Eric Meyers "Take Me out to the Ball Game, Take Me out with the Crowd
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The Cutting Edge, March/April 2010, Vol. 21 Issue 2
Marshall University Marshall Digital Scholar The Cutting Edge The Society of American Fight Directors 4-2010 The Cutting Edge, March/April 2010, Vol. 21 Issue 2 The Society of American Fight Directors Follow this and additional works at: https://mds.marshall.edu/cutting Part of the Acting Commons, Other Theatre and Performance Studies Commons, Performance Studies Commons, and the Theatre History Commons Recommended Citation The Society of American Fight Directors, "The Cutting Edge, March/April 2010, Vol. 21 Issue 2" (2010). The Cutting Edge. 89. https://mds.marshall.edu/cutting/89 This Newsletter is brought to you for free and open access by the The Society of American Fight Directors at Marshall Digital Scholar. It has been accepted for inclusion in The Cutting Edge by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. March/April 2010, Volume XXI, Issue 2 Introducing Our New Regional Representatives The staff of The Cutting Edge would like to welcome three new regional HEY, YOU! representatives to the SAFD. Danette GO TO MY WORKSHOP! Baker will be taking over for Mike Speck in the Middle America region, Travis Sims will be taking over for Robert Hamilton in the THEN GO TO THIS OTHER WORK Pacific West region, and Matthew Ellis will SHOP! be taking over for Ann Chandler Harlan in the South West region. A D THE BUY SOME RAFFLE TICKETS! Thanks to Ann, Mike and Robert for their years of service! Your commitment to the betterment of the SAFD and this publication is appreciated and valued beyond words. -
A National Tradition
Baseball A National Tradition. by Phyllis McIntosh. “As American as baseball and apple pie” is a phrase Americans use to describe any ultimate symbol of life and culture in the United States. Baseball, long dubbed the national pastime, is such a symbol. It is first and foremost a beloved game played at some level in virtually every American town, on dusty sandlots and in gleaming billion-dollar stadiums. But it is also a cultural phenom- enon that has provided a host of colorful characters and cherished traditions. Most Americans can sing at least a few lines of the song “Take Me Out to the Ball Game.” Generations of children have collected baseball cards with players’ pictures and statistics, the most valuable of which are now worth several million dollars. More than any other sport, baseball has reflected the best and worst of American society. Today, it also mirrors the nation’s increasing diversity, as countries that have embraced America’s favorite sport now send some of their best players to compete in the “big leagues” in the United States. Baseball is played on a Baseball’s Origins: after hitting a ball with a stick. Imported diamond-shaped field, a to the New World, these games evolved configuration set by the rules Truth and Tall Tale. for the game that were into American baseball. established in 1845. In the early days of baseball, it seemed Just a few years ago, a researcher dis- fitting that the national pastime had origi- covered what is believed to be the first nated on home soil. -
IN the NEXT ROOM Or the Vibrator Play
47th Season • 447th Production JULIANNE ARGYROS STAGE / SEPTEMBER 26 - OCTOBER 17, 2010 David Emmes Martin Benson PRODUCING aRTISTIC DIRECTOR aRTISTIC DIRECTOR presents IN THE NEXT ROOM or the vibrator play BY Sarah Ruhl John Arnone David Kay Mickelsen Daniel Ionazzi Jim Ragland SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN ORIGINaL MUSIC/SOUND DESIGN Philip D. Thompson Jackie S. Hill Kathryn Davies* DIaLECT COaCH PRODUCTION MaNaGER STaGE MaNaGER DIRECTED BY Casey Stangl Jean and Tim Weiss HONORaRY PRODUCERS Original Broadway Production by Lincoln Center Theater, New York City, 2009. IN THE NEXT ROOM or the vibrator play was originally commissioned and produced by Berkeley Repertory Theatre, Berkeley, CA, Tony Taccone, Artistic Director/Susan Medak, Managing Director. IN THE NEXT ROOM or the