DEPARTMENT of THEATRE Mission Statement
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Programming; Providing an Environment for the Growth and Education of Theatre Professionals, Audiences, and the Community at Large
JULY 2017 WELCOME MIKE HAUSBERG Welcome to The Old Globe and this production of King Richard II. Our goal is to serve all of San Diego and beyond through the art of theatre. Below are the mission and values that drive our work. We thank you for being a crucial part of what we do. MISSION STATEMENT The mission of The Old Globe is to preserve, strengthen, and advance American theatre by: creating theatrical experiences of the highest professional standards; producing and presenting works of exceptional merit, designed to reach current and future audiences; ensuring diversity and balance in programming; providing an environment for the growth and education of theatre professionals, audiences, and the community at large. STATEMENT OF VALUES The Old Globe believes that theatre matters. Our commitment is to make it matter to more people. The values that shape this commitment are: TRANSFORMATION Theatre cultivates imagination and empathy, enriching our humanity and connecting us to each other by bringing us entertaining experiences, new ideas, and a wide range of stories told from many perspectives. INCLUSION The communities of San Diego, in their diversity and their commonality, are welcome and reflected at the Globe. Access for all to our stages and programs expands when we engage audiences in many ways and in many places. EXCELLENCE Our dedication to creating exceptional work demands a high standard of achievement in everything we do, on and off the stage. STABILITY Our priority every day is to steward a vital, nurturing, and financially secure institution that will thrive for generations. IMPACT Our prominence nationally and locally brings with it a responsibility to listen, collaborate, and act with integrity in order to serve. -
Jerold Frederic Presents Concert of Gripping Music Philharmonic
THE% ECHO VOL. XXV TAYLOR UNIVERSITY, UPLAND, INDIANA, SATURDAY. FEBRUARY 5, 1938 NO. 9 Judge Fred Bale Jerold Frederic Mystery Abounds Philharmonic Orchestra Coming Discusses Vital Presents Concert When Dramatists Issues at T. U. Of Gripping Music Thrill Audience All Taylor music lovers were A phantom tiger, a death light, thrilled at the masterful playing a haunted house, a terrific storm of Jehold Frederic as he was pre — an ideal setting for a mystery! sented by the Lyceum Committee, In Spiers Hall on January 29th Tuesday evening, January 18th, one of the hit programs of the in Shreiner Auditorium. year was the presentation of His graduation from the "Tiger House", Robert St. Clair's thundering londs to the soft, popular three act. novel comedy. sweet passages, his brilliant tech In the minds of the audience nique, excellent tone quality and which crowded the little audi keen sense of rhythm held the torium to its capacity, the play audience enthralled during the | ranks high among Taylor's Magic of Murdock G. H. Shapiro and entire program. His powerful, literary productions. No one was His Orchestra to yet gentle fingers brought forth disappointed in the thrilling en Provides Thrills his notable creative ability in his tertainment. Appear at Taylor interpretation of Chopin. His Weird fantastical sounds, For Large Group presentation of Liszt himself, tricky movable panels, cruel On February 19, the Lyceum rather than his music, it was as | clutching claws! Was it any Even the "front" seats of Committee is presenting the next if his listeners were for the time wonder onlookers sat on the Shreiner Auditorium were oc in the series of programs. -
Classics 3: Program Notes Overture to Candide Leonard Bernstein Born in Lawrence, Massachusetts, August 25, 1918
Classics 3: Program Notes Overture to Candide Leonard Bernstein Born in Lawrence, Massachusetts, August 25, 1918; died in New York, October 14, 1990 After collaborating on The Lark, a play with incidental music about Joan of Arc, Leonard Bernstein and Lillian Hellman turned their attention in 1954 to Voltaire’s novella Candide. They thought it the perfect vehicle to make an artistic statement against political intolerance in American society, just as Voltaire had done in eighteenth-century France. After bringing in poet Richard Wilbur to write the lyrics, they worked intermittently on Candide for two years. Enormous amounts of money were spent on the production, which opened in Boston on October 29, 1956. Though many critics called it brilliant, the production failed financially; after moving to New York in December, it was shut down after just seventy-three performances. Everyone had someone to blame, but many thought it failed because of audience confusion about its hybrid nature—was it an opera, operetta, or a musical? Leonard Bernstein: celebrating his The story revolves around the illegitimate Candide, who centennial loves and is loved in return by Cunegonde, daughter of nobility. They are plagued by myriad disasters, which lead them from Westphalia to Lisbon, Paris, Cadiz, Buenos Aires, Eldorado, Surinam, and finally Venice, where they are united at last. Bernstein’s often witty, sometimes tender music has been considered the work’s greatest asset, both in the initial failed production and in later successful versions. The Overture, possibly Bernstein’s most frequently performed piece, perfectly captures the mockery and satire as well as the occasional introspective moment of Voltaire’s masterful creation. -
