DOCSLIB.ORG

Read Ebook {PDF EPUB} Sex Drugs Rock and Roll by Eric Bogosian Pounding Nails in the Floor with My Forehead

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Read Ebook {PDF EPUB} Sex Drugs Rock and Roll by Eric Bogosian Pounding Nails in the Floor with My Forehead Read Ebook {PDF EPUB} Sex Drugs Rock and Roll by Eric Bogosian Pounding Nails in the Floor with My Forehead. In his fifth, brashest solo show, Eric Bogosian again aims scorching social commentary at the contemporary urban and suburban scene. From subway panhandlers to barbecue-crazed millionaires, Bogosian reveals the hidden humor, fear, hypocrisy and rage of Americans - including, for the first time, "Eric Bogosian," a hyperaggressive standup comic. With this seductive element of self-revelation, he heightens the disturbing connections between his characters and, by extension, between us and the people we try not to see - and not to be - every day. One of America's premier performers and most innovative and provocative artists, Eric Bogosian's plays and solo work include suburbia (Lincoln Center Theater, 1994; adapted to film by director Richard Linklater, 1996); Sex, Drugs, Rock & Roll , Pounding Nails in the Floor with My Forehead ; Griller ; Humpty Dumpty ; 1+1 ; Skunkweed ; Wake Up and Smell the Coffee ; Drinking in America ; Notes from Underground and Talk Radio (Pulitzer Prize finalist; New York Shakespeare Festival, 1987; Broadway, 2007; adapted to film by director Oliver Stone, 1988). He has starred in a wide variety of film, TV and stage roles. Most recently, he created the character of Captain Danny Ross on the long-running series Law & Order: Criminal Intent . In 2014, TCG published 100 (monologues) , a collection that commemorates thirty years of Bogosian's solo- performance career. User Reviews. I have to admit that I've seen Bogosian in the theater a few times. The endearing thing about him is that the audience, by design, is never in step with him and is sometimes even the punchline. He mixes social commentary with straight comedy so well, that sometimes we viewers find ourselves laughing (or cursing) at his fairly accurate portrayal of ourselves or someone we know. That's his stick. I read this book "Sex, Drugs, Rock & Roll" back when it was published in 1992, and caught his show that same year. It's not for everyone, but if you like one-man shows that have something relevant to say about nearly everyone living in America, then this is a rewarding film. I've searched in vain, so trust me when I say you won't find anything like this in contemporary performances. not mainstream anyway. Give this one a watch. It stays with you. Okay, maybe not that great. heh-heh, just kidding. I purchased the CD of this one man show before the movie came out and the movie is every bit as good as the recording. For some odd reason, the filmmakers left out the monologue X-Blow and included one not on the CD about a deranged guy freaking out about the rat crawling in the walls of his apartment. But the video release puts the X-Blow footage back in, where it damn well belongs! Eric Bogosian is a bit of a doom and gloom leftist at times but he's an amazing performer and knock you on your ass funny. I heard he is thinking of hanging up his hat and not doing anymore one man shows. He'll be missed by this cat! Sex,Drugs,Rock & Roll is without a doubt the worst product of Western Civilization. The monologues are both uninteresting and pointless In the rare monologue that captures the audience's attention it is quickly lost through overly long repetition and unnecessary additions (The Hells Angels at McDonalds comes to mind) I guess Bogosian's one man show needed some filler material to give a length that he thought justified the price of admission. I would rather sleep with my aunt and be hung upside down and drained of my blood than see Sex,Drugs,Rock & Roll again. Sex, Drugs, Rock & Roll. This non-stop tour through some oddball minds by the author of Talk Radio and Drinking in America enjoyed a lengthy run Off-Broadway. Originally performed as a one man show, the hilarious, riveting and often disturbing monologues can be presented by several actors or actresses. "With this brilliant show, his funniest and scariest yet, Mr. Bogosian has crossed the line that separates an exciting artist from a. Отзывы - Написать отзыв. Sex, drugs, rock & roll. Adding to his growing body of work which includes Drinking in America (Vintage: Random, 1987) and Talk Radio (Vintage: Random, 1988), Bogosian's one-man show pokes fun at the excesses and absurdities . Читать весь отзыв. Другие издания - Просмотреть все. Об авторе (1991) Eric Bogosian is the author of the plays "Talk Radio," "subUrbia." & "Griller," & the Obie Award-winning solo performances "Drinking in America," "Pounding Nails in the Floor with My Forehead," & "Sex, Drugs, Rock & Roll." He is the recipient of the Berlin Film Festival Silver Bear Award, a Drama Desk Award, & two NEA fellowships. An actor who has appeared in more than a dozen feature films & television shows, Bogosian lives in New York City. Sex, Drugs, Rock & Roll. A filmed record of Eric Bogosian's acclaimed one-man show. Director. Writer. Editor. Cinematography. Language. Genres. 