vibrator play was developed at New Dramatists. IN THE NEXT ROOM or the vibrator play is presented by special arrangement with SAMUEL FRENCH, INC. In the Next Room • SOUTH COAST REPERTORY P1 CAST OF CHARACTERS (In order of appearance) Catherine Givings .......................................................................... Kathleen Early* Dr. Givings ...................................................................................... Andrew Borba* Annie ...................................................................................................... Libby West* Sabrina Daldry ................................................................................. Rebecca Mozo* Mr. Daldry .......................................................................................... -
HELENA from the WEDDING Directed by Joseph Infantolino
HELENA FROM THE WEDDING Directed by Joseph Infantolino “Absorbing...deftly written and acted!” -- Jonathan Rosenbaum USA | 2010 | Comedy-Drama | In English | 89 min. | 16x9 | Dolby Digital Film Movement Press Contact: Claire Weingarten | 109 W. 27th Street, Suite 9B | New York, NY 10001 tel: (212) 941-7744 x 208 | fax: (212) 941-7812 | [email protected] Film Movement Theatrical Contact: Rebeca Conget | 109 W. 27th Street, Suite 9B | New York, NY 10001 tel: (212) 941-7744 x 213 | fax: (212) 941-7812 | [email protected] 1 SYNOPSIS Newlyweds Alex (Lee Tergesen) and Alice (Melanie Lynskey) Javal are hosting a weekend-long New Year’s Eve party for their closest friends at a remote cabin in the mountains. They expect Alex’s best friend Nick (Paul Fitzgerald), newly separated from his wife, to show up at the cabin with his girlfriend Lola. Alex and Nick’s childhood friend Don (Dominic Fumasa) is also set to arrive with his wife-of-many-years Lynn (Jessica Hecht), as are Alice’s pregnant friend Eve (Dagmara Dominczyk) and her husband Steven (Corey Stoll) Any thoughts of a perfect weekend are quickly thrown out the window as Nick arrives with only a cooler of meat and the news that he and Lola have recently called it quits. Don and Lynn show up a few minutes later deep in an argument. Finally, Eve and Steven make it to the cabin with a surprise guest in tow—Eve’s friend Helena, who was a bridesmaid with Alice at Eve’s wedding. With tensions running high at the cabin, Alex tries to approach the young and beautiful Helena. -
Ritual in the “Church of Baseball”: Suppressing the Discourse of Democracy After 9/11 Michael L
Communication and Critical/Cultural Studies Vol. 2, No. 2, June 2005, pp. 107–129 Ritual in the “Church of Baseball”: Suppressing the Discourse of Democracy after 9/11 Michael L. Butterworth Baseball was among the most prominent American institutions to respond to the terrorist attacks of September 11, 2001. Tributes at ballparks across the country promised comfort to millions in shock but soon developed into rituals of victimization that affirmed the Bush administration’s politics of war, discouraged the expression of dissenting opinions, and burdened the nation with yet another disincentive to reflect constructively on its response to terrorism. This essay views the aftermath of 9/11 as a quasi-religious social drama in which ballpark tributes became a ritualized vehicle for a belligerent patriotism that sought unity at the expense of democratic discourse. Keywords: Baseball; Democracy; Patriotism; War on Terrorism; Rituals of Victimization On October 12, 2003, the Chicago Cubs and Florida Marlins played in the fifth game of baseball’s National League Championship Series. Thousands of Chicago fans, hoping to see their team end a 58-year World Series drought, made their way to Miami’s Pro Player Stadium and provided loyal and raucous support for the visiting Cubs. When the game reached the seventh-inning stretch, Cubs fans enthusiastically began singing “Take Me Out to the Ballgame,” but they were quickly silenced by the stadium’s public address system and the remaining fans who belted out “God Bless America” instead. One fan in a Cubs hat and jersey lamented, “Come on, it’s a baseball game!” Only after the public display of patriotism had subsided were Cubs fans able to perform their song.1 Michael L. -
