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Gareth Owen Theatrical Sound Designer
Gareth Owen Theatrical Sound Designer Musical Theatre Sound Design Awards highlights include : Outer Critics Circle Award COME FROM AWAY Schoenfeld, New York Olivier Award MEMPHIS Shaftesbury Theatre, London Craig Noel Award COME FROM AWAY La Jolla Playhouse, San Diego Pro Sound Award MEMPHIS Shaftesbury Theatre, London Olivier Award MERRILY WE ROLL ALONG Comedy Theatre, London Olivier Nomination TOP HAT Aldwych Theatre, London Tony Nomination END OF THE RAINBOW Belasco Theatre, New York Olivier Nomination END OF THE RAINBOW Trafalgar Studios, London Tony Nomination A LITTLE NIGHT MUSIC Walter Kerr, New York Upcoming Sound Design highlights include : Susan Stroman’s YOUNG FRANKENSTEIN on London’s West End; Stephen Schwartz’s PRINCE OF EGYPT (World Premiere), and Des McAnuff’s DONNA SUMMER PROJECT both on Broadway; COME FROM AWAY in Toronto and on tour in the USA; Don Black’s THE THIRD MAN (World Premiere) in Vienna; BODYGUARD in Madrid; and the JERSEY BOYS International Tour. International Musical Sound Design highlights include : Lead Producer Director A BRONX TALE (World Première) Long Acre, Broadway Dodgers Theatrical Robert DeNiro COME FROM AWAY (World Première) Schoenfeld, Broadway Junkyard Dog Chris Ashley STRICTLY BALLROOM (European Première) Worldwide (2 versions) Global Creatures Drew McConie DISNEY’S HUNCHBACK OF NOTRE DAME Worldwide (5 versions) Disney Scott Schwartz SCHIKANEDER (World Premiere) Raimund, Vienna Stephen Schwartz & VBM Trevor Nunn CINDERELLA Rossia, Moscow Stage Entertainment Lindsay Posner SECRET GARDEN Lincoln -
Princess Diana, the Musical Inspired by Her True Story
PRINCESS DIANA, THE MUSICAL INSPIRED BY HER TRUE STORY Book by Karen Sokolof Javitch and Elaine Jabenis Music and Lyrics by Karen Sokolof Javitch Copyright © MMVI All Rights Reserved Heuer Publishing LLC, Cedar Rapids, Iowa Professionals and amateurs are hereby warned that this work is subject to a royalty. Royalty must be paid every time a play is performed whether or not it is presented for profit and whether or not admission is charged. A play is performed any time it is acted before an audience. All rights to this work of any kind including but not limited to professional and amateur stage performing rights are controlled exclusively by Heuer Publishing LLC. Inquiries concerning rights should be addressed to Heuer Publishing LLC. This work is fully protected by copyright. No part of this work may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without permission of the publisher. Copying (by any means) or performing a copyrighted work without permission constitutes an infringement of copyright. All organizations receiving permission to produce this work agree to give the author(s) credit in any and all advertisement and publicity relating to the production. The author(s) billing must appear below the title and be at least 50% as large as the title of the Work. All programs, advertisements, and other printed material distributed or published in connection with production of the work must include the following notice: “Produced by special arrangement with Heuer Publishing LLC of Cedar Rapids, Iowa.” There shall be no deletions, alterations, or changes of any kind made to the work, including the changing of character gender, the cutting of dialogue, or the alteration of objectionable language unless directly authorized by the publisher or otherwise allowed in the work’s “Production Notes.” The title of the play shall not be altered. -
Hair for Rent: How the Idioms of Rock 'N' Roll Are Spoken Through the Melodic Language of Two Rock Musicals