96 mins More details at IMDb TMDb Report this film. Popular reviews. I've been following Eric Bogosian's work for quite some time and he's incredible. He's a live wire on stage with his versatility, physicality and brilliant writing. If you guys want a proper introduction to him, look up his recording of Starving Children, Mario's Real Italian Kitchen, Fat Fighter, etc. on John Peel. Eric Bogosian's live performance of Sex, Drugs, Rock & Roll is electrifying, funny, insightful and brash. It makes me want to write my own spoken word performances. "If they ever knew what I was thinking, man. I'd be dead." Between this and many of Spalding Gray’s monologues, one man shows are something I never thought I’d be into when I was younger. Eric Bogosian’s one-man show that is a series of different character monologue’s, each more crazy than the last and each of a showcase of Bogosian’s massive talent. Directed by John McNaughton and shot by Ernest R. Dickerson, they each inject a little bit of visual flair into what is just a stage show of one man without any props of stage production without overpowering the proceedings. While this isn’t a stand-up show, it is funnier and more entertaining than most actual stand-up. I would have a hard time picking just one favourite character from the line-up, each with a different quirk but all commenting on the short-comings inherent in human nature. this is so impressive on so many levels, Bogosian is my hero. still in awe of him doing all of this himself. RANGE, baby! ending this with a Jane's Addiction song was a real chef's kiss and cemented it perfectly in the early 90s. “If they ever knew what I was thinking, man. I'd be dead.” I know every one of these guys. I'm unsure of how to rate this as a "film," but Bogosian is a BEAST and I love him. How come he never became a real movie star? Eric Bogosian’s electrifying one-man show, filmed during a performance at Boston’s Wilbur Theater, takes us on a walking tour through the male psyche. With basic props — a cane, a paper cup, a phone —and only one costume change (he dons a tank-top for his Brooklyn-goofball number), Bogosian acts out ten characters, all either callous or dense or just paranoid. Some have called Bogosian’s raps patronizing, and there is something a bit off about a restlessly intelligent, upper-middle-class artiste inviting us to guffaw with him at stupid people. But nobody said Bogosian had to be nice; that’s part of the excitement. His show, while not especially democratic or good-natured, is a living thing. Director John McNaughton functions here mostly as… "I know what you're all thinking. What a jerk, all he does is talk about himself. Yeah, what do you do? Listen." First time seeing this after years of wanting to. Damn, Eric Bogosian is awesome. Recent reviews. This is letterboxd, so I don't think I'll have to defend myself against arguments FOR spoilery trigger warnings, but just to heap on more anecdotal evidence against: The content warning that played before the movie on Amazon Prime listed "blackface." Blackface!? This sent me into a sphincter-clenching, teeth-gritting spiral. Not only because I was bracing for the impact of eventual blackface, but because I love Eric Bogosian, and was pretty sure I had seen the film before. Had I really forgotten something as galvanizing as blackface? Had I been able to simply absorb it without issue upon my previous viewing?? No. There's no blackface. It was just Amazon Prime being its usual disorganized garbage heap of a streaming platform. I just wish I had come to that realization earlier and been able to dispel the storm cloud that hung over my entire viewing experience. The bad guy from Under Siege 2 does a one man play. I dislike plays based on plays, and I really don't like movies that are basically filmed versions of a play: here was a filmed version of a play with a single cast member, one that wasn't very funny. I give him props for doing a show where he has to perform the entire set, but I didn't care for this one at all. This was near torture trying to sit through. Maybe if he had been funny in any sense, it could've been saved, but it was like 90 minutes of watching a guy impressed by his own comedy, while I was bored.
