DOCSLIB.ORG

WATER by the SPOONFUL by Quiara Alegria Hudes Directed by Christie Vela

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
WATER by the SPOONFUL by Quiara Alegria Hudes Directed by Christie Vela Steven Breese, Artistic Director Drew Martorella, Managing Director Kim Martin, General Manager/Producer Antonio Colaruotolo, Associate Producer WATER BY THE SPOONFUL By Quiara Alegria Hudes Directed by Christie Vela Scenic Design Lighting Design Sound Design Rose Egan Hope Debelius Steve Shapiro Assistant Director/ Assistant Director Stage Manager Dramaturg Michael Korth Mathey Raecine Singletary Sarah Fisch Production Manager Videographers James Ogden II Kristi Jan Hoover, Mickey Miller November 18 – November 22, 2020 pittsburghplayhouse.com WATER BY THE SPOONFUL was originally commissioned by Hartford Stage Michael Wilson, Artistic Director and Michael Stotts, Managing Director Through the AETNA New Voices Fellowship Program World Premiere Production Presented by Hartford Stage October 28, 2011 Darko Tresnjak, Artistic Director and Michael Stotts, Managing Director New York Premiere Produced by Second Stage Theatre, New York, 2013 Carole Rothman, Artistic Director SPECIAL NOTE ON SONGS AND RECORDINGS For performances of copyrighted songs, arrangements or recordings mentioned in this Play, the permission of the copyright owner(s) must be obtained. Other songs, arrangements or recordings may be substituted provided permission from the copyright owner(s) of such songs, arrangements or recordings is obtained; or songs, arrangements or recordings in the public domain may be substituted. DIRECTOR’S NOTES There is much to be said about Quiara Alegría Hudes’ Water by the Spoonful. At face value, it is a 2012 Pulitzer Prize Winner, a script that is second in succession to a trilogy of plays, and -- most of all -- a testament to Latinx storytelling. But it is with skillful writing and free jazz that we find the truth at hand in this play: dissonance. Though indicated as a musical phenomenon, dissonance is the underbelly for the structure, characters, and relationships of this piece: We witness dissonance in structure through the split scenes and overlapping of physical and cyber spaces; We witness dissonance in relationships through the tension of opposite archetypes; We witness dissonance in characters through the intersection of personal goals and familial duty; It is these elements that Hudes employs to cause a strain in this story, much like Coltrane’s “A Love Supreme.” Dissonance is not just present in this play, but it is also omnipresent in all the spaces beyond these pages. The first moments of rehearsal halls turned Zoom calls and round table meetings turned email threads provided us a rare opportunity: Working as an ensemble but in complete isolation -- a very dissonant process. Moreover, combining film and theatre was a recipe for conflict. But rather than run away from this rivalry, we chose to embrace it. Often the quote that has been repeatedly echoed in this process is “the more you run away from something, the more it catches up to you.” And much like the character’s journeys in this show, we are recovering. This show and this audience are helping each other through tragedy and loss in hopes of sharing a triumphant reunion in the future. But the dissonance will have to do for now, and perhaps leaning into it is all we need. -Michael Korth Mathey CAST Elliot Ortiz Joshua Leon Yazmin Ortiz Zoe Gonzalez Odessa Ortiz Ashlyn Prieto Chutes & Ladders Tim Judah Orangutan Lizzy Liu Fountainhead Mason Dowd Ghost/Professor Aman/ Adam Katz Policeman Trigger Warning Strong Language, Drug Addiction, PTSD, Death *This DIGITAL PRODUCTION is protected by the copyright laws of the United States of America and other countries. Unauthorized duplication, copyright or use of all or part of this DIGITAL PRODUCTION may result in civil liability and/or criminal prosecution in accordance with applicable laws. CAST BIOS MASON DOWD (Fountainhead) is a sophomore acting major at Point Park University and is very excited to be making his Pittsburgh Playhouse debut, virtually. He is originally from the Pittsburgh area and has previously worked on productions locally at the Little Lake Theatre and South Park Theatre. He