HAIR FOR RENT: HOW THE IDIOMS OF ROCK 'N' ROLL ARE SPOKEN THROUGH THE MELODIC LANGUAGE OF TWO ROCK MUSICALS A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Music Eryn Stark August, 2015 HAIR FOR RENT: HOW THE IDIOMS OF ROCK 'N' ROLL ARE SPOKEN THROUGH THE MELODIC LANGUAGE OF TWO ROCK MUSICALS Eryn Stark Thesis Approved: Accepted: _____________________________ _________________________________ Advisor Dean of the College Dr. Nikola Resanovic Dr. Chand Midha _______________________________ _______________________________ Faculty Reader Interim Dean of the Graduate School Dr. Brooks Toliver Dr. Rex Ramsier _______________________________ _______________________________ Department Chair or School Director Date Dr. Ann Usher ii TABLE OF CONTENTS Page LIST OF TABLES ............................................................................................................. iv CHAPTER I. INTRODUCTION ............................................................................................................1 II. BACKGROUND OF THE STUDY ...............................................................................3 A History of the Rock Musical: Defining A Generation .........................................3 Hair-brained ...............................................................................................12 IndiffeRent .................................................................................................16 III. EDITORIAL METHOD ..............................................................................................20 -
The Life and Death of an Icon Facil Ute Core Core Tie Modiam, Conulla
WW | xxxxxxxx THIS STORY ALWAYS HAD everything, didn’t it? The blushing young innocent who transformed herself into the most adored – and most hunted – woman in the world. The Cinderella who found her Prince Charming – or thought she did – and then entered the palace via the golden carriage. The fairytale but fraudulent wedding of the century, followed by that grim parable of death in the Paris tunnel. The romance, the adultery, the royal intrigue, the eternal, hopeless quest for love, the media’s crazed preoccupation and pursuit. TIn her lifetime, Diana was the People’s Princess who, in death, became the Sleeping Beauty and the Lady of the Lake. She was the stuff that myths are made of and, like her or not, believe it or not, hers was a tale of epic, monumental proportions, that mesmerised the world for 16 years – from the time she walked down the aisle in St Paul’s Cathedral to the time of her funeral in Westiminster Abbey, witnessed by, what was it, a quarter of the world’s population? permafrost and the duke’s Teutonic coldness Think of Marilyn Monroe, Princess Grace, to Diana’s single-minded pursuit of Prince Greta Garbo, Jackie Onassis, perhaps even Charles and her elder son, William’s, interest Mother Theresa, and roll them into one in becoming governor-general of Australia. iconic figure, and you might approach the The Diana Spencer that emerges from fame, the celebrity of Diana Spencer, the pages of Tina Brown’s The Diana Celebrated editor Tina Princess of Wales. As Martin Amis, the Chronicles is at once childish, scheming, Brown’s sensational new writer, once said, “Madonna sings. -
Audition Packet for Xanadu JR and Much Ado About Nothing
Audition Packet for Xanadu JR and Much Ado About Nothing XANADU JR Director: Robert Lee Robert is the Artistic Director of The Underground Theatre. Originally from Louisiana, Robert has worked in many spots around the country as a Theatre artist. He is beyond ecstatic to be working on the hilarious Xanadu, it's been on his bucket list for years. His Duluth directing credits include Hedwig and The Angry Inch, Clown Bar, Cabaret, 1984, Death of a Salesman (The Underground), Peter Pan, It Runs in the Family (The Playhouse), Cat in the Hat, Willy Wonka, James and the Giant Peach, Fantastic Mr. Fox, and Some Sneaky Sheep (The Playhouse Family Theatre), Rx (Renegade Theater Company). He also regularly appears on the Renegade stage as an improviser. MUCH ADO ABOUT NOTHING Director: Christina Stroup Christina Stroup was hired to perform in The Full Monty this past summer and she fell so in love with Duluth, she moved here from Houston, TX! Recently she appeared on the NorShor stage in Don’t Dress For Dinner and Rags to Ritzes. Christina has been a professional actress for over 10 years and is a proud Actor’s Equity member. She’s worked regionally all over the U.S. Christina graduated with a BFA in musical theater and opera from Sam Houston State University. In the past few years, Christina started directing and found a new passion for theater. She’s directed many variety shows and musicals. A personal favorite is Once On This Island Jr. Christina performed in A Midsummer Night’s Dream at the Lone Star Festival in London. -