Load more

Recommended publications
  • Drama Book Shop Became an Independent Store in 1923
    SAVORING THE CLASSICAL TRADITION IN DRAMA ENGAGING PRESENTATIONS BY THE SHAKESPEARE GUILD I N P R O U D COLLABORATION WIT H THE NATIONAL ARTS CLUB THE PLAYERS, NEW YORK CITY THE ENGLISH-SPEAKING UNION SALUTING A UNIQUE INSTITUTION ♦ Monday, November 26 Founded in 1917 by the Drama League, the Drama Book Shop became an independent store in 1923. Since 2001 it has been located on West 40th Street, where it provides a variety of services to the actors, directors, producers, and other theatre professionals who work both on and off Broadway. Many of its employees THE PLAYERS are young performers, and a number of them take part in 16 Gramercy Park South events at the Shop’s lovely black-box auditorium. In 2011 Manhattan the store was recognized by a Tony Award for Excellence RECEPTION 6:30, PANEL 7:00 in the Theatre . Not surprisingly, its beneficiaries (among them Admission Free playwrights Eric Bogosian, Moises Kaufman, Lin-Manuel Reservations Requested Miranda, Lynn Nottage, and Theresa Rebeck), have responded with alarm to reports that high rents may force the Shop to relocate or close. Sharing that concern, we joined The Players and such notables as actors Jim Dale, Jeffrey Hardy, and Peter Maloney, and writer Adam Gopnik to rally support for a cultural treasure. DAKIN MATTHEWS ♦ Monday, January 28 We look forward to a special evening with DAKIN MATTHEWS, a versatile artist who is now appearing in Aaron Sorkin’s acclaimed Broadway dramatization of To Kill a Mockingbird. In 2015 Dakin portrayed Churchill, opposite Helen Mirren’s Queen Elizabeth II, in the NATIONAL ARTS CLUB Broadway transfer of The Audience.
    [Show full text]
  • The 2014 GALA EVENING Will Support
    The 2014 GALA EVENING will support Theatre Communications Group’s core programs including its grantmaking arm, now celebrating more than 40 years of providing transformative grants to artists and theatre companies. This special evening will celebrate not only the work TCG has done, but also the indelible contribution made by all TCG grantees to the American theatre field. For more than 50 years, Theatre Communications Group (TCG), the national organization for theatre, has existed to strengthen, nurture and promote the professional not-for-profit American theatre. TCG’s constituency has grown from a handful of groundbreaking theatres to nearly 700 member theatres and affiliate organizations and more than 12,000 individuals nationwide. TCG offers its members networking and knowledge-building opportunities through conferences, events, research and communications; awards grants, approximately $2 million per year, to theatre companies and individual artists; advocates on the federal level; and serves as the US Center of the International Theatre Institute, connecting its constituents to the global theatre community. TCG is North America’s largest independent trade publisher of dramatic literature, with 13 Pulitzer Prizes for Best Play on the TCG booklist. It also publishes the award-winning AMERICAN THEATRE magazine and ARTSEARCH®, the essential source for a career in the arts. In all of its endeavors, TCG seeks to increase the organizational efficiency of its member theatres, cultivate and celebrate the artistic talent and achievements of the field and promote a larger public understanding of, and appreciation for, the theatre. For more information, visit www.tcg.org. TCG BOARD OF DIRECTORS Sarah Bellamy Michelle Hensley Lynn Nottage Sean San José Joseph P.
