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Virtual Live Auction 5 Pm on Sunday, September 20
Virtual Live Auction 5 pm on Sunday, September 20 Auctioneer: Nick Nicholson Host: Bryan Batt 1. Join Seth Rudetsky as a Special Guest on Stars in the House Your name will be added to the roster of entertainment luminaries when you join Seth Rudetsky as a special guest on an episode of Stars in the House. Created with his husband, James Wesley, in response to the coronavirus pandemic, Stars in the House brings together music, community and education. Benefiting The Actors Fund, the daily livestream features remote performances from stars in their homes, conversing with Rudetsky and Wesley in between songs. The incredible 800 guests so far have included everyone from Annette Benning to Jon Hamm to Phillipa Soo. Don’t miss the opportunity to join for an episode and make your smashing debut as a special guest on Stars in the House. Opening bid: $500 2. Virtual Meeting with the Legendary Bernadette Peters There are few leading ladies as notably creative and compassionate as Bernadette Peters. The two-time Tony Award winner made her Broadway debut in 1967’s The Girl in the Freudian Slip. In the decades since, she’s created some of musical theater’s most memorable roles including Dot in Sunday in the Park with George and The Witch in Into the Woods. She’s a member of the Broadway Cares/Equity Fights AIDS Board of Trustees who has created memorable performances in stunning Broadway revivals, notably Annie Get Your Gun, Gypsy, Follies and, most recently, Hello Dolly!. Today, you can win a virtual meet-and-greet with this legend. -
January 2018 :: Sightlines :: USITT
January 2018 :: Sightlines :: USITT January 2018 Print this page › NEWS & NOTICES: Tweet Share Lead story › Member Spotlight: Mark Putman Member Spotlight: Mark Putman Fellows of the Institute Q&A with production manager and sound designer for Missouri State University and member of USITT’s Heart of America Regional Section, The Green Scene Mark Putman... more » 2018 Student Ambassador Mentors New Fellows AIDS Memorial Quilt USITT will induct three new Fellows into the Institute at USITT 2018 in Fort Lauderdale: Dan Culhane, Travis De Castro, and Susan Tsu... Tri-Annual Art Auction more » In Memoriam: Doris Siegel, David William Weiss The Green Scene Announcements Dathan Powell focuses on the work of young artists who recognize the prospect of sustainable theatre making an impact in disciplines other INTERNATIONAL: than our own... more » PQ 2019 Design Exhibit Winners Student Ambassador International Guests 2018 NEWS FROM: Three international guests will join select student ambassadors in Fort Executive Director Lauderdale to bring a global perspective to USITT 2018... more » Spotlight on Giving: Tammy Honesty AIDS Quilt Information President Do you know any of these names? Help complete this memorial by providing bios and anecdotes to be featured in TD&T... more » LAST WORD: Conference Deadline Is Tri-Annual Art Auction and Garage Sale at USITT 2018 Coming! Have artwork or books that are collecting dust at home? Consider FOR THE RECORD: donating them to the Tri-Annual Art Auction and Garage Sale for others Leadership to enjoy... more » Contributing Members PQ 2019 Design Exhibit Winners Sustaining Members Winners of the 2019 Prague Quadrennial Design Exhibit are announced.. -
Acting in the Academy
Acting in the Academy There are over 150 BFA and MFA acting programs in the US today, nearly all of which claim to prepare students for theatre careers. Peter Zazzali contends that these curricula represent an ethos that is outdated and limited given today’s shrinking job market for stage actors. Acting in the Academy traces the history of actor training in universities to make the case for a move beyond standard courses in voice and speech, move- ment, or performance, to develop an entrepreneurial model that motivates and encourages students to create their own employment opportunities. This book answers questions such as: • How has the League of Professional Theatre Training Programs shaped actor training in the US? • How have training programs and the acting profession developed in relation to one another? • What impact have these developments