can’t wait to help tell this beautiful story by Quiara Alegría Hudes. He would like to thank his grandfather for always supporting him and for passing down a very cool middle name to him. ZOE GONZALEZ (Yazmin Ortiz) is very excited to be making her socially distanced debut as a performer at Point Park! Zoe is a sophomore musical theatre major and is very grateful to be in the great city of Pittsburgh alongside this very talented, very intelligent group of artists. She hopes you enjoy the show! TIM JUDAH (Chutes & Ladders) is ecstatic to be making his mainstage return at Point Park University! He is very excited for you to watch him portray the legendary Chutes and Ladders. Some of his previous roles consisted of Drummer in Vinegar Tom, Jackie in The Motherf***er with the Hat, and Bro in Good Grief. He wants to thank his friends and family for believing in him and giving him the motivation to always be better than the day before. He also wants to thank John Legend and Drake for being his distant mentors. Enjoy the show! ADAM KATZ (Ghost/Prof. Aman/Policeman) This is Adam Katz’s debut with Point Park University and the lovely Pittsburgh Playhouse. Prior to this production, Adam had only performed with one other professional company (a production of Hookman, by Lauren Yee, with A.C.T.). Over the years of his involvement in the theatrical world, however, he has studied across the country and around the world, gathering experience and insight to be put toward his upcoming career. Adam cannot wait to share all that he has learned with you in this amazing virtual production of Water by the Spoonful, by Quiara Alegría Hudes. JOSHUA LEON (Elliot Ortiz) is a senior at Point Park University. He is excited to be a part of the cast and team of Water by the Spoonful. This is not only his Point Park University Conservatory debut, but his first show amongst new mediums in creating theatre. He wishes good health and love to you and your families and hopes you enjoy the show. LIZZY LIU (Orangutan) is a second-year theatre arts major. She is excited to be a part of her first show at Point Park and gives many thanks to the amazing cast and crew. Lizzy is a Georgia native and off stage she enjoys hiking, writing, singing, and painting. She hopes everyone can stay safe and enjoy the show. ASHLYN PRIETO (Odessa Ortiz) is excited to be joining the Pittsburgh Playhouse virtual season. She is a senior musical theatre major. Her past Pittsburgh Playhouse credits include, #13 in The Wolves, Edward Ashbrook in Coram Boy, and Crackhead in Tina, a part of the Raymond Laine One Act Festival. She would like to thank her Mom, Dad, and sister for always being loving and supportive. She would also like everyone to stay safe and to wear a mask!!! PRODUCTION BIOS Steven Breese (Artistic Director and Dean, Conservatory of Performing Arts) has enjoyed a national and international acting-directing-playwriting career that has spanned more than 35 years. He holds his M.F.A. from California Institute of the Arts and has acted and/or directed at some of the nation’s finest theaters including the Tony Award-winning South Coast Repertory Theatre, Dallas Theater Center, the Cleveland Playhouse, American Heartland Theatre, Forum Theatre (Chicago), The Royal George Theatre (Chicago), Watertower Theatre (Dallas), Shakespeare Festival of Dallas, Ft. Worth Shakespeare in the Park, Virginia Stage Company, Virginia Shakespeare Festival, and other regional theaters/touring companies. As a playwright, Steven has completed over 25 plays including, The Trial of Hamlet (classical courtroom drama), Brotherly Love (contemporary love story), and Actus Fideí (historical fiction). In 2013, he published a new book on acting theory and practice entitled, “On Acting, A Handbook for Today’s Unique American Actor”. Prior to joining us at Point Park, Steven served as an academic dean at three separate institutions, including: Long Island University (Arts, Communications & Design), Southern Connecticut State University (Arts & Sciences), and Christopher Newport University (Arts & Humanities). His career in the educational and artistic arenas has been defined by innovation, creative vision, and an entrepreneurial approach to institutional improvement. Drew Martorella (Assistant Vice