    [Show full text]
  • The Lady Onstage by Erin Bregman
    The Lady Onstage by Erin Bregman Resource Guide for Teachers Created by: Lauren Bloom Hanover, Director of Education Jeff Denight, Dramaturgy Intern 1 Table of Contents About Profile Theatre 3 How to Use This Resource Guide 4 The Artists 5 Lesson 1: Historical Context 6 Classroom Activities: 1) Biography and Context 6 ​ ​ 2) Knipper and Chekov in Their Own Words 6 ​ ​ 3) The Development of The Lady Onstage 8 ​ ​ ​ 4) Considering Contemporary Cultural Shifts (Homework) 9 ​ ​ Supplemental Materials 10 ​ Lesson 2: The Process of Play Development 21 Classroom Activities 1) Where Do New Plays Come From? 21 2) Exploring a Play We Know 23 ​ 3) How to Start - the Development Process in Action 24 ​ 4) Starting Your Own Play (Homework) 24 ​ ​ Supplemental Materials 26 ​ Lesson 3: One Person Plays - A Unique Challenge 34 Classroom Activities 1) Exploring Single-Character Monologues 34 ​ ​ 2) Exploring Multi-character Solo Performances 35 ​ ​ 3) Writing Your Own Monologue (Homework) 36 ​ ​ Supplemental Materials 38 ​ ​ Lesson 4: Chekhov Today: Translations and Adaptations 41 Classroom Activities 1) Exploring Translations 42 ​ ​ 2) Exploring Work Inspired by Chekhov 42 ​ ​ 3) Creating Your Own Adaptation 43 ​ ​ Supplemental Materials 44 ​ ​ Lesson 5: Reflecting on the Performance Classroom Activities 1) Classroom Discussion and Reflection 52 ​ ​ 2) What We’ve Learned 52 ​ ​ 3) Creative Writing (Homework) 53 ​ 2 About Profile Theatre Profile Theatre was founded in 1997 with the mission of celebrating the playwright’s contribution to live theater. Each year Profile produces a season of plays devoted to a single playwright, engaging with our community to explore that writer’s vision and influence on theatre and the world at large.
    [Show full text]
  • Post No Bills
    Rattlestick Playwrights Theater gratefully relies on donor support. Giving has never been easier. Use your phone to scan the QR code and donate now.. Post No Bills Or, detach the form below and return it to the house manager - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Name Billing address City, ST, Zip Code I (we) pledge a total of $____________________ to be paid: ☐now ☐monthly ☐quarterly ☐yearly. Credit card number | Exp. date By Mando Alvarado Authorized Signature Directed by Please make checks, corporate matches, or other gifts payable to: Michael Ray Escamilla Rattlestick Productions, Inc. 224 Waverly Place, New York, NY 10014 I (we) would like Rattlestick to use the following name(s) in all acknowledgements: ________________________________ ☐I (we) wish to have our gift remain anonymous. Support Rattlestick: As a nonprofit theater serving New York receive additional discounts, invitations City for the past 20 years, Rattlestick to private events, benefits and more. For Presents Playwrights Theater relies on the gener- more information, or to make a contri- osity of its patrons who donate through- bution, visit our website at out the season. Our Patron Program is a www.rattlestick.org/donatetorattlestick THE FEW new initiative for our most dedicated or contact: supporters to become a vital part of the Hannah Baxter by Rattlestick family, with seven levels of Individual Giving Manager giving tailored to fit all of our patrons, [email protected] Samuel D. Hunter no matter your budget. Please consider making a donation to Rattlestick and directed by 1. Friend—$75 Davis McCallum 25% discount on tickets to shows throughout the season 2. Donor—$150 50% discounts on tickets to shows throughout the season with 3.
    [Show full text]
  • Age and the Politics of Performing King Lear - Successfully!