had on American acting as an art form? Acting in the Academy calls for a reconceptualization of actor training in the US, and looks to newly empower students of performance with a fresh, original perspective on their professional development. Peter Zazzali is Assistant Professor of Theatre at the University of Kansas. John Houseman and members of Group I at Juilliard in the spring of 1972 reading positive reviews of the Acting Company’s inaugural season. Kevin Kline is seated behind Houseman. Photo by Raimondo Borea; Courtesy of the Juilliard School Archives. Acting in the Academy The history of professional actor training in US higher education Peter Zazzali First published 2016 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN and by Routledge 711 Third Avenue, New York, NY 10017 Routledge is an imprint of the Taylor & Francis Group, an informa business © 2016 Peter Zazzali The right of Peter Zazzali to be identifi ed as author of this work has been asserted by him in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. -
Nominated Women
BEST LIGHTING DESIGN - TONY AWARDS 1970-2019 = 50 YEARS NOMINATION WINNER Year Best Lighting Design of a PLAY Best Lighting Design of a MUSICAL Best Lighting Design of a PLAY Best Lighting Design of a MUSICAL MALE FEMALE MALE FEMALE MALE FEMALE MALE FEMALE 1970 2 1 1 1971 3 1 No women nominated 1972 3 1 1 1973 3 1 1 1974 4 1 1 1975 6 1 No women nominated 1976 2 2 1 1977 2 2 1 1978 3 1 1 1979 2 2 1 1980 3 1 1 1981 2 2 1 1982 2 2 1 1983 4 1 No women nominated 1984 4 1 No women nominated 1985 4 1 No women nominated 1986 3 1 1 1987 4 1 1 1988 4 1 No women nominated 1989 2 3 1 MORE women nominated 1990 5 1 No women nominated 1991 3 1 1 1992 4 1 No women nominated 1993 4 1 No women nominated 1994 2 2 1 1995 3 1 1 1996 4 1 1 1 1997 3 1 1 1998 4 2 1 1999 3 1 1 2000 2 2 1 2001 4 1 1 2002 3 1 1 2003 4 1 No women nominated 2004 3 1 1 1 2005 3 1 4 1 1 2006 4 4 1 1 1 2007 4 2 4 2 1 1 2008 3 1 3 1 1 1 2009 4 4 1 1 2010 4 4 1 1 2011 2 2 4 1 1 2012 4 2 2 1 1 2013 3 2 4 1 1 1 2014 1 3 4 1 1 MORE women nominated 2015 2 3 3 1 1 MORE women nominated AND women won BOTH 2016 3 1 4 1 1 1 2017 2 2 3 1 1 1 2018 4 2 5 1 1 1 2019 5 2 6 1 1 NOMINATION WINNER Best Lighting Design of a PLAY Best Lighting Design of a MUSICAL Best Lighting Design of a PLAY Best Lighting Design of a MUSICAL MALE FEMALE MALE FEMALE MALE FEMALE MALE FEMALE TOTALS 161 56 58 7 41 14 13 2 TOTAL NUMBERS All wins: 70 All nominations: 282 Total Play Wins: 55 Total Mus Wins 15 All Noms Play 217 All men noms: 219 All women noms: 63 All Noms Mus 65 All men wins 54 All women wins 16 TOTAL PERCENTAGES -
Image Makers: Designers C;: H a I" T Ll R 12 LIGHTING and SOUND I Feel That Light Is Like Music
" " Image Makers: Designers c;: H A I" T ll R 12 LIGHTING AND SOUND I feel that light is like music. In some abstract, emotlona~ cerebral, nonliterary way, it makes us feel, it makes us see, it makes us think, all without knowing exactly how and why. 1 \ • Jennifer Tipto1, lighting De~lgner THE LIGHTING DESIGNER In today's theatre, lighting, Stage lighting is a powerful theatrical tool to focus an audience's attention, sound, and computer enhance understanding, and give aesthetic pleasure. It is sometimes sur 'u technologies affect what we prising to learn that the "lighting" designer emerged in the theatre well tee, how we see, how we before the invention of electricity. hear, how we feel, and often what we understand. As Background areas oftheatrical design, lighting and sound, along The Greeks called their theatres "seeing places." These were outdoor the with the new "machines," atres, and performances took place chiefly during daylight hours, but not ',il,, are essential to the modem without some attention to lighting effects. Playwrights. who were also the I.''' ' stage's theatrical earliest directors, called for drama~c effects with torches, fires, and even effectiveness. sunlight. Aeschylus in Agamemnon, which tells the story of the King's re 'i'i turn at the close of the Trojan War, begins wtth a Watchman standing atop ! 'I the palace to watch for beacons shining from distant mountaintops that it i. I ·: will signal Agamemnon's returri to Argos. Most interpreters think that the ·'II' '' Watchman's speech begins virtually fn the early morning mist and that his '' recognition of the signal flames coincides with the actual sunrise over the Theatre of Dionysus. -