President, Managing Director) was formerly the Executive Director of UCCS Presents at the University of Colorado Colorado Springs (UCCS). There he was responsible for building support for arts and fostering community engagement through the operation of the Ent Center for the Arts and its programs including the Artists Series; Theatreworks, the region’s premiere professional theater; the Galleries of Contemporary Art, and the University Center and Event Services. He was a 2013 recipient of CU’s prestigious Thomas Jefferson Award and was the 2019 recipient of Drew University’s Alumni Arts Award. Prior to becoming an administrator, Martorella was a professional production manager and stage manager working for regional theatres across America including the New Jersey Shakespeare Festival, New Mexico Repertory Theatre and the Mark Taper Forum. He received his M.P.A. in Non-Profit Management from the University of Colorado Colorado Springs and a B.A. in Theatre from Drew University in Madison, N.J. Kim Martin (General Manager/Producer) graduated from Point Park University in 1987 where she received a B.A. in Fine, Applied and Performing Arts and graduated again in 2016 with an M.B.A. in Sports, Arts & Entertainment Management. She remained involved with the University since her undergrad and returned in 1999 as Production Stage Manager for The REP, where she also created and developed the Stage Management Program. In 2013, she was promoted to Director of Production at the Pittsburgh Playhouse and in 2016 became Producing Director. In addition, Kim has directed, acted in, produced and stage-managed over 400 productions.
Load more

Recommended publications
  • Plays to Read for Furman Theatre Arts Majors
    1 PLAYS TO READ FOR FURMAN THEATRE ARTS MAJORS Aeschylus Agamemnon Greek 458 BCE Euripides Medea Greek 431 BCE Sophocles Oedipus Rex Greek 429 BCE Aristophanes Lysistrata Greek 411 BCE Terence The Brothers Roman 160 BCE Kan-ami Matsukaze Japanese c 1300 anonymous Everyman Medieval 1495 Wakefield master The Second Shepherds' Play Medieval c 1500 Shakespeare, William Hamlet Elizabethan 1599 Shakespeare, William Twelfth Night Elizabethan 1601 Marlowe, Christopher Doctor Faustus Jacobean 1604 Jonson, Ben Volpone Jacobean 1606 Webster, John The Duchess of Malfi Jacobean 1612 Calderon, Pedro Life is a Dream Spanish Golden Age 1635 Moliere Tartuffe French Neoclassicism 1664 Wycherley, William The Country Wife Restoration 1675 Racine, Jean Baptiste Phedra French Neoclassicism 1677 Centlivre, Susanna A Bold Stroke for a Wife English 18th century 1717 Goldoni, Carlo The Servant of Two Masters Italian 18th century 1753 Gogol, Nikolai The Inspector General Russian 1842 Ibsen, Henrik A Doll's House Modern 1879 Strindberg, August Miss Julie Modern 1888 Shaw, George Bernard Mrs. Warren's Profession Modern Irish 1893 Wilde, Oscar The Importance of Being Earnest Modern Irish 1895 Chekhov, Anton The Cherry Orchard Russian 1904 Pirandello, Luigi Six Characters in Search of an Author Italian 20th century 1921 Wilder, Thorton Our Town Modern 1938 Brecht, Bertolt Mother Courage and Her Children Epic Theatre 1939 Rodgers, Richard & Oscar Hammerstein Oklahoma! Musical 1943 Sartre, Jean-Paul No Exit Anti-realism 1944 Williams, Tennessee The Glass Menagerie Modern
    [Show full text]
  • 2013 GIA Conference Program
    [ CONFERENCE PROGRAM ] GIA 2013 CONFERENCE THE NEW CREATIVE COMMUNITY [ WELCOME ] Welcome to Philadelphia for the 2013 Grantmakers in the Arts Conference. When our planning committee met last January, we were committed to producing a conference that was relevant, excit- ing, and a departure in format from past conferences. We wanted to do it differently and re-energize the proceedings. We think we’ve succeeded! Philadelphia is a perfect backdrop for a conference that is looking at the new ways art is presented and supported. IDEA LAB presenters, artists, and innovative administrators will inspire you with imaginative ideas about arts practice that are contributing to a new creative community. Keynotes, including Philadelphia’s own Quiara Alegría Hudes, will challenge you to think about the ways artists transform our communities and the ways we, as arts funders, expand the concept of community to include new and vibrant