    The Kennesaw Journal of Undergraduate Research Volume 7 Issue 1 Article 2 2020 Too Young or Too Old? Age and The Politics of Performing King Lear - Successfully! Jim B. Wallace Kennesaw State University, [email protected] Follow this and additional works at: https://digitalcommons.kennesaw.edu/kjur Part of the Acting Commons, Dramatic Literature, Criticism and Theory Commons, Literature in English, British Isles Commons, Other Theatre and Performance Studies Commons, Performance Studies Commons, and the Theatre History Commons Recommended Citation Wallace, Jim B. (2020) "Too Young or Too Old? Age and The Politics of Performing King Lear - Successfully!," The Kennesaw Journal of Undergraduate Research: Vol. 7 : Iss. 1 , Article 2. Available at: https://digitalcommons.kennesaw.edu/kjur/vol7/iss1/2 This Article is brought to you for free and open access by the Office of Undergraduate Research at DigitalCommons@Kennesaw State University. It has been accepted for inclusion in The Kennesaw Journal of Undergraduate Research by an authorized editor of DigitalCommons@Kennesaw State University. For more information, please contact [email protected]. Too Young or Too Old? Age and The Politics of Performing King Lear - Successfully! Cover Page Footnote This paper would not have seen the light of day without the support, encouragement, thoughtful guidance and research guidance provided by my faculty advisor, Dr. Angela Farr Schiller. I am deeply indebted to her for her kindness and guidance throughout this experience. I would also like to thank my wife, Ann, for her patience as I spent many hours revising and revising and revising . This article is available in The Kennesaw Journal of Undergraduate Research: https://digitalcommons.kennesaw.edu/ kjur/vol7/iss1/2 Wallace: Too Young Too Old?: Age and The Politics of Performing King Lear - Successfully! Too Young or Too Old? Age and The Politics of Performing King Lear - Successfully! Jim B.
    [Show full text]
  • AUTHOR Gentile, John S. TITLE the Performer As Writer. PUB DATE
    DOCUMENT RESUME ED 289 192 CS 505 814 AUTHOR Gentile, John S. TITLE The Performer as Writer. PUB DATE 16 Nov 86 NOTE 12p.; Paper presented at the Annual Meeting of the Speech Communication Association (72nd, Chicago, IL, November 13-16, 1986). PUB TYPE Viewpoints (120) Speeches/Conference Papers (150) EDRS PRICE MF01/PC01 Plus Postage. DESCRIPTORS *Acting; Audiences; *Authors; *Characterization; Creative Writing; *Creativity; Drama; Media Adaptaton; Monologs; *Oral Interpretation; Scripts; Theater Arts; Writing Processes IDENTIFIERS *Performer Writers; Speaking Writing Relationship ABSTRACT Most performer-writers accept the writing process simply as a means to an end: the shared performance event with a live audience. While writer-performers regard a script as more important than the performance, a solo performance is, however, a showcase of the artist's talent, and creating one's own text offers the performer artistic control. Some performers, such as Hal Holbrook and Emlyn Williams, adapt and reconstruct works by other writers into a new text. Lily Tomlin's collaboration with Jane Wagner recently produced the highly successful "The Search for Signs of Intelligent Life in the Universe." Monologist Ruth Draper performed purely oral performance texts for years (condensing, extending, or altering them according to the needs of a particular audience) before she finally wrote them sown late in her lifetime. In such places as Colonial Williamsburg or Disneyland, the employees assume the rule of fictional or historical characters, which is another way of combining writing with performing. Although considerable research is conducted for each character, the performers create their own dialogue through improvised interaction with each other and visiting tourists.
    [Show full text]
  • CAST (In Order of Appearance) Ella
    ® HOLLYWOOD PANTAGES THEATRE LOS ANGELES, CALIFORNIA CAST (in order of appearance) Ella ............................................................................................................................TATYANA LUBOV Woodland Creature .............................................................ELIZABETH BRADY, KAITLYN MAYSE Topher ............................................................................................................................ LOUIS GRIFFIN Lord Pinkleton ........................................................................................................ VINCENT B. DAVIS Sebastian .............................................................................................................CHRISTOPHER SWAN Marie .......................................................................................................................... LESLIE JACKSON Jean-Michel .............................................................................................................CORBIN WILLIAMS Madame ............................................................................................................................SARAH SMITH Gabrielle .........................................................................................................................NICOLE ZELKA Charlotte ..................................................................................................................JOANNA JOHNSON Fox ......................................................................................................................JUSTINE
    [Show full text]
  • Going with the Flow: Performance Art and Mass Culture Author(S): Philip Auslander Source: TDR (1988-), Vol
    Going with the Flow: Performance Art and Mass Culture Author(s): Philip Auslander Source: TDR (1988-), Vol. 33, No. 2 (Summer, 1989), pp. 119-136 Published by: The MIT Press Stable URL: http://www.jstor.org/stable/1145929 Accessed: 25-12-2017 16:46 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms The MIT Press is collaborating with JSTOR to digitize, preserve and extend access to TDR (1988-) This content downloaded from 143.215.137.43 on Mon, 25 Dec 2017 16:46:16 UTC All use subject to http://about.jstor.org/terms Going with the Flow Performance Art and Mass Culture Philip Auslander [E]very performance ultimately meets the video screen, where the demystified subject is frozen and dies. There, performance once again encounters representation, from which it wanted to escape at all costs and which marks both its fulfillment and its end. -Josette Feral (1982:173) To graduate from the art world into real life-into television or into video discs, intofeeding the industries that in turn feed the art and allow artists to live on revenue from their own work-has been the goal of many young artists now performing [.