The Playhouse a Special Virtual Series July 16-August 15, 2020
the playhouse a t W h i t e La k e A Special Virtual Series July 16-August 15, 2020 Live, Outdoor Performances at The Playhouse at White Lake The Playhouse Presents From Our House to Yours Free A Special, Virtual Series Admission to Both Shows! July 16-18 A Betrothal by Lanford Wilson Chicks by Grace McKeaney White Lake Youth Theatre Presents: LOVE by Finegan Kruckmeyer Happy by Alan Zweibel July 30, 31 and August 1 at 7:00pm Sponsored by Carmichael Heating & Air Conditioning July 23-25 Mind the Gap by Kimberly, Sky and Jacy Harsch Donations Welcome! August 6-8 Violet by Bebe Sanders Clear Glass Marbles by Jane Martin August 13-15 An Evening of Live Music Co-hosted by Muskegon Civic Theatre 2 Across by Jerry Mayer Max & Ruth Bloomquist, Karen & Eric Smith, Dale Clock, Diane VanWesep, Regina Schlaff, Kyle Schlaff, David Riegler, Heather MacCallum, Claire Root Benson, and many more! showtix4u.com August 22 at 7:00pm Visit, Click, Buy, Settle in and Enjoy! Rain Date: August 23 at 7:00pm Sponsored by White Lake Area Chamber of Commerce Proud to Sponsor the White Lake Youth Theatre! 231.766.9133 www.carmichaelheating.com Cast Natalie Carmolli as Ms. Joslyn Joe Carmolli as Mr. Wasserman Production Team Director Beth Pierson Managing Director Beth Beaman Assistant Managing Director A Betrothal Cindy Beth Davis Dykema by Lanford Wilson Technical Director, Scenic and Lighting Designer Streaming July 16-18 at 7:30pm Claire Beaman Production Manager and Costumer Lanford Wilson received the 1980 Pulitzer Prize for Caroline Arana Drama and the New York Drama Critics Circle Award Production Assistant and Stage Manager for TALLEY’S FOLLY. -
Bernsteincelebrating More Sides of the Story
BernsteinCelebrating More Sides of the Story Wednesday 17 October 2018, 7.45pm Holy Trinity Sloane Square, SW1 Chichester Psalms Missa Brevis Choral Suite from West Side Story London Concert Choir Conductor Mark Forkgen Tickets £25 (under-25s £15) to include a programme and interval drink. Box Office (020) 7730 4500, www.cadoganhall.com and at the door A collection will be held in aid of The Royal Marsden Cancer Charity One of the most talented and successful musicians in American history, Leonard Bernstein was not only a composer, but also a conductor, pianist, educator and humanitarian. His versatility as a composer is brilliantly illustrated in this concert to celebrate the centenary of his birth. The Dean of Chichester commissioned the Psalms for the 1965 Southern Cathedrals Festival with the request that the music should contain ‘a hint of West Side Story.’ Bernstein himself described the piece as ‘forthright, songful, rhythmic, youthful.’ Performed in Hebrew and drawing on jazz rhythms and harmonies, the Psalms Music Director: include an exuberant setting of ‘O be joyful In the Lord all Mark Forkgen ye lands’ (Psalm 100) and a gentle Psalm 23, ‘The Lord is my shepherd’, as well as some menacing material cut Nathan Mercieca from the score of the musical. countertenor In 1988 Bernstein revisited the incidental music in Richard Pearce medieval style that he had composed in 1955 for organ The Lark, Anouilh’s play about Joan of Arc, and developed it into the vibrant Missa Brevis for unaccompanied choir, countertenor soloist and percussion. Anneke Hodnett harp After three contrasting solo songs, the concert is rounded off with a selection of favourite numbers from Sacha Johnson and West Side Story, including Tonight, Maria, I Feel Pretty, Alistair Marshallsay America and Somewhere. -
ARSC Journal