creative endeavors. Welcome to Philadelphia, the city where democracy was born, where the old is respected, but doesn’t stand in the way of the new. Welcome to the Barnes Foundation on Tuesday evening, a glorious new building and important collection. Welcome to Old City, where an industrial past has given way to an artistic present that has invigo- rated the core of the city. Welcome to the city of groundbreaking contemporary practice across the arts, culturally distinct neighborhoods, and fantastic food. We hope you will experience all of it. We are most grateful for the help of many friends and colleagues in making this conference pos- sible. Special thanks to the GIA staff, everyone willing to host a dine-around, the artists of Philadel- phia, and the many great people working at the arts sites you will visit.
    [Show full text]
  • The Women's Voices Theater Festival
    STUDY GUIDE In the fall of 2015, more than 50 professional theaters in Washington, D.C. are each producing at least one world premiere play by a female playwright. The Women’s Voices Theater Festival is history’s largest collaboration of theater companies working simultaneously to produce original works by female writers. CONSIDER WHY A WOMEN’S VOICES THEATER FESTIVAL? • Why is it important If someone asked you to quickly name three playwrights, who would they be? for artists of diverse backgrounds to have Shakespeare likely tops your list. Perhaps you remember Arthur Miller, Tennessee their work seen by Williams or August Wilson. Sophocles, Molière, Marlowe, Ibsen, Chekov, Shaw, O’Neill — these are among the most famous Western playwrights. They are central audiences? to the dramatic canon. A “canon” is an authoritative list of important works — think of it as the official “Top 40” of dramatic literature. Their plays are the most likely • What is the impact of to be seen onstage and assigned in schools. seeing a play that you can connect to your own A large group is often missing from the canon, professional stages, traditional experience? reading lists and your education in theater: women playwrights. Plays by women are as important, artistic, rigorous, compelling and producible as • How would you react plays by men. They are also plentiful. Women’s perspectives are also key to more if you knew that you fully understanding our world. and the playwright of According to a recent Washington Post article, surveys say that D.C. audiences a production you were are 61 percent female and Broadway audiences are 68 percent female.
    [Show full text]
  • Elliot, a Soldier's Fugue
    - Pear Theatre Presents Elliot, A Soldier’s Fugue by Quiara Alegría Hudes Original production produced by Page Seventy-Three Productions Inc. 2 About the Play In writing Elliot, A Soldier’s Fugue, Quiara Alegría Hudes (b. 1977) has drawn on her musical training as well as her Puerto Rican family and the Latinx community of her youth in West Philadelphia. As a child, Hudes went to Philadelphia’s Settlement Music School, took piano lessons, and composed music. Later she earned a B.A. in music at Yale and an M.F.A. in playwriting at Brown. Her Puerto Rican background is central to her writing, but she became acquainted with other Latinx cultures when working in the Hispanic Playwrights Project at South Coast Repertory. Besides plays, she has written musicals, essays, and the book for Lin- Manuel Miranda’s In the Heights. Elliot, A Soldier’s Fugue is the first of three plays about Elliot Ortiz, a character based on Hudes’s cousin Elliot. This play was a Pulitzer finalist in 2007, and its sequel, Water by the Spoonful (produced locally by TheatreWorks in 2014) won the 2012 Pulitzer Prize for Drama. The final play of the trilogy, The Happiest Song Plays Last (2013), opened at the Goodman in Chicago before moving to the Second Stage Theatre in New York. The structure of Elliot is inspired by the pattern of a Bach fugue. As Grandpop explains, a fugue “starts in one voice,” but later “Voice two responds to voice one” and they “tangle together,” working toward a resolution “about untying the knots.” In the play Grandpop, Pop, and Elliot recount their parallel experiences in the American army in Korea, Vietnam, and Iraq, while Ginny’s stories provide a healing perspective.