Olympus on My Mind
Artistic Director Bruce Miller Managing Director Phil Whiteway in association with “MURRAY THE FURRIER” OLYMPUS ON MY MIND Originial Production Book and Lyrics by Music by Directed by BARRY GRANT BARRY HARMAN STURIALE HARMAN Originially presented by Harve Brosten and Mainstage Productions, Ltd. STAGE MANAGEMENT Kristy Bell COSTUME DESIGN LIGHT DESIGN SET COORDINATION Sarah Grady K. Jenna Ferree Chase Kniffen MUSIC DIRECTION Jason Marks DIRECTION & CHOREOGRAPHY K Strong SPONSORS CAST The Chorus Tom Tyler D. Wilson Dick Paul S. Major Horace Dan Cimo Delores Maggie Roop JupiterRichardTravis MercuryMoscatiArden Charis Mary Anne Furey S ara SommersAlcmeneSara Sosia Scott Wichmann* Amphitryon George Spelvin FOR THIS PRODUCTION Cover Art Illustration Robert Meganck Accompaniment Creation Jason Marks Deck Crew Maggie Peterson Light Board Operator Kristy Bell Sound Engineer Zach Baumann SETTING The ancient Greek city of Thebes during the course of a 41-hour day. There will be one 15-minute intermission between acts. * Member of Actors’ Equity Association, the union of professional actors and stage managers in the U.S.A. SONGS ACT ONE Welcome to Greece Chorus Heaven on Earth Jupiter, Alcmene, and Chorus The Gods on Tap Delores, Jupiter, Mercury, and Chorus Surprise! Sosia Love--What a Concept Jupiter and Mercury Wait ‘Til It Dawns Mercury, Chorus I Know My Wife Amphitryon It Was Me Sosia Back So Soon? Amphitryon, Sosia, and Chorus Wonderful Alcmene At Liberty in Thebes Charis and Chorus Jupiter Slept Here Entire Company ACT TWO Back to the Play Chorus Something of Yourself Mercury General’s Pandemonium Amphitryon, Jupiter, Sosia, and Chorus Heaven on Earth (Reprise) Sosia and Charis Olympus is a Lonely Town Jupiter A Star is Born Delores and Company Final Sequence Entire Company Heaven on Earth (Reprise) Jupiter and Alcmene ABOUT THE MYTHOLOGY The legend of Amphitryon, which chronicles the birth of Hercules, has been used as source material by dramatists down through the ages. -
At Play Spring-Summer 06.Indd
rating Seventy Y representing the american theatre by eleb ears publishing and licensing the works C of new and established playwrights 70th Anniversary Issue D ram 06 ati – 20 sts Play Service, Inc. 1936 Issue 12, Spring/Summer 2006 AN INTERVIEW WITH Austin Pendleton Director of Professional Rights Robert Lewis Vaughan and Director of Publications Michael Q. Fellmeth talk with Austin Pendleton about his New York hit, Orson’s Shadow, and his life as a consummate man of the theatre. ROBERT. Orson’s Shadow had an amazing run here in New York at The Barrow Street Theatre following Tracy Letts’ fantastic Bug (also represented by DPS). Tracy was in your play, in the role of Kenneth Tynan. Two hits in a row — two actor/playwrights in a row — one theatre. What do you have to say about that? AUSTIN. There’s more to it than that. Tracy Letts caused this to happen. He told our producers (Scott Morfee, Chip Meyrelles, Tom Wirtshafter) about Orson’s Shadow. He put together a reading with the Chicago cast, directed by the Chicago director, in Chicago, for Scott, Chip and Tom to come and see and hear … Continued on page 3 NEWPLAYS Serving the American Theatre Since 1936: A Brief History of Dramatists Play Service, Inc. Rob Ackerman DISCONNECT. Goaded by the women they love “The Dramatists Play Service came into being at exactly the right moment and haunted by memories they can no longer for the contemporary playwright and the American theatre at large.” suppress, two men at a dinner party confront the —Audrey Wood, renowned agent to Tennessee Williams lies of their lives. -
Luckeyfrog's Lilypad