    [Show full text]
  • Dartmouth Department of Theater
    Dartmouth Department of Theater present 1984 Based on the novel by George Orwell Adapted for radio by Milton Wayne Adapted for the stage by Peter Hackett With excerpts from On Tyranny: Twenty Lessons from the Twentieth Century by Timothy Snyder Peter Hackett, director Michael Ganio, scenic designer Laurie Churba, costume designer Kathy A. Perkins, lighting designer Scott Killian, composer/sound designer Andy Reichsman (Ames Hill Productions), videographer Jaclyn Pageau ’18, stage manager This performance and related programming are made possible in part through generous support from the Adams Family Fund, Drew Dudley 1933 Memorial Endowment, the Michael Ellis 1939 Fund, the George E. Frankel 1931 Fund, the Barbara and Brian Goldner ‘85 Fund, the Frank L. Harrington 1924 Fund No. 4, the Jeanette and Robert Latta Fund, the Goddard Lieberson Memorial Fund, the Samuel C. Harned 1952 Student Theater Production Fund, and the A. Robert Towbin 1957 Fund. Fri & Sat • February 16 & 17 • 8 pm Thu–Sat • February 22–24 • 8 pm Sun • February 18 & 25 • 2 pm 2018 • The Moore Theater • Dartmouth College RELATED FREE PUBLIC EVENTS Opening Night Reception Fri • February 16 • Post-show • Top of the Hop Bar Celebrate with the 1984 cast and crew. Cash bar. Made possible by support from the Hopkins Center and the Adams Family Fund for Theater. Pre-Show Talk: Fascism, Resistance, and the Politics of 1984 Sat • February 17 • 7 pm • Top of the Hop Bar An open conversation with theater professor and 1984 director Peter Hackett and Dartmouth visiting scholar Mark Bray (author of Antifa: The Anti-Fascist Handbook). Moderated by Department of Theater Chair Laura Edmondson.
    [Show full text]
  • A BRIEF HISTORY 1974-2020 a THESIS in Theatre Presented to the Faculty of the University of Missouri-Kansa
    THE UNICORN THEATRE: A BRIEF HISTORY 1974-2020 A THESIS IN Theatre Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree MASTER OF ARTS by SARAH JEAN HAYNES-HOHNE B.F.A., Missouri State University, 2013 Kansas City, Missouri 2020 © 2020 SARAH JEAN HAYNES-HOHNE ALL RIGHTS RESERVED THE UNICORN THEATRE: A BRIEF HISTORY 1974-2020 Sarah Jean Haynes-Hohne, Candidate for the Master of Arts Degree University of Missouri-Kansas City, 2020 ABSTRACT The Unicorn Theatre was originally founded under the name Theatre Workshop in 1974. It was a theatre company formed by three UMKC graduates, Jim Cairns, Rohn Dennis, and Liz Gordon who wanted to create an Off-Off-Broadway theatre in Kansas City. Their work focused on experimentation and using theatre as a political statement for social change. For years, the theatre operated as a community of people who wore many hats and performed many functions. In some ways, this still remains true. However, the theatre made a significant shift in its goals and future when they joined Actors’ Equity Association in 1984 shortly after Cynthia Levin was named Producing Artistic Director. The company has operated out of four different locations over the past 45+ years, but it has been in its current location at 3828 Main Street, Kansas City, MO since 1986. Many expansions and financial campaigns have contributed to the success of the theatre, which now houses two stages, The Levin Stage and The Jerome Stage. The Unicorn Theatre now operates under the vision of producing “Bold New Plays” and thrives on a mission that revolves around inclusion and diversity.