    [Show full text]
  • Schutz Theatre FT June 2021
    THE W. STANLEY SCHUTZ THEATRE COLLECTION: THE COLLEGE OF WOOSTER PRODUCTIONS FINDING TOOL Denise Monbarren June 2021 FINDING TOOL SCHUTZ COLLECTION Box 1 #56 Productions: 1999 X-Refs. Flyers, Pamphlets AARON SLICK FROM PUNKIN CRICK Productions: 1960 X-Refs. Clippings [about] Flyers, Pamphlets Photographs Playbills Postcards ABIE’S IRISH ROSE Productions: 1945, 1958 X-Refs. Clippings [about] Photographs [of] Playbills Postcards ABOUT WOMEN Productions: 1997 Flyers, Pamphlets Invitations ACT OF MADNESS Productions: 2003 Flyers, Pamphlets THE ACTING RECITALS Productions: 2003, 2004 Flyers, Pamphlets Playbills ADAIR, TOM X-Refs. ADAM AND EVA Productions: 1922 X-Refs. Playbills AESOP’S FALABLES Productions: 1974 X-Refs. Correspondence [about] Flyers, Pamphlets Itineraries Notes Photographs [of] Playbills AFRICAN-AMERICAN PERFORMING ARTS FESTIVAL Productions: [n.d.] Playbills AGAMEMNON Productions: 2003 X-Refs. THE AGES OF WOMAN Productions: 1964 Playbills AH, WILDERNESS Productions: 1966, 1987 X-Refs. Photographs [of] Playbills ALABAMA Productions: 1918 X-Refs. Playbills Box 2 ALCESTIS Productions: [1955] X-Refs. Playbills ALICE IN WONDERLAND Productions: 1955, 1974 X-Refs. Artwork [about] Correspondence [about] Flyers, Pamphlets Invitations Itineraries Notes ALL IN THE TIMING Productions: 2002 X-Refs. Flyers, Pamphlets See Oversized location Press Releases ALL MY SONS Productions: 1968, 2006 X-Refs. Correspondence [about] Flyers, Pamphlets See Oversized location Invitations Photographs [of] Playbills Postcards Press Releases ALL THE COMFORTS OF HOME Productions: 1912 X-Refs. Playbills ALLARDICE, JAMES See PEACOCK IN THE PARLOR ALMOST, MAINE Productions: 2017 X-Refs. Correspondence [about] Flyers, Pamphlets See Oversized location Press Releases Box 3 AMADEUS Productions: [1985] X-Refs. Playbills AMAHL AND THE NIGHT VISITORS Productions: 1969 See also: HELP, HELP, THE GLOBOLINKS! X-Refs.
