an ensemble of 17 actors who we auditioned around the UK back in December 2017.
    [Show full text]
  • Redalyc.THE REAL THING? ADAPTATIONS, TRANSFORMATIONS and BURLESQUES of SHAKESPEARE, HISTORIC and POST-MODERN
    Ilha do Desterro: A Journal of English Language, Literatures in English and Cultural Studies E-ISSN: 2175-8026 ilhadodesterro@gmail.com Universidade Federal de Santa Catarina Brasil Draudt, Manfred THE REAL THING? ADAPTATIONS, TRANSFORMATIONS AND BURLESQUES OF SHAKESPEARE, HISTORIC AND POST-MODERN Ilha do Desterro: A Journal of English Language, Literatures in English and Cultural Studies, núm. 49, julio-diciembre, 2005, pp. 289-314 Universidade Federal de Santa Catarina Florianópolis, Brasil Available in: http://www.redalyc.org/articulo.oa?id=478348687015 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative The real thing? Adaptations, transformations... 289 THE REAL THING?1 ADAPTATIONS, TRANSFORMATIONS AND BURLESQUES OF SHAKESPEARE, HISTORIC AND POST-MODERN Manfred Draudt University of Austria The practice of adapting great authors to fit current requirements is not just a recent phenomenon. The first great wave of adaptations of Shakespeare came after the period of the closing of theatres in 1642, with the advent of the Restoration in 1660. Political change was accompanied by a radical change in tastes, ideals and conditions: theatres were roofed in and artificially illuminated (like the earlier private theatres); there was also elaborate changeable scenery; and for the first time female roles were taken by professional actresses. Most importantly, French neo-classicism was adopted as the fashionable theory that shaped both the form and the language of plays. These currents of change motivated playwrights and managers to “improve on” Shakespeare by rewriting and staging his plays in accordance with the spirit of the new times.
    [Show full text]
  • Even Better Than the Real Thing? Digital Copies and Digital Museums in a Digital Cultural Policy
    Even Better than the Real Thing? Digital Copies and Digital Museums in a Digital Cultural Policy By Ole Marius Hylland Abstract This article investigates how a digital turn and digital copies have influenced ideas, roles and authorities within a national museum sector. It asks whether digital mu- seums and their digital reproductions expand and/or challenge a traditional cul- tural policy. Two specific cases are highlighted to inform the discussion on these questions – the Norwegian digital museum platform DigitaltMuseum and Google Art Project. The article argues that there is a certain epochalism at play when the impact of a digital turn is analysed. At the same time, some clear major changes are taking place, even if their impact on cultural policies might be less than expec- ted. I propose that one of the changes is the replacing of authenticity with accessi- bility as the primary legitimating value of museum objects. Keywords: Digitization, digital museums, cultural policy, reproduction Hylland, Ole Marius: “Even Better than the real Thing? Digital Copies and Digital Museums in a Digital Cultural Policy”, Culture Unbound, Volume 9, Issue 1, 2017: 62–84. Published by Linköping University Electronic Press: http://www.cultureun- bound.ep.liu.se Culture Unbound Journal of Current Cultural Research Introduction The concept of digital museums has been around for more than two decades. His- torically, the mid-nineties seem to be a formative period for the digitization of mu- seums. In her 1996 article, Suzanne Keene simply states that “in 1995, museums went digital”. For more than twenty years, many and varied ideas on the merging of museum collections with digital technology and networking computers have been circulating.
    [Show full text]
  • The Real Thing by Tom Stoppard
    The Real Thing by Tom Stoppard Teachers’ Resource Pack Researched and written by Mitchell Moreno 2 THE REAL THING contents The Real Thing at The Old Vic 3 Chronology: Tom Stoppard, his Life and Works 4 Synopsis 5 Characters 7 Major themes and interests 10 In conversation with Director Anna Mackmin 12 Tom Stoppard: Portrait of a Playwright 15 Glossary of terms and references 16 3 THE REAL THING at the old vic Director Anna Mackmin Sound Simon Baker for Designer Lez Brotherston Autograph Lighting Hugh Vanstone Casting Toby Whale Tom Austen Louise Calf Barnaby Kay Hattie Morahan Billy Debbie Max Annie Toby Stephens Fenella Woolgar Jordan Young Henry Charlotte Brodie Jamie Partridge Cassie Raine Gemma Soul Simon Yadoo Understudy: Brodie/Billy Understudy: Charlotte/Annie Understudy: Debbie Understudy: Henry/Max 4 Chronology Tom Stoppard, his Life & Works 1937 – Born Tomáš Straussler in Zlin, 1967 – Teeth performed on TV. 1984 – The Real Thing staged on Czechoslovakia. – Rosencrantz & Guildenstern Are Broadway, winning five Tony 1939 – On the day the Nazis invade Dead staged at the National awards. Czechoslovakia, the family leaves Theatre, transferring to Broadway. – Squaring the Circle performed on Zlin for Singapore. Another Moon Called Earth TV. 1942 – Four year old Tomas and his performed on TV. 1985 – His screenplay of Brazil, co- mother and brother are evacuated 1968 – Enter a Free Man, a reworking of written with Terry Gilliam, receives to India. His father remains A Walk on the Water, staged in an Oscar nomination. behind and later dies in Japanese the West End. 1987 – Writes screenplay for Empire of captivity.