Broadway Starts to Rock: Musical Theater Orchestrations and Character, 1968-1975 By
Broadway Starts to Rock: Musical Theater Orchestrations and Character, 1968-1975 By Elizabeth Sallinger M.M., Duquesne University, 2010 B.A., Pennsylvania State University, 2008 Submitted to the graduate degree program in Musicology and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Chair: Paul R. Laird Roberta Freund Schwartz Bryan Kip Haaheim Colin Roust Leslie Bennett Date Defended: 5 December 2016 ii The dissertation committee for Elizabeth Sallinger certifies that this is the approved version of the following dissertation: Broadway Starts to Rock: Musical Theater Orchestrations and Character, 1968-1975 Chair: Paul R. Laird Date Approved: 5 December 2016 iii Abstract In 1968, the sound of the Broadway pit was forever changed with the rock ensemble that accompanied Hair. The musical backdrop for the show was appropriate for the countercultural subject matter, taking into account the popular genres of the time that were connected with such figures, and marrying them to other musical styles to help support the individual characters. Though popular styles had long been part of Broadway scores, it took more than a decade for rock to become a major influence in the commercial theater. The associations an audience had with rock music outside of a theater affected perception of the plot and characters in new ways and allowed for shows to be marketed toward younger demographics, expanding the audience base. Other shows contemporary to Hair began to include rock music and approaches as well; composers and orchestrators incorporated instruments such as electric guitar, bass, and synthesizer, amplification in the pit, and backup singers as components of their scores. -
Download the Complete CMU Ambassadors June 2018 Edition
June 15, 2018 Dear Friends of Carnegie Mellon, Greetings from Carnegie Mellon University during one of my favorite times of year. I am writing to you shortly after 5,600 members of the Class of 2018 joined our alumni community, armed with the tremendous power of a Carnegie Mellon degree. As we celebrate these bright and eager CMU graduates, their joy is truly infectious and reflects the entire community’s passion and excitement for all that lies ahead for this university. I know that you also share remarkable pride in our newest alumni, as well as this incredible institution. It’s with this in mind that I’m pleased to send you this first edition of the Carnegie Mellon University Ambassador Program. We are launching this initiative to keep our closest supporters better informed about the vital work that goes on here at CMU. Throughout the year, you will receive this exclusive, curated package of our latest news — both the big headlines, as well as interesting stories that illustrate CMU’s rich tapestry of research, creativity and ingenuity. Whether you serve on a board, volunteer on behalf of the university, or provide philanthropic gifts to our programs, your ongoing advocacy for CMU has an impact. Our request of you is simple: Keep doing what you have been doing in support of Carnegie Mellon. And when you talk to your family, friends and colleagues about CMU, you will now have even more information about all that is happening here. My wife, Tris, and I have been so appreciative of the outpouring of goodwill following the announcement of my selection as CMU’s tenth president. -
Introduction
INTRODUCTION I am keenonlearningEnglishandI have always lookedfor different andnew ways of how toapproachnot onlylanguage understandingbut alsothe knowledge about Englishspeakingcountries.I am also interestedinmanycultural events suchas theatre, concerts ordancing.I was lookingfor somethingthat would connect allthesethingsand I foundit ina musical theatre.I have always beencurious about what it is like tobe an actor,toprepare for a show,tostandonthe stage andhow the actors feel whenthey hear the applause.I have never hada chance tolive this throughbut onthe suggestion of my supervisor I decided to pursue this topic and to deal with the musical called