Edition 2 | 2018-2019
2 CAPA WHAT’S INSIDE BOARD OF TRUSTEES | 4 CAPA STAFF | 5 CAPA DONORS AND SPONSORS | 6 CHARLES DICKENS’ A CHRISTMAS CAROL | 11 DAVE KOZ AND FRIENDS CHRISTMAS TOUR 2018 | 21 THE HIP HOP NUTCRACKER | 23 AN ACOUSTIC CHRISTMAS WITH OVER THE RHINE | 24 A CHARLIE BROWN CHRISTMAS LIVE ON STAGE | 26 JIM BRICKMAN A JOYFUL CHRISTMAS | 31 CAPA CORPORATE MEMBERSHIP PROGRAM | 33 ADVERTISING Onstage Publications 937-424-0529 | 866-503-1966 e-mail: [email protected] www.onstagepublications.com This program is published in association with Onstage Publications, 1612 Prosser Avenue, Kettering, OH 45409. This program may not be reproduced in whole or in part without written permission from the publisher. JBI Publishing is a division of Onstage Publications, Inc. Contents © 2018. All rights reserved. Printed in the U.S.A. BOARD OF TRUSTEES OFFICERS EXTRAORDINARY SUPPORTERS Chair Richard Helmreich CAPA would like to graciously thank the Vice Chair Lawrence L. Fisher following for their outstanding support Immediate Past Chair Michael Petrecca of our mission. Treasurer & Vice Chair Stephanie E. Green Secretary Barbara B. Lach CAPA President & CEO Chad Whittington Trustees Steven P. Brechter Nicole Callam Josh Corna Kristina Daiker David English Robert Falcone, M.D. David M. Feinberg John F. Finn Debra Griffin Stephen Ifeduba Linda Kaufmann T. Earl LeVere Julie M. Lynch Walden W. O’Dell Angela Pace David & Mo Meuse Steve Parrish Amie Preston Ramona Reyes Toshia Safford Susan Tomasky Laura Yaroma Sandra Zimmerman Emeritus David Schoedinger OHIO THEATRE PALACE THEATRE SOUTHERN THEATRE LINCOLN THEATRE McCOY CENTER FOR THE ARTS Barbara B. Coons Fund, RIFFE CENTER THEATRE COMPLEX Robert Bartels Fund SHUBERT THEATRE (NEW HAVEN, CT) 55 EAST STATE STREET COLUMBUS, OHIO 43215-4264 614-469-1045 | fax 614-461-0429 capa.com 4 CAPA CAPA STAFF ADMINISTRATION Ticket Center Supervisor Alexa M. -
Princess Diana –
Princess Diana – Legend of the month “They say it is better to be poor and happy than rich and miserable, but how about a compromise like moderately rich and just moody?” —Princess Diana Born Diana Spencer on July 1, 1961, Princess Diana became Lady Diana Spencer after her father inherited the title of Earl Spencer in 1975. She married heir to the British throne, Prince Charles, on July 29, 1981. They had two sons and later divorced in 1996. Diana died in a car crash after trying to escape the paparazzi in Paris on the night of August 30, 1997. Aristocratic Upbringing British royalty Princess Diana Spencer was born on July 1, 1961, near Sandringham, England. Diana, Princess of Wales, was one of the most adored members of the British royal family. She was the daughter of Edward John Spencer, Viscount Althorp, and Frances Ruth Burke Roche, Viscountess Althorp (later known as the Honorable Frances Shand Kydd). Her parents divorced when Diana was young, and her father won custody of her and her siblings. She was educated first at Riddlesworth Hall and then went to boarding school at West Heath School. She became Lady Diana Spencer after her father inherited the title of Earl Spencer in 1975. Although she was known for her shyness growing up, she did show an interest in music and dancing. Diana also had a great fondness for children. After attending finishing school at the Institut Alpin Videmanette in Switzerland, she moved to London. She began working with children, eventually becoming a kindergarten teacher at the Young England School. -
Guest Artists