    [Show full text]
  • Theatre and Love: Tom Stoppard, 'The Real Thing' Transcript
    Theatre and Love: Tom Stoppard, 'The Real Thing' Transcript Date: Tuesday, 10 May 2016 - 6:00PM Location: Museum of London 10 May 2016 Theatre and Love: Tom Stoppard, The Real Thing Professor Belinda Jack Good evening and welcome. Thank you for coming. Here is a mischievous photo of Sir Tom Stoppard. And here is a short clip of the Monkees, one of the bands that Henry – the playwright in the play we’re thinking about tonight – is fond of. To some extent this represents Henry’s youth and perhaps suggests that at the beginning of the play at least, he has not really grown up and shows little self-perspective. This has changed by the end of the play. And after the lecture we’ll hear some Pink Floyd, Darkside of the Moon, the inspiration for Stoppard’s radio play, ‘Darkside’ (2013). Tom Stoppard has been producing drama, fiction and screenplays for more than fifty years. And The Real Thing was first performed almost thirty-five years ago, in 1982. So why have I chosen this play as the subject of my final lecture – my eighteenth – in the series ‘The Mysteries of Reading and Writing’? (I will, however, be lecturing for a further year, beginning in October with Jane Austen’s Persuasion.) Firstly, I wanted to consider ‘love’, a subject at the heart of so many literary works. Think of Shakespeare’s plays – or the great works of fiction of the nineteenth century. In addition, Stoppard’s play celebrates ambiguities and it is this quality which is shared by all the greatest works of literature.
    [Show full text]
  • Kushner's Political Theater Udc 820(73)
    UNIVERSITY OF NIŠ The scientific journal FACTA UNIVERSITATIS Series: Linguistics and Literature Vol.2, No 7, 2000 pp. 151 - 174 Editor of series: Nedeljko Bogdanović, e-mail: nedbog@filfak.filfak.ni.ac.yu Address: Univerzitetski trg 2, 18000 Niš, YU, Tel: +381 18 547-095, Fax: +381 18 547-950 http:// ni.ac.yu/Facta KUSHNER'S POLITICAL THEATER UDC 820(73).09-2 Suzana Stefanović Faculty of Philosophy, Niš, Yugoslavia Abstract. This paper explores Tony Kushner’s epic play Angels in America within the tradition of American drama. Though gay themes prevail in the play, Tony Kushner’s work foregrounds and critically examines issues crucial to the American identity. Like other playwrights before him - Miller, Williams, Albee, Mamet, Shepard, who challenged and exposed the presumptive myths of American society, a society which has seen the collapse of moral, religious, political and social structures and in which power, sex and material fulfillment have replaced love, compassion and authentic living, Kushner continues this strain of social criticism from the viewpoint of his characters, most of whom are gay, who, as symbols of marginality, voice or witness or exhibit the moral decay, spiritual depletion and self- destructiveness found at the very core of American society. Kushner’s apocalyptic view of America, one of a country rushing headlong towards a catastrophic end, and his tragic vision is relieved by his hope in man, who as a social being, can have an impact on the historical process, mainly through political engagement and activism. Though the threat of catastrophe, annihilation and despair looms large in his work, in man lies the hope and the potential for change, and therefore, salvation.
    [Show full text]
  • August Wilson and Pittsburgh's Hill District Betina Jones
    Duquesne University Duquesne Scholarship Collection Electronic Theses and Dissertations 2011 "This Is Me Right Here": August Wilson and Pittsburgh's Hill District Betina Jones Follow this and additional works at: https://dsc.duq.edu/etd Recommended Citation Jones, B. (2011). "This Is Me Right Here": August Wilson and Pittsburgh's Hill District (Doctoral dissertation, Duquesne University). Retrieved from https://dsc.duq.edu/etd/709 This Immediate Access is brought to you for free and open access by Duquesne Scholarship Collection. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Duquesne Scholarship Collection. For more information, please contact phillipsg@duq.edu. “THIS IS ME RIGHT HERE”: AUGUST WILSON AND PITTSBURGH‟S HILL DISTRICT A Dissertation Submitted to the McAnulty College and Graduate School of Liberal Arts Duquesne University In partial fulfillment of the requirements for the degree of Doctor of Philosophy By Betina Jones May 2011 Copyright by Betina Jones 2011 “THIS IS ME RIGHT HERE”: AUGUST WILSON AND PITTSBURGH‟S HILL DISTRICT By Betina Jones Approved March 29, 2011 ________________________________ ________________________________ Linda Kinnahan, Ph.D. Anne Brannen, Ph.D. Professor of English Associate Professor of English Dissertation Director (Committee Member) ________________________________ Magali Michael, Ph.D. Professor of English (Committee Member) ________________________________ ________________________________ Christopher M. Duncan, Ph.D. Magali Michael, Ph.D. Dean, McAnulty College and Graduate Chair, Department of English School of Liberal Arts Professor of English iii ABSTRACT “THIS IS ME RIGHT HERE”: AUGUST WILSON AND PITTSBURGH‟S HILL DISTRICT By Betina Jones May 2011 Dissertation supervised by Linda Kinnahan, Ph.D.
    [Show full text]