    [Show full text]
  • FOR IMMEDIATE RELEASE CONTACTS: November 21, 2014 Dafina Mcmillan [email protected] | 212-609-5955 Gus Schulenburg [email protected] | 212-609-5941
    FOR IMMEDIATE RELEASE CONTACTS: November 21, 2014 Dafina McMillan [email protected] | 212-609-5955 Gus Schulenburg [email protected] | 212-609-5941 TCG Announces Top 25 Best-Selling Books of 2014 August: Osage County by Tracy Letts Tops List NEW YORK, NY – Theatre Communications Group (TCG) is excited to introduce the inaugural list of the year’s Top 25 Best-Selling Books published by the TCG Books program. Much in the same vein as the widely-anticipated American Theatre’s Top 10 Most-Produced Plays and the new American Theatre’s Top 20 Most-Produced Playwrights lists released annually in October, TCG is now happy to present the most-frequently purchased print and electronic copies of these books over the course of 2014. “The Top 25 Best-Selling Books list reveals the diversity of our publications, with perennial best- selling plays like Angels in America and Topdog/Underdog joined by training favorites like The Viewpoints Book, as well as new hits like the recent Pulitzer Prize-winning titles The Flick and Water by the Spoonful,” said Teresa Eyring, executive director of TCG. “We hope this list will spark conversation and prove a useful guide to educators, theatre-lovers and play-readers everywhere.” The 2014 Top 25 Best-Selling Books Published by TCG: 1. August: Osage County by Tracy Letts 2. Angels in America: A Gay Fantasia on National Themes by Tony Kushner 3. Doubt by John Patrick Shanley 4. The Flick by Annie Baker 5. Into the Woods by Stephen Sondheim and James Lapine 6. Topdog/Underdog by Suzan-Lori Parks 7.
    [Show full text]
  • Quiara Alegría Hudes." Staging America
    Bigsby, Christopher. "Quiara Alegría Hudes." Staging America. London: Methuen Drama, 2020. 77–102. Bloomsbury Collections. Web. 25 Sep. 2021. <http:// dx.doi.org/10.5040/9781350127579.ch-004>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 25 September 2021, 20:40 UTC. Copyright © Christopher Bigsby 2020. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. CHAPTER 4 QUIARA ALEGR Í A HUDES I hear things. I hear rhythms and I hear the world and I hear the voices and I hear how loud and soft the voices are . Structure is a deeply emotional and musical thing. Repetition and variation is just a basic component of music that I think of all the time when I write a play. 1 When Quiara Alegría Hudes turned on her cell phone aft er fl ying to Atlanta, Georgia, for previews of one of her plays, there was a series of messages informing her of the death of her aunt. In 2012, as she was teaching a class on playwriting at Wesleyan University in Middletown, Connecticut, once again her phone fi lled up with multiple messages, the regular beeping sounding ominous. Th is time it was better news. She had won the Pulitzer Prize for her play Water by the Spoonful . She was born and brought up in West Philadelphia in what she has described as a starter home for immigrants. Hers was the only Latino family on the block. Her father is Jewish and her mother Puerto Rican, while her stepfather is Catholic and her grandparents Lutherans.
    [Show full text]
  • Drama Winners the First 50 Years: 1917-1966 Pulitzer Drama Checklist 1966 No Award Given  1965 the Subject Was Roses by Frank D
    The Pulitzer Prizes Drama Winners The First 50 Years: 1917-1966 Pulitzer Drama Checklist 1966 No award given 1965 The Subject Was Roses by Frank D. Gilroy 1964 No award given 1963 No award given 1962 How to Succeed in Business Without Really Trying by Loesser and Burrows 1961 All the Way Home by Tad Mosel 1960 Fiorello! by Weidman, Abbott, Bock, and Harnick 1959 J.B. by Archibald MacLeish 1958 Look Homeward, Angel by Ketti Frings 1957 Long Day’s Journey Into Night by Eugene O’Neill 1956 The Diary of Anne Frank by Albert Hackett and Frances Goodrich 1955 Cat on a Hot Tin Roof by Tennessee Williams 1954 The Teahouse of the August Moon by John Patrick 1953 Picnic by William Inge 1952 The Shrike by Joseph Kramm 1951 No award given 1950 South Pacific by Richard Rodgers, Oscar Hammerstein II and Joshua Logan 1949 Death of a Salesman by Arthur Miller 1948 A Streetcar Named Desire by Tennessee Williams 1947 No award given 1946 State of the Union by Russel Crouse and Howard Lindsay 1945 Harvey by Mary Coyle Chase 1944 No award given 1943 The Skin of Our Teeth by Thornton Wilder 1942 No award given 1941 There Shall Be No Night by Robert E. Sherwood 1940 The Time of Your Life by William Saroyan 1939 Abe Lincoln in Illinois by Robert E. Sherwood 1938 Our Town by Thornton Wilder 1937 You Can’t Take It With You by Moss Hart and George S. Kaufman 1936 Idiot’s Delight by Robert E. Sherwood 1935 The Old Maid by Zoë Akins 1934 Men in White by Sidney Kingsley 1933 Both Your Houses by Maxwell Anderson 1932 Of Thee I Sing by George S.