LEONARD BERNSTEIN, A COMPOSER DISCOGRAPHY" Compiled by J. F. Weber Sonata for clarinet and piano (1941-42; first performed 4-21-42) David Oppenheim, Leonard Bernstein (recorded 1945) (78: Hargail set MW 501, 3ss.) Herbert Tichman, Ruth Budnevich (rec. c.1953} Concert Hall Limited Editions H 18 William Willett, James Staples (timing, 9:35) Mark MRS 32638 (released 12-70, Schwann) Stanley Drucker, Leonid Hambro (rec. 4-70) (10:54) Odyssey Y 30492 (rel. 5-71) (7) Anniversaries (for piano) (1942-43) (2,5,7) Leonard Bernstein (o.v.) (rec. 1945) (78: Hargail set MW 501, ls.) (1,2,3) Leonard Bernstein (rec. c.1949) (4:57) (78: RCA Victor 12 0683 in set DM 1278, ls.) Camden CAL 214 (rel. 5-55, del. 2-58) (4,5) Leonard Bernstein (rec. c.1949) (3:32) (78: RCA Victor 12 0228 in set DM 1209, ls.) (vinyl 78: RCA Victor 18 0114 in set DV 15, ls.) Camden CAL 214 (rel. 5-55, del. 2-58); CAL 351 (6,7) Leonard Bernstein (rec. c.1949) (2:18) Camden CAL 214 (rel. 5-55, del. 2-58); CAL 351 Jeremiah symphony (1941-44; f.p. 1-28-44) Nan Merriman, St. Louis SO--Leonard Bernstein (rec. 12-1-45) ( 23: 30) (78: RCA Victor 11 8971-3 in set DM 1026, 6ss.) Camden CAL 196 (rel. 2-55, del. 6-60) "Single songs from tpe Broadway shows and arrangements for band, piano, etc., are omitted. Thanks to Jane Friedmann, CBS; Peter Dellheim, RCA; Paul de Rueck, Amberson Productions; George Sponhaltz, Capitol; James Smart, Library of Congress; Richard Warren, Jr., Yael Historical Sound Recordings; Derek Lewis, BBC. -
Composition Catalog
1 LEONARD BERNSTEIN AT 100 New York Content & Review Boosey & Hawkes, Inc. Marie Carter Table of Contents 229 West 28th St, 11th Floor Trudy Chan New York, NY 10001 Patrick Gullo 2 A Welcoming USA Steven Lankenau +1 (212) 358-5300 4 Introduction (English) [email protected] Introduction 8 Introduction (Español) www.boosey.com Carol J. Oja 11 Introduction (Deutsch) The Leonard Bernstein Office, Inc. Translations 14 A Leonard Bernstein Timeline 121 West 27th St, Suite 1104 Straker Translations New York, NY 10001 Jens Luckwaldt 16 Orchestras Conducted by Bernstein USA Dr. Kerstin Schüssler-Bach 18 Abbreviations +1 (212) 315-0640 Sebastián Zubieta [email protected] 21 Works www.leonardbernstein.com Art Direction & Design 22 Stage Kristin Spix Design 36 Ballet London Iris A. Brown Design Boosey & Hawkes Music Publishers Limited 36 Full Orchestra Aldwych House Printing & Packaging 38 Solo Instrument(s) & Orchestra 71-91 Aldwych UNIMAC Graphics London, WC2B 4HN 40 Voice(s) & Orchestra UK Cover Photograph 42 Ensemble & Chamber without Voice(s) +44 (20) 7054 7200 Alfred Eisenstaedt [email protected] 43 Ensemble & Chamber with Voice(s) www.boosey.com Special thanks to The Leonard Bernstein 45 Chorus & Orchestra Office, The Craig Urquhart Office, and the Berlin Library of Congress 46 Piano(s) Boosey & Hawkes • Bote & Bock GmbH 46 Band Lützowufer 26 The “g-clef in letter B” logo is a trademark of 47 Songs in a Theatrical Style 10787 Berlin Amberson Holdings LLC. Deutschland 47 Songs Written for Shows +49 (30) 2500 13-0 2015 & © Boosey & Hawkes, Inc. 48 Vocal [email protected] www.boosey.de 48 Choral 49 Instrumental 50 Chronological List of Compositions 52 CD Track Listing LEONARD BERNSTEIN AT 100 2 3 LEONARD BERNSTEIN AT 100 A Welcoming Leonard Bernstein’s essential approach to music was one of celebration; it was about making the most of all that was beautiful in sound. -
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. -
Leonard Bernstein
chamber music with a modernist edge. His Piano Sonata (1938) reflected his Leonard Bernstein ties to Copland, with links also to the music of Hindemith and Stravinsky, and his Sonata for Clarinet and Piano (1942) was similarly grounded in a neoclassical aesthetic. The composer Paul Bowles praised the clarinet sonata as having a "tender, sharp, singing quality," as being "alive, tough, integrated." It was a prescient assessment, which ultimately applied to Bernstein’s music in all genres. Bernstein’s professional breakthrough came with exceptional force and visibility, establishing him as a stunning new talent. In 1943, at age twenty-five, he made his debut with the New York Philharmonic, replacing Bruno Walter at the last minute and inspiring a front-page story in the New York Times. In rapid succession, Bernstein Leonard Bernstein photo © Susech Batah, Berlin (DG) produced a major series of compositions, some drawing on his own Jewish heritage, as in his Symphony No. 1, "Jeremiah," which had its first Leonard Bernstein—celebrated as one of the most influential musicians of the performance with the composer conducting the Pittsburgh Symphony in 20th century—ushered in an era of major cultural and technological transition. January 1944. "Lamentation," its final movement, features a mezzo-soprano He led the way in advocating an open attitude about what constituted "good" delivering Hebrew texts from the Book of Lamentations. In April of that year, music, actively bridging the gap between classical music, Broadway musicals, Bernstein’s Fancy Free was unveiled by Ballet Theatre, with choreography by jazz, and rock, and he seized new media for its potential to reach diverse the young Jerome Robbins. -
BEYOND the BASICS Supplemental Programming for Leonard Bernstein at 100