Created by Luckeyfrog’s Lilypad (C) J. Garwood 2014 (C) J. Garwood 2014 (C) J. Garwood 2014 Name: _______________ Date: ________ Find the Evidence Can you find the PROOF for your answers? Use a crayon in the color shown to underline where you found each answer in the text. Earth Day In 1969, a peace activist named John McConnell attended the UNESCO conference in San Francisco, California. While there, he suggested creating a day to honor the Earth and peace. He proposed the day be celebrated on March 21st, the first day of Spring that year. The United Nations agreed to sanction an international Earth Day. On March 21st of 1970, Earth Day was first celebrated. Inspired, United States Senator Gaylord Nelson founded a separate Earth Day focused specifically in the United States. On April 22, 1970, he organized discussions about environmentalist issues at some colleges. Earth Day is a day for learning about how we can help the environment. Often, this is called “going green” through actions like reducing, reusing, and recycling materials or using less energy. Some people help the environment by planting trees or picking up litter. Now, Earth Day is celebrated each year on April 22nd. The Earth Day Network now coordinates the holiday’s events. Earth Day is now observed in 192 countries by more than a billion people each year! blue Who first suggested an international Earth Day? yellow What does it mean to “go green”? red Where was the 1969 UNESCO conference held? purple Why did McConnell want to create Earth Day? green How many people celebrate Earth Day yearly? orange When is Earth Day now celebrated? (C) J. -
Welcome to a Thrilling Summer at Question
We l c o m e t o Hello, all! A letter doesn’t do it, no Welcome to a thrilling summer at question. You should turn to this page The Old Globe! The excitement has and see veritable fireworks exploding. been mounting here for months in Flashes of color, trumpets cascading anticipation of these five fabulous sum- down the page, something really amaz- mer productions: the witty, computer- ing! Because this is an amazing age comedy The Intelligent Design of Jenny Festival, perhaps the most ambitious Chow, the new, Broadway-caliber musi- we’ve ever fielded. cal Lucky Duck, as well as the fascinating In the Globe, returning favorite John Rando helms the and fun-filled Shakespeare Festival, featuring a revival of the important, witty, irreverent and irresistible new musical Lucky repertory format, in which three classic works — Antony and Duck, an off-the-barnyard-wall fable so loosely based on The Cleopatra, As You Like It and The Two Noble Kinsmen — rotate Ugly Duckling that the score — by none other than the cre- nightly on the outdoor stage. ator of Dreamgirls — can hardly stay on stage! We’ve been The creative teams behind these productions are at the looking forward to this debut all spring. top of their fields, having been recognized on the national And speaking of debuts, in the Carter comes the direct- awards front, including a Tony Award® nomination and an ing debut of Kirsten Brandt, the peripatetic and wildly talent- Outer Critics Circle Award for Shakespeare Festival set ed Artistic Director of our own Sledgehammer Theatre here designer -
By Tony Taccone and Bennett S
BY TONY TACCONE AND BENNETT S. COHEN, ADAPTED FROM THE NOVEL BY SINCLAIR LEWIS SOUND DESIGN AND MUSIC BY PAUL JAMES PRENDERGAST DIRECTED BY LISA PETERSON DEAR FRIENDS, Four years ago, in the lead-up to the 2016 election, Berkeley Rep produced Tony Taccone and Bennett Cohen’s adaptation of Sinclair Lewis’ frighteningly prescient novel. With a desire to see the story reach the widest possible audience, and celebrating the impulse that led the wpa in 1936 to share the original stage version of Lewis’ novel for free with 21 theatres across the country, Berkeley Rep offered the rights to Tony and Bennett’s adaptation to theatres, community centers, universities — anyone who wanted to put together their own production or reading. And now, in 2020, this story feels all the more vital, and the need to share it widely even more compelling. I am honored that more than 75 organizations from more than 20 states have partnered with us to share this production of It Can’t Happen Here for free with their audiences and communities. We are joined in this effort by long-time theatre colleagues, by universities from Howard in Wash- ington, DC to Saint Cloud State in Minnesota (near Lewis’ hometown), by libraries, community centers, and radio stations. I am deeply grateful to Tony and Bennett, director Lisa Peterson, sound designer Paul James Prendergast and his small but mighty team, and this extraordinary cast who have collaborated across miles and time zones, through wildfires and new technology, for their conviction that the- atre matters, that narrative helps us to see the world more clearly, and that together we have the capacity to effect change. -