    [Show full text]
  • Water by the Spoonful Quiara Alegría Hudes Directed by Shishir Kurup
    Water by the Spoonful Quiara Alegría Hudes Directed by Shishir Kurup The Story It’s been six years since Elliot Ortiz was shipped off to Iraq. Now back home with a leg injury, the 24-year-old former Marine and aspiring actor is struggling to make ends meet working at a Subway sandwich shop. He’s also caring for the ailing Ginny, who adopted Elliot when his biological mother—Odessa, Ginny’s sister— couldn’t care for him. Ginny is the matriarch daniel josé molina (elliot ortiz) of Elliot’s extended Puerto Rican family, an Notes by Tanya Palmer intrepid gardener, community organizer and an anchor in their troubled neighborhood of North Philadelphia. Who’s Who Elliot is haunted by the memory of an Iraqi man he encountered during the war. He seeks out Elliot Ortiz the help of an Arabic professor, whom he meets An Iraq War veteran with a slight limp. An through his cousin Yaz, to help translate a phrase aspiring actor currently working at a Subway the Iraqi man said to him, which he hasn’t been sandwich shop. able to forget. The translation doesn’t provide comfort, and Elliot continues to struggle— Yazmin Ortiz literally and figuratively—with his memories of Elliot’s cousin, who goes by Yaz, is in her first year this man and his time at war. as an adjunct professor of music. Yaz is a high-achieving composer and academic, the one who made it out of the barrio Haikumom (aka Odessa Ortiz) and got an education. She thought she’d be a Elliot’s biological mother and Yazmin’s aunt.
    [Show full text]
  • Water by the Spoonful
    WATER BY THE SPOONFUL PRESS HIGHLIGHTS REVIEWS Page 1 of 3 'WATERBY THE SPOONFUL QUENCHESTHIRST FOR HOPE Committed cast moves play far beyond theme of struggles with substance abuse JAMES HEBERT • U-T tions, but the play is named for a tragedy involving a By the tiniest of increments —child deprived of ladled one sip at a sips of water. sitting, one dragged-out That and other revelations day at a time — the dogged unspool at the Globe souls who populate "Water with the syncopation by the Spoonful" dose and counterpoint of an themselves with hope. exquisite but dissonant And don't we all, one piece of music — a credit way or another, recovering to the assured direction junkies or no? Quiara of Edward Torres and the Alegria Hudes' sharpedged expert acting of a committed marvel of a play cast. may revolve around struggles And in fact, jazz both with substance abuse, courses through and but part of its power is informs the interlaced in how it illuminates the structure of "Water," the broader human experience second play in Hudes' of inching through "Elliot Cycle" (with "Elliot: existence in a string of A Soldier's Fugue" and small victories. "The Happiest Song Plays The title even carries an Last"). echo of the poet T.S. Eliot's Elliot (a wonderfully brooding line about marking prickly Rey Lucas) is the precious time: "I have young ex-Marine who, in measured out my life with this play, is several years coffee spoons." removed from his service But in "Water," the 2012 in Iraq.