BEYOND THE BASICS Supplemental Programming for Leonard Bernstein at 100 BEYOND THE BASICS – Contents Page 1 of 37 CONTENTS FOREWORD ................................................................................. 4 FOR FULL ORCHESTRA ................................................................. 5 Bernstein on Broadway ........................................................... 5 Bernstein and The Ballet ......................................................... 5 Bernstein and The American Opera ........................................ 5 Bernstein’s Jazz ....................................................................... 6 Borrow or Steal? ...................................................................... 6 Coolness in the Concert Hall ................................................... 7 First Symphonies ..................................................................... 7 Romeos & Juliets ..................................................................... 7 The Bernstein Beat .................................................................. 8 “Young Bernstein” (working title) ........................................... 9 The Choral Bernstein ............................................................... 9 Trouble in Tahiti, Paradise in New York .................................. 9 Young People’s Concerts ....................................................... 10 CABARET.................................................................................... 14 A’s and B’s and Broadway .................................................... -
THE LARK L'alouette JEAN ANOUILH After Centuries of Abuse
THE LARK L’Alouette JEAN ANOUILH After centuries of abuse, repudiation, prejudice, misunderstanding, and indifference, Joan has been vindicated. The facts are now commonly known. No one in his right mind any longer questions her belief in her sacred mission, her dedication, and her accomplishments. After the Canonization and Shaw’s very credible interpretation, what was left? Only occasional variations on the theme, such as those by Bertolt Brecht and Maxwell Anderson. Before Anouilh, one could well have wondered, as some did, whether another first-rate drama, faithful to the truth about Joan, was possible. But for Anouilh another path opened. Perhaps we had become so absorbed in a cool analysis of the facts that we had lost the spirit of Joan, the sense of wonder and joy in the legend. Anouilh attempted to recapture what we might have been in danger of losing. He wrote The Lark in 1953. The translation used here was made in 1955 for the London premiere by the English poet and playwright Christopher Fry. The American dramatist Lillian Hellman adapted the play for the New York production later in the same year. NOTE The following note by Jean Anouilh appeared in the program of the French production of The Lark: The play that follows makes no attempt to explain the mystery of Joan. The persistent effort of so-called modern minds to explain mysteries is, in any case, one of the most naive and foolish activities indulged in by the puny human brain since it became overstocked with shallow political and scientific notions, and can yield nothing, in the long run, but the nostalgic satisfaction of the small boy who discovers at last that his mechanical duck was made up of two wheels, three springs and a screw. -
Newcircletheatrecompany.Org 140 W. 44Th Street, 2Nd Floor New York, NY 10036
NewCircleTheatreCompany.org 140 W. 44th Street, 2nd Floor New York, NY 10036 New Circle Theatre Company NCTCompany newcircletheatrecompany Buy New Circle merchandise: www.zazzle.com/newcircletheatre ROBERT WRAY† (Playwright, Sam’s Lament) is a graduate of the Iowa From the Interim Artistic Director Playwrights Workshop where he was awarded both the Norman Felton and Zeta Phi Eta Memorial Scholarship. His work has been produced in New York, Welcome to our inaugural production of The Inferno Project: Limbo. I regionally and abroad. Other plays include: The Secret Rain, Ocean View hesitate to say “inaugural,” because while it is the first production of Odyssey, and All is Always Now. New Circle Theatre Company, we’re a company that has been in existence in one form or another for over 20 years! You will see people on stage today who were part of Circle Repertory Company, ACTORS EQUITY ASSOCIATION (AEA), founded in 1913, or the Circle Rep Lab, or The LAB Theater Company, or Circle East, represents more than 50,000 actors and stage managers in the or all of them, all of which are our ancestors. Through all of those United States. Equity seeks to advance, promote and foster the art years, our mission has remained the same: to develop and produce of live theatre as an essential component of our society. Equity new American plays. negotiates wages and working conditions, providing a wide range of benefits, including health and pension plans. AEA is a member of When I was asked to become the Interim Artistic Director following the AFL-CIO, and is affiliated with FIA, an international organization the death of Michael Warren Powell last year, I was deeply honored of performing arts unions.