Drama-Conservatory-Brochure.Pdf
It’s love. Not a lark. SCHOOL OF DRAMA HIGH SCHOOL UNDERGRADUATE TALENT IS A Ranked among the You’ll learn from an STARTING POINT. best drama schools in outstanding faculty TRAINING AND the world, ours is an as well as acclaimed CONCENTRATIONS immersive experience guest artists. And, HARD WORK that prepares talented you’ll perform – TRANSFORM Acting young artists for constantly. You’ll TALENT. successful careers on become a technically Directing stage and online and in skilled, creatively film and television. inspired artist, ready to turn passion SPECIFIC TRAINING into a successful professional career. Accents and Dialects Acting Alexander Technique Audition Techniques Combat, Armed & Unarmed Dance (Ballroom, Modern, Tap and Jazz) Directing Film Study Improvisation Mask Meisner Technique Movement On-Camera Physical Comedy Shakespeare Text Singing/Musical Theatre Stanislavski Technique Voice & Speech “While we work on their acting, body, and voice, we rely on our liberal arts division to provide a backbone of theatrical knowledge and history to supplement our work.” Quin Gordon – Faculty, School of Drama ACTING DEMANDS A CONSERVATORY A COMPREHENSIVE EDUCATING THE AN EDUCATION EXPERIENCE CURRICULUM WHOLE ARTIST OF BOTH MIND AND BODY. The School of Drama Along with required Our comprehensive provides rigorous classes in voice, liberal arts college conservatory training, movement and curriculum and high where you’ll focus acting, you’ll train in school academic daily on honing masks, dialects, stage program provide a your craft. Through combat, physical broad education, intensive production comedy, singing, producing well-rounded work, coupled with musical theatre, dance artists who think challenging courses, and improvisation. critically, creatively you’ll learn the classical You’ll continue to and collaboratively. -
Racial Americanization: Conceptualizing African Immigrants in the U.S
THE SEMIANNUAL NEWSLETTER OF THE ROBERT PENN WARREN CENTER FOR THE HUMANITIES VOL. 18, NO. 2 • SPRING 2010 • VANDERBILT UNIVERSITY Racial Americanization: Conceptualizing African Immigrants in the U.S. Jemima Pierre n October 2008, while in Washington, loyalty is to domestic over foreign policy, D.C., I attended a networking event spon - insisting, as one woman did, that “a lot of us Isored by the group, African Diaspora for are African, but a lot of us are also Ameri - Obama (ADO). Billed as a “happy hour cock - cans.” The duality of the “African” and tail” party, it was a place for young African “American” identities clearly emerges in the immigrants and “Diaspora Africans,” and pre - group’s recognition of its positioning along - sumably supporters of Barrack Obama’s can - side, and its overlapping experiences with, didacy for president of the United States, to members of the broader U.S. Black commu - come together to meet, mingle, and learn nity. For example, within its corpus of politi - more about the organization’s cultural and cal activities are also cultural events dedicated political goals. When I arrived at the venue— to understanding the Black experience in the a restaurant-bar in the Northwest, D. C. U.S., including celebrations of Black History area—I quickly found myself surrounded by a Month, town hall conversations about lively group of young professionals with cul - African-African diaspora relations, and pro - turally diverse backgrounds spanning histories grams to address stereotypes about Africa and from North America, the Caribbean, and people of African descent in the U.S.