Guest Artists George Hamilton, Broadway and Film Actor, Broadway Actresses Charlotte D’Amboise & Jasmine Guy speaks at a Chicago Day on Broadway speak at a Chicago Day on Broadway Fashion Designer, Tommy Hilfiger, speaks at a Career Day on Broadway SAMPLE BROADWAY GUEST ARTISTS CHRISTOPHER JACKSON - HAMILTON Christopher Jackson- Hamilton – original Off Broadway and Broadway Company, Tony Award nomination; In the Heights - original Co. B'way: Orig. Co. and Simba in Disney's The Lion King. Regional: Comfortable Shoes, Beggar's Holiday. TV credits: "White Collar," "Nurse Jackie," "Gossip Girl," "Fringe," "Oz." Co-music director for the hit PBS Show "The Electric Company" ('08-'09.) Has written songs for will.i.am, Sean Kingston, LL Cool J, Mario and many others. Currently writing and composing for "Sesame Street." Solo album - In The Name of LOVE. SHELBY FINNIE – THE PROM Broadway debut! “Jesus Christ Superstar Live in Concert” (NBC), Radio City Christmas Spectacular (Rockette), The Prom (Alliance Theatre), Sarasota Ballet. Endless thanks to Casey, Casey, John, Meg, Mary-Mitchell, Bethany, LDC and Mom! NICKY VENDITTI – WICKED Dance Captain, Swing, Chistery U/S. After years of practice as a child melting like the Wicked Witch, Nicky is thrilled to be making his Broadway debut in Wicked. Off-Broadway: Trip of Love (Asst. Choreographer). Tours: Wicked, A Chorus Line (Paul), Contact, Swing! Love to my beautiful family and friends. BRITTANY NICHOLAS – MEAN GIRLS Brittany Nicholas is thrilled to be part of Mean Girls. Broadway: Billy Elliot (Swing). International: Billy Elliot Toronto (Swing/ Dance Captain). Tours: Billy Elliot First National (Original Cast), Matilda (Swing/Children’s Dance Captain). -
Remembering Princess Diana with CCTV
humanities Article Surveillance and Social Memory: Remembering Princess Diana with CCTV Nicole Falkenhayner English Seminar, Albert-Ludwigs-University Freiburg, Rempartstr. 15, Freiburg 79085, Germany; [email protected] Academic Editor: Peta Tait Received: 30 May 2016; Accepted: 17 August 2016; Published: 1 September 2016 Abstract: Since the 1990s, surveillance camera images have experienced a function creep from their juridical uses into journalism and entertainment. In these contexts, the images have also become memory media. This article, for the first time, analyses CCTV images, meaning closed circuit surveillance camera images, as memory media and discusses the implications of our use of artefacts of control within a frame of mediated constructions of social memory. The article undertakes this work by analyzing remediations of the CCTV images of Diana Spencer and Dodi Al-Fayed in the Ritz Hotel in Paris on 30 August 1997 in television news and a documentary from 2007 and 2011, respectively. It is shown how social memory of Diana’s death is a contested site, in which the images play a specific role. Keywords: Surveillance; images; social memory; social emotion; experientiality; narration; mediatisation; Princess Diana 1. Introduction On the morning of 1 September 1997, the world woke up to the news of the death of Princess Diana and her recent lover, Dodi Al-Fayed, in a car crash in Paris. The death of Princess Diana had an enormous impact on the civil and emotional culture of the UK, making it a stable part of British, but also global, social memory [1]. The CCTV images, meaning closed circuit surveillance camera images, that were made by surveillance cameras in the Ritz Hotel were affect-affording in the narrations of Diana’s death. -
Steven K. Mitchell
Steven K. Mitchell 941.228.5761 [email protected] www.stevenkmitchell.com Member USA Local 829 THEATRE Garden Theatre, 1984, (Dir) B.Bell), Winter Garden, FL, 2019 American Stage, Skeleton Crew, Silent Sky, The Roommate, Ms Bennet, , Bad Jews, A Raisin In The Sun, The Invisible Hand, Sex W/ Strangers, 4000 Miles, Radio Golf, In The Heights, Intimate Apparel, The Rocky Horror Show,(Dirs.: K. Cllipard, S. Gularte, A. Resnick, P. Callender, J. Stevens, B. Ismail, M. Southers, K. Hartley), St. Pete, FL, 2012-’20 Orlando Shakespeare Theatre, Dancing Lessons, (Dir: C. White), Orlando, FL, 2016 St. Pete Opera, Susannah, Norma, Il Trovatore (Dirs: M. Unger, B. Spierman, K. Hesser), St Petersburg, FL, 2013, ‘14,’16 Freefall Theatre, The Glass Menagerie, Mr Burns, Cabaret, One