    [Show full text]
  • The Fitzgerald Family Christmas
    TRIBECA FILM in partnership with AMERICAN EXPRESS presents a MARLBORO ROAD GANG production THE FITZGERALD FAMILY CHRISTMAS Written and Directed by Edward Burns Select Theatrical Release: November 18, 2012 Baltimore, MD Sunday Cinema Club November 28, 2012 Stamford, CT Avon Theatre December 7, 2012 New York, NY Village East Cinema December 7, 2012 Huntington, NY Cinema Arts Centre December 14, 2012 Fort Lauderdale, FL Cinema Paradiso December 14, 2012 Lake Park, FL Mos'Art Theatre December 14, 2012 Daytona Beach, FL Cinematique of Daytona December 14, 2012 Coral Gables, FL Cosford Cinema Available on VOD November 21, 2012 Run Time: 103 Minutes Rating: Not Rated Press Materials can be downloaded at: http://www.tribecafilm.com/festival/media/tribeca-film-press/The_Fitzgerald_Family_Christmas.html **WORLD PREMIERED AT 2012 TORONTO INTERNATIONAL FILM FESTIVAL** Distributor: Tribeca Film 375 Greenwich Street New York, NY 10011 TRIBECA FILM: ID PR: Tammie Rosen 212-941-2008 [email protected] [email protected] [email protected] FEATURING KERRY BISHÉ as Sharon Fitzgerald EDWARD BURNS as Gerry Fitzgerald HEATHER BURNS as Erin Fitzgerald MARSHA DIETLEIN BENNETT as Dottie Fitzgerald CAITLIN FITZGERALD as Connie Fitzgerald ANITA GILLETTE as Rosie Fitzgerald TOM GUIRY as Cyril Fitzgerald ED LAUTER as Jim Fitzgerald MICHAEL MCGLONE as Quinn Fitzgerald NICK SANDOW as Corey NOAH EMMERICH as FX CONNIE BRITTON as Nora JOYCE VAN PATTEN as Mrs. McGowan DARA COLEMAN as JJ BRIAN D'ARCY JAMES as Skippy MALACHY MCCOURT as Father DANIELLA PINEDA as Abbie JOHN SOLO as Johnny Esposito MICHELE HARRIS as Quinn’s Assistant KEVIN KASH as Brian 2 SYNOPSIS With The Fitzgerald Family Christmas, Burns returns to the working-class, Irish-American roots of The Brothers McMullen.
    [Show full text]
  • US Representations of the Male Body in Performance Art Monologues
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2004 Performing masculinities: U.S. representations of the male body in performance art monologues Darren C. Goins Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Speech and Rhetorical Studies Commons Recommended Citation Goins, Darren C., "Performing masculinities: U.S. representations of the male body in performance art monologues" (2004). LSU Doctoral Dissertations. 2539. https://digitalcommons.lsu.edu/gradschool_dissertations/2539 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. PERFORMING MASCULINITIES: U.S. REPRESENTATIONS OF THE MALE BODY IN PERFORMANCE ART MONOLOGUES A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy In The Department of Communication Studies by Darren C. Goins B.A., Emory University, 1994 M.A., Florida State University, 1997 August, 2004 To my family of origin and my chosen family who have shaped my performance of masculinity. ii ACKNOWLEDGMENTS I would like to thank those individuals whose cooperation and guidance made the successful completion of this project possible. First, I would like to thank my advisor, Dr. Ruth Laurion Bowman, for her wisdom, patience, attention, faith, and energy. Next, I would like to thank Dr.
    [Show full text]