2020-21 LTC6 Xmascarol Program.Indd
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4 Main Ideas and Supporting Details in Writing
4 Main Ideas and Supporting Details in Writing A paragraph is a series of sentences that support a main idea, or point. A paragraph typically starts with the main idea or point (also called the topic sentence), and the rest of the paragraph provides specific details to support and develop the point. The illustration below shows the relationship between point and support. Support Support Support Support Outlining An outline is a helpful way to plan a paper or to analyze it. An outline shows at a glance the point of a paper and a numbered list of the items that support the point. Here is an example of a paragraph and an outline of the paragraph. 1People in my family love our dog Punch. 2However, I have several reasons for wanting to get rid of Punch. 3First of all, he knows I don’t like him. 4Sometimes he gives me an evil look and curls his top lip back to show me his teeth. 5The message is clearly, “Someday I’m going to bite you.” 6Another reason to get rid of Punch is he sheds everywhere. 7Every surface in our house is covered with Punch hair. 8I spend more time brushing it off my clothes than I do mowing the lawn. 9Last of all, Punch is an early riser, while (on weekends) I am not. 10He will start barking and whining to go outside at 7 a.m., and it’s my job to take care of him. 11When I told my family that I had a list of good reasons for getting rid of Punch, they said they would make up a list of reasons to get rid of me. -
Shakespeare in Love
FEB Shakespeare 26 MAR in Love 29 Based on the screenplay by Marc Norman & Tom Stoppard Adapted for the stage by Lee Hall Music by Alex Bechtel Directed by Matt Pfeiffer Welcome to Shakespeare in Love. Every year, many of you cry out to us “Dear God, no more Shakespeare!” While others plead “I loved your Winter’s Tale, your Richard III. Please put on Midsummer. I beg you for a Twelfth Night.” With Shakespeare In Love, the Purists and the Never Barders may unite to curse us with a plague on both our houses, but if they — and you — are someone who loves love, well then . Here is a love letter to romantic love, to the theatre, and to the rebellious, transgressive, mysterious, and glorious madness of both. Whether you keep Shakespeare close to your heart or far from it, we invite you to celebrate what he loved most: the stage, its players, poetry . and a dog. Zak Berkman, Producing Director Lend me your ears Matt Pfeiffer, Director I’ve been really blessed to spend most of my career working on the plays of William Shakespeare. I believe his plays are foundational to Western culture. Love him or hate him, his infuence is an essential part of our understanding of stories and storytelling. And I’ve had the privilege for the last six years of fostering a specifc approach to his plays. I found that attempting to be in conversation with the principals of the theatre practices of Shakespeare’s time was a good starting place—not so much aesthetically, but logistically. -
Private. Lives
JJLJ-L, I ..}u.... t I 4.rl @ THE UNIVERSITY THEATRE 1950·51 Season Films and Plays THE September 6-8: Opm City, Italian .film 21, 22: j ean Cocteau's B.eauty and the Beast, French film UNIVERSITY 28,29: The Dam11ed, French film OF October ~. 6: Antoine and AntoitJette, French film 12, 13: BJ(ape from Yesterday, French film HAWAII 19,20: The Raven, French film 26,27: The Barber of Seville, French Opera Comique film THEATRE November 7, 11: Theatre Group production of Lawrence and Armina Langner's THE PURSUIT OF HAPPINESS GROUP 14-18: THE PURSUIT OF HAPPINESS 24-25: Pagnol's Marius, French film December 1, 2: Pagnol's Cnar, French film 7·9: Cage of Nightingales, French film 30: Theatre Group production of Bernard Shaw's MAJOR BARBARA January 5, 6: MAJOR BARBARA 10-13: MAJOR BARBARA February 8, 9: Jouvet in Between Eleven and Midnight, French film 15, 16: Gigi, French film \ 22,23: Kreutzer Sonata, French film March 15-17: Theatre Group.production of THE HOUSE OF SUGAWARA, a newly NOEL COWARD'S translated Kabuki play 20-24: THE HOUSE OF SUGAWARA 27·29: THE HOUSE OF SUGAW ARA 30, 31: Light of India, Indian film PRIVATE. LIVES April 6: T!Je Ghost Goes Wm, American fil~ 13: Museum of Modern Art film, the Marx Brothers in Dudz Soup 14: Shoeshine, Italian film 21-22: Theatre Group production of William Wycherly's THE COUNTRY WIFE 25-28: THE COUNTRY WIFE May 2, 3, 5: The Soul of ChinR, Chinese film 4: Museum of Modem Art film, Garbo in Annt~ Chrhtie 11·12: Theatre Group production of FOUR ORIGINAL PRIZE PLAYS 17·19: FOUR ORIGINAL PRIZE PLAYS June 1: Museum of Modem Art film, Chaplin's Essanay Comedies 8,9: Theatre Group production of Noel Coward's PRIVATE LIVES 14-16: PRIVATE LIVES JUNE 8, 9, 14. -
February 7, 2021
VILLANOVA THEATRE PRESENTS STREAMING JANUARY 28 - FEBRUARY 7, 2021 About Villanova University Since 1842, Villanova University’s Augustinian Catholic intellectual tradition has been the cornerstone of an academic community in which students learn to think critically, act compassionately and succeed while serving others. There are more than 10,000 undergraduate, graduate and law students in the University’s six colleges – the College of Liberal Arts and Sciences, the Villanova School of Business, the College of Engineering, the M. Louise Fitzpatrick College of Nursing, the College of Professional Studies and the Villanova University School of Law. As students grow intellectually, Villanova prepares them to become ethical leaders who create positive change everywhere life takes them. In Gratitude The faculty, staff and students of Villanova Theatre extend sincere gratitude to those generous benefactors who have established endowed funds in support of our efforts: Marianne M. and Charles P. Connolly Jr. ’70 Dorothy Ann and Bernard A. Coyne, Ph.D. ̓55 Patricia M. ’78 and Joseph C. Franzetti ’78 The Donald R. Kurz Family Peter J. Lavezzoli ’60 Patricia A. Maskinas Msgr. Joseph F. X. McCahon ’65 Mary Anne C. Morgan ̓70 and Family & Friends of Brian G. Morgan ̓67, ̓70 Anthony T. Ponturo ’74 Eric J. Schaeffer and Susan Trimble Schaeffer ’78 The Thomas and Tracey Gravina Foundation For information about how you can support the Theatre Department, please contact Heather Potts-Brown, Director of Annual Giving, at (610) 519-4583. gratefully acknowledges the generous support of our many patrons & subscribers. We wish to offer special thanks to our donors. 20-21 Benefactors A Running Friend William R. -
The Game Is Afoot at Lantern Theater Company with The
For further ticket information: Lantern Theater Company Box Office (215) 829‐0395 or lanterntheater.org For further press information: Debbie Fleischman Mailing Address (215) 735‐7356 Lantern Theater Company P.O. Box 53428 Philadelphia, PA 19105-3428 THE GAME IS AFOOT AT LANTERN THEATER COMPANY Theater Address Lantern Theater Company WITH THE HOUND OF THE BASKERVILLES MAY 28‐JUNE 28 At St. Stephen’s Theater 10th & Ludlow Streets Philadelphia, PA 19107 Madcap mayhem and farcical hilarity set the tone for Lantern Theater Box Office Company’s production of The Hound of the Baskervilles by Sir Arthur Conan 215.829.0395 Doyle, adapted by Steven Canny and John Nicholson which closes the Administrative Office 215.829.9002 Lantern’s season, running May 28‐June 28. Directed by Matt Pfeiffer, the Fax 215.829.1161 three‐person cast features Damon Bonetti, Daniel Fredrick and Dave Email Johnson in multiple, quick‐change roles. [email protected] Web www.lanterntheater.org The Hound of the Baskervilles runs May 28 –June 28, 2015 (press opening: Wednesday, June 3, at 7 p.m.). Tickets are $22 – $39 and are available online at lanterntheater.org or by calling the Lantern Box Office at (215) 829‐ 0395. Discounts are available for seniors 65 and up, groups of 10 or more and U.S. military personnel. $10 student rush tickets are available 10 minutes before curtain with valid ID; cash only. $10 industry tickets are available online, by phone or at the box office. One of Sir Arthur Conan Doyle's most beloved Holmes mysteries gets a zany makeover when performed by a trio of endearing clowns and klutzes. -
Private Lives and Public Leadership