Chicago andBobFosse,itsco-directorandchoreographer. There are manyversions of this musical that were performedall over the world during the second half of the twentieth century. Maurine Dallas Watkins created the play in the 1920s and it was remade as the musical only in the 1960s, when the copyright was soldtoBob Fosse.Finally,in2002, Chicago was filmed withthe actors such as Renée Zellwerger, Richard Gere and Catherine Zeta Jones appearing in the leadingroles. The first part of the thesis deals with the basic introduction of the American musical and with some terms that are closely related to Bob Fosse’s work and are necessaryto beunderstoodinthecontextofthe thesis. The second section introduces Bob Fosse and his status in American musical theatre.However,inthis partI alsomentiontwoother men–JohnKander andFredEbb - whowere veryimportant for the musical theatre inthe time whenFosse created his bestworks. 3 The complexview of the musical Chicago basedonthe Czechtranslationof the libretto, translated by Ivo Havlů in 1978, is provided in the third part. Owing to the unavailabilityof the original libretto,I use Englishtranslations of citations inthe text andthe CzechversionI put intofootnotes.If words inthe film script correspondedwith wordsinthelibretto,thenIusedthemfortranslation.Theothercitationsweretranslated bytheauthor. -
Carnegie Mellon University (Pennsylvania)
This is for the founders. Celebrating 50 years as Carnegie Mellon University For the fierce industrialists and staunch philanthropists who pioneered advancements in Pittsburgh and created a legacy of promise that touches every corner of the globe. For the bold visionaries who stand ready to face new challenges with raw talent, deep focus, sharp intelligence and the sheer force of will. For the forward-thinking leaders who keep their hearts in the work and their eyes on the future, holding firm to the belief that their breakthroughs will change it for the better. For those audacious enough to dare to question what is, courageous enough to imagine what could be, and tenacious enough to make it happen. This is for the idealists and the investigators, the thinkers and creators, the dreamers and doers who have made Carnegie Mellon University what it is today, and who will shape the world we’ll all inhabit tomorrow. This is for the founder in all of us. ONE, AN INDUSTRIAL TITAN. ONE, A BANKING MAGNATE. BOTH, FOUNDERS. Andrew Carnegie, a self-made industrialist, These founders of institutions of higher learning entrepreneur and philanthropist, believed profoundly fostered inventive thinking and advanced humanity— in the value of learning in transforming human lives and and 50 years ago, their legacies converged when communities. He founded Carnegie Technical Schools Andrew’s son, Paul Mellon, proposed a merger to to bring educational opportunity to the children of form what we now know as Carnegie Mellon University, working-class Pittsburgh residents. setting the stage for the greatest minds in the world to become founders here, too. -
Once on This Island Friday, March 20, 2020; 7:30 Pm Saturday, March 21, 2020; 2 & 7:30 Pm Sunday, March 22, 2020; 1 & 6:30 Pm
Once on This Island Friday, March 20, 2020; 7:30 pm Saturday, March 21, 2020; 2 & 7:30 pm Sunday, March 22, 2020; 1 & 6:30 pm KEN DAVENPORT HUNTER ARNOLD NETWORKS PRESENTATIONS and CARL DAIKELER ROY PUTRINO BROADWAY STRATEGIC RETURN FUND H. RICHARD HOPPER BRIAN CROMWELL SMITH ROB KOLSON KEVIN LYLE MICHELLE RILEY/DR. MOJGAN FAJRAM INVISIBLE WALL PRODUCTIONS/ISLAND PRODUCTIONS present Book & Lyrics by Music by LYNN AHRENS STEPHEN FLAHERTY Based on the novel “My Love, My Love” by Rosa Guy featuring JAHMAUL BAKARE KYLE RAMAR FREEMAN TAMYRA GRAY CASSONDRA JAMES PHILLIP BOYKIN DANIELLE LEE GREAVES TYLER HARDWICK with MCKYNLEIGH ALDEN ABRAHAM BRIANA BROOKS GEORGE L. BROWN MICHAEL IVAN CARRIER MIMI CROSSLAND MARIAMA DIOP JAY DONNELL ALEX JOSEPH GRAYSON PHYRE HAWKINS SAVY JACKSON TATIANA LOFTON ROBERT ZELAYA and introducing COURTNEE CARTER Scenic Design Costume Design Lighting Design Sound Design Tour Sound Design DANE LAFFREY CLINT RAMOS JULES FISHER + PETER HYLENSKI SHANNON SLATON PEGGY EISENHAUER Orchestrations Original Vocal Arrangements Hair/Wig and Make-up Design “Found” Instrument Design