    [Show full text]
  • Download 2012–2013 Catalogue of New Plays
    Cover Spread 1213.ai 7/24/2012 12:18:11 PM Inside Cover Spread 1213.ai 7/24/2012 12:14:50 PM NEW CATALOGUE 12-13.qxd 7/25/2012 10:25 AM Page 1 Catalogue of New Plays 2012–2013 © 2012 Dramatists Play Service, Inc. Dramatists Play Service, Inc. A Letter from the President Fall 2012 Dear Subscriber, This year we are pleased to add over 85 works to our Catalogue, including both full length and short plays, from our new and established authors. We were particularly fortunate with nominations and awards that our authors won this year. Quiara Alegría Hudes won the Pulitzer Prize with WATER BY THE SPOONFUL, and the two runners-up were John Robin Baitz’s OTHER DESERT CITIES and Stephen Karam’s SONS OF THE PROPHET. The Play Service also represents three of the four 2012 Tony nominees for Best Play, including the winner, Bruce Norris’ CLYBOURNE PARK, Jon Robin Baitz’s OTHER DESERT CITIES and David Ives’ VENUS IN FUR. All four of the Tony nominations for Best Revival are represented by the Play Service: DEATH OF A SALESMAN (the winner), THE BEST MAN, MASTER CLASS and WIT. Other new titles include Rajiv Joseph’s BENGAL TIGER AT THE BAGHDAD ZOO, David Henry Hwang’s CHINGLISH, Katori Hall’s THE MOUNTAINTOP, Nina Raines’ TRIBES and Paul Weitz’s LONELY, I’M NOT. Newcomers to our Catalogue include Simon Levy, whose masterful adaptation of THE GREAT GATSBY is the only stage version to be authorized by the Fitzgerald Estate; Erika Sheffer, with her vivid portrait of an immigrant family in RUSSIAN TRANSPORT; Sarah Treem, with her absorbing and thought-provoking THE HOW AND THE WHY; and Tarell Alvin McCraney, with the three plays of his critically acclaimed BROTHER/SISTER TRILOGY.
    [Show full text]
  • Crazy for You®
    theatre.indiana.edu CRAZY FOR YOU® MUSIC AND LYRICS BY GEORGE AND IRA GERSHWIN | BOOK BY KEN LUDWIG MUSICAL DIRECTION BY TERRY LA BOLT | CHOREOGRAPHED BY DJ GRAY CO- DIRECTED BY ANSLEY VALENTINE AND DJ GRAY RUTH N. HALLS THEATRE IU Theatre & Dance wishes to acknowledge and honor the Miami, Delaware, Potawatomi, and Shawnee people, on whose PRESENTS ancestral homelands and resources Indiana University was built. CRAZY FOR YOU® Music and Lyrics by LIVE George Gershwin and Ira Gershwin PERFORMANCE Book by Ken Ludwig The mission of the Co Conception by Ken Ludwig and Mike Ockrent Department of Theatre, Inspired by Material by Guy Bolton and John McGowan Drama, and Contemporary Originally produced on Broadway by Roger Horchow and Elizabeth Williams Dance is to advance the art, Original Broadway Choreography by Susan Stroman scholarship, and appreciation of theatre and dance and its place in society. We pursue this mission collectively MUSICAL DIRECTOR Terry LaBolt and as individuals through theatrical productions, CHOREOGRAPHED BY DJ Gray scholarship and publication, presentation of our work in CO- DIRECTORS Ansley Valentine* and DJ Gray national and international venues, formal instruction, SCENIC DESIGNER Christopher Mueller and individual mentoring. COSTUME DESIGNER Rachel Saylor The Department of Theatre, Drama, and Contemporary LIGHTING DESIGNER Joshua Wroblewski Dance is accredited by the SOUND DESIGNER Macy Kloville National Association of Schools of Theatre and is a STAGE MANAGER Lexi Duddleson member of the University/ Resident Theatre Association The worldwide copyrights in the music of George and Ira Gershwin® for this presentation are licensed and United States Institute for by the Gershwin Family.
    [Show full text]