DiscernmentSo that you may be able to discern what is best. Phil. 1:10 Private Lives and Public Leadership ■ For many Americans, the impeachment trial Can a homemaker live a life secreted away from Inside: of William Jefferson Clinton is merely another the family, behind a closed door, without it bear- opportunity to express disgust with government ing fruit in the more public parts of one’s house? Where Should We and an invasive news media. In the following pages, our authors sharp- Draw the Line? 2 Although ample justification exists to en our capacity to judge more justly and com- regret the impeachment process, I am disap- passionately.As we stretch our moral faculty, A Case for pointed in one of the most frequently stated may our eyes be opened to see God’s eternal Telling More 4 reasons—the wish that Congress would put the wisdom come to bear on the intractable moral president’s personal matters aside and “get on decisions of everyday life. God Cannot with the business of the coun- I am pleased to introduce Be Privatized 6 try.” I respond,Why should we our new editor, Mr. Stan separate a president’s moral Guthrie. He has big shoes to Panelists Explore choices from the business of the “Why should we fill, taking over for our col- Theme During country? Aren’t questions of league, Mark Fackler. Mark Roundtable 8 truth-telling, personal integrity, separate a ended his superb run as editor and legal process central to the president’s moral this past summer with his move The Link Between citizen-formation process? from Wheaton to Calvin Private Lives We must recognize the choices from the College. -
The Relationship of Personal Morality to Lawyering and Professional Ethics
Pace Law Review Volume 21 Issue 2 Spring 2001 Article 2 April 2001 Private Lives and Professional Responsibilities? The Relationship of Personal Morality to Lawyering and Professional Ethics Carrie Menkel-Meadow Follow this and additional works at: https://digitalcommons.pace.edu/plr Recommended Citation Carrie Menkel-Meadow, Private Lives and Professional Responsibilities? The Relationship of Personal Morality to Lawyering and Professional Ethics, 21 Pace L. Rev. 365 (2001) Available at: https://digitalcommons.pace.edu/plr/vol21/iss2/2 This Article is brought to you for free and open access by the School of Law at DigitalCommons@Pace. It has been accepted for inclusion in Pace Law Review by an authorized administrator of DigitalCommons@Pace. For more information, please contact [email protected]. Essays Private Lives and Professional Responsibilities? The Relationship of Personal Morality to Lawyering and Professional Ethics The Philip B. Blank Lecture on Attorney Ethics Pace Law School, October 19, 2000 Professor Carrie Menkel-Meadow' © 2000 Table of Contents I. The Problems ..... ........................ 366 II. Philosophical Solutions ............................ 374 III. Practical Solutions: How Should A Lawyer's Private Life or Personal Morality Affect Professional Responsibility? .... .... ............. 387 1. Professor of Law, Georgetown University Law Center and Chair, CPR-Ge- orgetown Commission on Ethics and Standards in ADR, Visiting Professor, Harvard Law School, Spring 2001. Thanks to my host, Steven Goldberg and his many fine colleagues at Pace for their hospitality and good (and critical) comments on my lecture, especially my friend Vanessa Merton whose critical counsel I al- ways appreciate. Thanks also to Mrs. Philip Blank for good and caring conversa- tion, for whom I wish the best. -
Private Lives, Public House—The White-Ellery House
PRIVATE LIVES, PUBLIC HOUSE: THE STORY OF THE FAMILIES WHO LIVED IN THE WHITE-ELLERY HOUSE LECTURE FINDING AID & TRANSCRIPT Speakers: Stephanie Buck and Martha Oaks Date: 4/3/2010 Runtime: 1:00:58 Camera Operator: Bob Quinn Identification: VL21; Video Lecture #21 Citation: Buck, Stephanie, and Martha Oaks. “Private Lives, Public House: The Story of the Families Who Lived in the White-Ellery House.” CAM Video Lecture Series, 4/3/2010. VL21, Cape Ann Museum Library & Archives, Gloucester, MA. Copyright: Requests for permission to publish material from this collection should be addressed to the Librarian/Archivist. Language: English Finding Aid: Description: Karla Kaneb, 4/20/2020. Transcript: Monica Lawton, 5/6/2020. Video Description This lecture is the first of many events planned by the Cape Ann Museum in 2010 to celebrate the 300th anniversary of the White-Ellery House. In this presentation, archivist and librarian Stephanie Buck recounts the life of the Reverend John White (1677-1760) for whom the house was built in 1710. As the pastor of the Private Lives, Public House – The White-Ellery House: The Stories of the Families Who Lived There – VL00 – page 2 First Parish Church in Gloucester, White lived in the house until 1733. Curator Martha Oaks picks up next when ownership is transferred to the Ellery family in 1740, several generations of which remained at the house until it was given to the museum in 1947. From early colonial times to the building of Route 128, this deep dive into the archival collections of the museum highlights the changes that have been experienced by the people of Gloucester as personified in this remarkably well-preserved historic structure. -
Resource Pack.Indd
Noël Coward’s Private Lives Lesson Resource Pack Director Lucy Bailey Designer Katrina Lindsay Lighting Designer Oliver Fenwick Music Errollyn Wallen Image: Noël Coward photographed by Horst P Horst in 1933. Horst Estate/Courtesy Staley-Wise Gallery, New York Contents Introduction & Cast List ……………………… 3 Information for Teachers................................ 4 Noël Coward by Sheriden Morley…………… 5 In Conversation with Lucy Bailey................... 7 Private Lives by John Knowles....…..……. 9 Synopsis …………..…………………………… 11 Social Class................................................... 12 Noël Coward: In his own words….…….…….. 13 Noël Coward visits Hampstead Theatre......... 14 Texts for Comparison with Private Lives…… 15 Performance Evaluation…..………..….....….. 16 Set Design by Katrina Lindsay....................... 17 Language of Private Lives.............................. 18 Lesson Activities - Worksheet one………………………………… 20 Worksheet two………………………………… 21 Worksheet three………………………………. 22 Worksheet four………………………………… 23 Worksheet fi ve…………………………………. 24 Script Extract……….………………………….. 25 Further reading………………………………… 29 Introduction Amanda and Elyot can’t live together and they can’t live apart. When they discover they are honey- mooning in the same hotel with their new spouses, they not only fall in love all over again, they learn to hate each other all over again. A comedy with a dark underside, fi reworks fl y as each character yearns desperately for love. Full of wit and razor sharp dialogue, Private Lives remains one of the most successful and popular comedies ever written. Written in 1929, Private Lives was brilliantly revived at Hampstead in 1962, bringing about a ‘renaissance’ in Coward’s career and establishing Hampstead as a prominent new theatre for London. Private Lives was a runaway hit when it debuted in 1930, and the play has remained popular in revivals ever since. -
Public and Private Lives: Women in St. Petersburg at the Turn of the Century
Tampa Bay History Volume 8 Issue 1 Article 3 6-1-1986 Public and Private Lives: Women in St. Petersburg at the Turn of the Century Ellen Babb Milly St. Julien Follow this and additional works at: https://scholarcommons.usf.edu/tampabayhistory Recommended Citation Babb, Ellen and Julien, Milly St. (1986) "Public and Private Lives: Women in St. Petersburg at the Turn of the Century," Tampa Bay History: Vol. 8 : Iss. 1 , Article 3. Available at: https://scholarcommons.usf.edu/tampabayhistory/vol8/iss1/3 This Article is brought to you for free and open access by the Open Access Journals at Scholar Commons. It has been accepted for inclusion in Tampa Bay History by an authorized editor of Scholar Commons. For more information, please contact [email protected]. Babb and Julien: Public and Private Lives: Women in St. Petersburg at the Turn of PUBLIC AND PRIVATE LIVES: WOMEN IN ST. PETERSBURG AT THE TURN OF THE CENTURY by Ellen Babb and Milly St. Julien An American woman living at the turn of the century was frequently depicted as a portrait of a middle-class housewife and mother, frozen at the doorstep of her home. Her place