Flew Over The Cuckoo’s Nest, Man of La Mancha, Dr. Jekyl and Mr. Hyde,(Dir.: E. Davis), St. Petersburg, FL, 2010-‘18 Historic Asolo, Dreamgirls, (Dir. R. Kelly), Sarasota, FL, 2007 Santa Fe Playhouse, A Lion In Winter, (Dir. S. Lederer), Santa Fe, NM, 2009 Sanford Meisner Theatre(O-O Broadway), Little Mary, (Dir. J. Kubzansky), NY, NY, 2005 Prospect Theatre Company, The Three Sisters, (Dir: J.M. Green), NY, NY, 2002 Berkshire Theatre Festival 2000, The Einstein Project, (Dir. E. Hill), Stockbridge, MA, 2000 Roundabout Theatre, Hotel Suite,(O-Broadway-Asst. to James Noone), NY, NY, 2000 Actor's Gang, Exit the King, Broadway, (Dirs. R. Murphy, D. Schweizer), Los Angeles, CA., 1999 Mark Taper New Works Festival, The American Bullghter, (Dir. L. Peterson), LA, CA, 1997 The Grove Theatre Center, The Thousandth Night, (Dir. -
Podcast 40 Survivor Corps Long-Term COVID-19 Pati
This transcript was exported on Aug 16, 2021 - view latest version here. Adrian Hernandez: Hey, this is Adrian Hernandez, and welcome to the NIH Collaboratory Grand Rounds podcast. We're here to give you some extra time with our speaker, and ask him the tough and interesting questions you want to hear most. If you haven't already, we hope you'll watch the full Grand Rounds webinar recording to learn more. All of our Grand Rounds content can be found at rethinkingclinicaltrials.org. Thanks for joining. Adrian Hernandez: Hi, this is Adrian Hernandez, and I'm one of the NIH Collaboratory Grand Rounds moderators, and today we're here with several people from Survivor Corps to reflect and discuss what they did recently to address patient experiences seeking medical care around COVID-19. So I'm here with Diana, Natalie, Nick, who will be reflecting on what they've had to do to address these issues. So welcome to our podcast, and let me start off first with Diana, can you just tell us a little bit of how things started? Diana Berrent: Yeah, so actually we are the largest patient advocacy movement in the world, but oddly enough, we did not start out as a patient advocacy movement. I was one of the first people in the New York area to get a positive diagnosis of COVID, and one of the first people in the country to come forward with my identity, in early March of 2020. I ended up having a pretty average case of COVID, what I call the Tylenol and Gatorade kind, I was never hospitalized, there's nothing dramatic about it. -
The Tenth Muse: Cinema a Décima Musa
Nunt. Antiquus, Belo Horizonte, v. 15, n. 1, p. 155-184, 2019 The Tenth Muse: Cinema A décima Musa: Cinema Martin M. Winkler George Mason University, Fairfax, Virginia / United States [email protected] Abstract: In Classical Antiquity, the nine Muses were the patron goddesses of all arts and sciences and the inspiration for creative minds, especially poets. With the march of technology until today, their realm has significantly expanded. Jean Cocteau, among others, added a tenth Muse to the original nine: that of the cinema. This article surveys various films in which one or more of the Muses play major parts; it also pays homage to the actresses who portray them and to others who may be regarded as their screen relatives. Keywords: classical mythology; films about antiquity; Hesiod; Homer; Muses in film; Polyhymnia; Terpsichore. Resumo: Na Antiguidade Clássica, as nove Musas eram as deusas patronas de todas as artes e ciências e a inspiração para as mentes criativas, especialmente a dos poetas. Com o desenvolvimento da tecnologia até hoje, seu reino se expandiu significativamente. Jean Cocteau, entre outros, adicionou uma décima Musa às nove originais: o cinema. Este artigo inspeciona vários filmes nos quais uma ou mais das Musas têm um papel representativo; e também homenageia as atrizes que as interpretam e as que podem ser vistas como suas parentes na tela. Palavras-chave: mitologia clássica; filmes sobre a antiguidade; Hesíodo; Homero; Musas no cinema; Polímnia; Terpsícore. Mênin aeide, thea and Andra moi ennepe, Mousa, polytropon: these words open our oldest works of literature, Homer’s Iliad and Odyssey.