ANNMARIE MILAZZO & MICHAEL STEPHEN FLAHERTY COOKIE JORDAN JOHN BERTLES & STAROBIN BASH THE TRASH Casting Associate Director Associate Choreographer Music Director TELSEY + COMPANY JUSTIN SCRIBNER RICKEY TRIPP STEVEN CUEVAS CRAIG BURNS, CSA Music Coordinator Tour Booking, Press & Marketing General Management Production Manager JOHN MILLER BOND THEATRICAL GROUP GENTRY & ASSOCIATES NETWORKS PRESENTATIONS GREGORY VANDER PLOEG Associate Producers Company Manager Production Stage Manager Executive Producer KAYLA GREENSPAN JAMEY JENNINGS KELSEY TIPPINS TRINITY WHEELER VALERIE NOVAKOFF Music Supervisor CHRIS FENWICK Choreographer CAMILLE A. BROWN Director MICHAEL ARDEN www.harriscenter.net FEB–MAR 2020 PROGRAM GUIDE 53 Once on This Island continued CAST McKynleigh Jahmaul Phillip Briana Alden Bakare Boykin Brooks Abraham George L. -
City Theatrical Talks with Lighting Designer Jake Degroot
City Theatrical Talks with Lighting Designer Jake DeGroot Jake DeGroot is a freelance designer based in New York City. Jake has collaborated with theaters, companies, directors, designers, and artists all over the world. Jake will be designing his first Broadway production Oh, Hello. Oh, Hello opening October 10th at the Lyceum Theatre in NYC. We sat down with Jake to learn about his experience lighting his first Broadway show, and the journey he took to get where he his today. CTI: Can you recall the first time you were in a theatre that made a major impression on you? Jake DeGroot:I consider myself very lucky that I have known what I wanted to do since I was very young. I decided I wanted to be a lighting designer when I operated the light board for a community theatre show when I was 10 years old and I have been able to stay busy doing it ever since. My drive to get involved with lighting at such a young age certainly came from some theatrical experiences I had as a kid. I would say there were two extremely memorable moments in theatres that led me in the direction of design and specifically lighting. The first was seeing Peter Pan in the Colonial Theatre in Boston with my grandparents. I remember being totally transfixed by the scrim bleed-through at the top of the show and trying to figure out how it was done. Then of course when Kathy Rigby flew out over the audience, they had me. The other experience was a couple of years later when I saw the sit-down production of The Who’s Tommy in Toronto. -
A Brief Outline of the History of Stage Lighting
A Brief History of Stage Lighting Página 1 de 13 A Brief Outline of the History of Stage Lighting Reference: Bel Geddes, Norman. Miracle in the Evening . Garden City, NY: Double Day and Co., Inc. 1960 Bergman, Gosta Mauri. Lighting in the Theatre . Stockholm: Almqvist & Wiksell International. 1977 Fuchs, Theodore. Stage Lighting. New York: B. Blum. 1963 (1929) Hartman, Louis. Theatre Lighting: A Manual of the Stage Switchboard . New York: DBS Publications. 1970 (1930) Owen, Bobbi. Lighting Designers on Broadway: 1915-1990 . New York: Greenwood Press. 1991. Owens, Bobbi. Scene Designers on Broadway . New York: Greenwood Press. 1991. Pendleton, Ralph. The Theatre of Robert Edmond Jones . Middletown, CT. Wesleyan University Press. 1958 On the Internet: Kliegl Bros.Collector's Society Lighting Equipment - Lighting Designers - Lighting Educators - Time Line: 1880... Lighting Equipment General Illumination: Candle - Oil Lamp - Gas - Electric Specific Illumination: Lime Light - Arc Light - Electric Spotlight General Illumination General illumination provides a diffuse, shadow less, wash of light over the entire stage space. Candle Italy - 1580-1618: Candles are introduced in both the academic ( Teatro Olimpico ) and court ( Teatro Farnese ) theatres. England - 1600s: Used in the private (indoor) theatres and Ingo Jones' (1573-1652) Court Masques . 1660s: Reintroduced during the English Restoration. Mounting Positions: Chandeliers over both the stage and the house, Front edge of the stage (footlights), and "Ladders" between each pair of side wings. Oil Lamp 1780s: Swiss chemist Aime Argand develops the modern oil lamp which soon replaces the candle as the primary light source. Mounting Positions: The same as with candles-- Chandeliers , Foot lights , and Ladders in the wings.