was the familial domicile where she posed as the loving, supportive companion to her more worldly husband and as the nurturing, educating mother responsible for the proper upbringing of her offspring. The “lady of leisure” rarely worked outside the home, but devoted herself to domestic duties, including the imparting of essential values of discipline, hard work, and sobriety to her children. This training was necessary for the successful integration of these future citizens into the free enterprise system.1 The inference that these women, isolated within their private domains, were passive participants in the economic process who sat on the sidelines of community affairs, veils us from a more accurate and three dimensional view of these women of the late Victorian age. -
CAN't BUY ME LOVE: Funding Marriage Promotion Versus Lis-Tening to Real Needs in Breaking the Cycle of Poverty
CAN’T BUY ME LOVE: FUNDING MARRIAGE PROMOTION VERSUS LISTENING TO REAL NEEDS IN BREAKING THE CYCLE OF POVERTY * ALY PARKER I. INTRODUCTION A. “WE DON’T HAVE MUCH, BUT WE HAVE LOVE.” Anthony watched the worker hastily usher his girlfriend Pam into the small, blue room. The blinds on the door clicked shut behind her, unlike the other rooms in the Civic Center Department of Public Social Services office. The Civic Center Office caters almost exclusively to public assis- tance applicants living in Skid Row, Los Angeles, California. Most of the other rooms don’t even have doors. On a busy day, everybody hears frus- trated applicants arguing with their case workers. Anthony didn’t get up when Pam walked away. He leaned over and apologetically explained to me that he didn’t like leaving her alone, but he wasn’t allowed in the room while she underwent a medical examination. Checking to make sure the blinds were still closed, he opened his tattered manila folder and leafed through his old documents: proof of work applica- tions, letters confirming his medical condition, and handwritten telephone numbers of various community mental health centers. At 60 years old, An- thony’s hands were shaking when he found what he was looking for: a piece of light green paper folded in half with “Anthony” written on the * J.D. Candidate, Class of 2009, University of Southern California, Gould School of Law. Spe- cial thanks to Professor Ron Garet for his guidance and thoughtfulness throughout the process of writ- ing this Note. His dedication to social justice has inspired generations of USC Law students. -
BOYD-QUINSON MAINSTAGE JULY 12-28, 2018 WHERE Norway
JULIANNE BOYD, ARTISTIC DIRECTOR AND Drs. Judith and Martin Bloomfield PRESENT BY Lucas Hnath FEATURING Ashley Bufkin Christopher Innvar Laila Robins Mary Stout SCENIC DESIGNER COSTUME DESIGNER LIGHTING DESIGNER Brian Prather Jen Caprio Chris Lee SOUND DESIGNER WIG DESIGNER Lindsay Jones J. Jared Janas PRODUCTION STAGE MANAGER CASTING Leslie Sears Pat McCorkle, Katja Zarolinski, CSA DIGITAL ADVERTISING BERKSHIRE PRESS REPRESENTATIVE NATIONAL PRESS REPRESENTATIVE The Pekoe Group Charlie Siedenburg Matt Ross Public Relations DIRECTED BY Joe Calarco SPONSORED IN PART BY Anne and Larry Frisman & Susan and David Lombard A Doll's House, Part 2 is presented by special arrangement with Dramatists Play Service, Inc., New York. Originally produced on Broadway by Scott Rudin, Eli Bush, Joey Parnes, Sue Wagner, and John Johnson. Commissioned and first produced by South Coast Repertory. BOYD-QUINSON MAINSTAGE JULY 12-28, 2018 WHERE Norway. Inside the Helmer house. WHEN 15 years since Nora left Torvald. CAST IN ORDER OF APPEARANCE Anne Marie...............................................................................................Mary Stout* Nora ......................................................................................................Laila Robins* Torvald ........................................................................................ Christopher Innvar* Emmy ................................................................................................. Ashley Bufkin* STAFF Production Stage Manager ......................................................................Leslie