CARES Grantees- Final
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Daisun Cohn-Williams- Acting Resume
Daisun Cohn-Williams SAG - AFTRA Hair: Black Eyes: Brown FILM The Sanctuary Lead Dir: Marc Rosenzweig Saviors Lead Dir: Daniel Russell Anatomy of the Moment Lead Dir: Berman Fenelus For the Love of Gauguin Lead Dir: Yana Bille Psycho Brother-In-law Supporting Dir: Jose Montesinos/Lifetime Tell Me How I Die Supporting Dir: DJ Viola LAPS Supporting Dir. Chad Diez All About the Money Supporting Dir: Kelby Joseph Pharmacopoeia Supporting Dir: Shannon Green Band-Aid Supporting Dir: Justin Chandra TV Ex Pats Series Lead Dir: Abe Heisler The New Adult Reoccurring Dir: Katherine Murray-Satchell This Indie Thing Reoccurring Dir: Steve Royal Cat Lady Chronicles Guest Star Dir: Angela Dugan In The Mix Co-host PBS THEATRE (partial list) Rock Bottom Rising Ensemble Second City Hollywood MainStage She Said What? Lead T.S.T. Co./NAACP Play Fest., 2013 Twisted Dance Lead Towne St. Theatre Co., LA I'll Take a Side of Stories Lead Soho Repertory Theatre, NY Remote Control Lead Tribeca Performing Arts Theatre, NY B.Y.O.B. Lead McKenzie Theatre, LA Love, Lust, or Infatuation Lead Hollywood Fight Club Theatre, LA My Children My Africa Lead Wheaton College, MA Afros &Ass Whoopins Understudy Second City Hollywood, MainStage, LA COMMERCIAL/PRINT Available upon request TRAINING Comedy Intensive/On Going Technique Lesly Kahn LA On Camera/Scene Study Paul Currie LA Cold Reading/Acting Technique Brian Reise LA Cold Reading/Audition Technique Amy Lyndon LA Acting for the Camera Karen Ludwig NY Scene Study Jacqueline Cohen NY Improv/Sketch (Conservatory Graduate) The Second City LA Improv Colton Dunn/Will McLaughlin LA SPECIAL SKILLS Dance: Intermediate-Caribbean, Hip-Hop, House, Latin, Swing; Beginner- Waltz, Tango Athletic: Falling Off Surf Boards, College level- Basketball, H.S. -
Scanned Document
-~.:. Association of Performing Arts Presenters .. .. : . ". VIA ELECTRONIC FILING January 13, 2010 Ms. Marlene H. Dortch Secretary Federal Communications Commission 445 12th Street SW Washington, DC 20554 Re: Ex Parte Communication, Revisions to Rules Authorizing the Operation ofLow Power Auxiliary Stations in the 698-806 MHz Band, WT Docket No. 08-166; Public Interest Spectrum Coalition, Petition for Rulemaking Regarding Low Power Auxiliary Stations, Including Wireless Microphones, and the Digital Television Transition. WT Docket No. 08-167 Dear Ms. Dortch: The Association ofPerforming Arts Presenters ("Arts Presenters") requests that the Commission recognize the legitimate use ofwireless microphones used in the performing arts by expanding eligibility for licensing ofwireless microphones to include performing arts organizations, by permitting incumbent wireless microphone operations to relocate to spectrum in the TV Core (on or below UHF Channel 51), by adopting appropriate technical and service rules for such operations and by affording interference protection for wireless microphone operations from co-channel and adjacent channel unlicensed fixed and mobile white space operations. Arts Presenters includes nearly 2,000 members representing the nation's leading performing arts centers, including civic and university performance facilities, as well as artist agencies, managers, touring companies, national consulting practices that service the field, and a growing roster ofself-presenting artists. Arts Presenters members operate in all 50 states and range from large performing arts centers in major urban cities, outdoor festivals and rural community-focused organizations to academic institutions, artists and artist managers. For the Commission's information, attached is a copy ofthe participants listings from the January 2010 Arts Presenters conference. -
An Exciting Year Ahead How Your Generosity Gives Ballet Arizona the Ability to Strive for Continued Excellence
BALLET ARIZONA DONOR IMPACT Corporate Spotlight: Donor Spotlight: Letter From the Q&A: Wells Fargo Mary and David Patino Executive Director: Artistic Director REPORT Samantha Turner Ib Andersen TURNING POINTE An Exciting Year Ahead How your generosity gives Ballet Arizona the ability to strive for continued excellence Ballet Arizona dancers Nayon Iovino and Jillian Barrell in Romeo & Juliet. Choreography by Ib Andersen. Photo by Rosalie O’Connor. WINTER 2017 I thank you for your continued generosity, support and passion ... Happy New Year! Welcome to 2017. On behalf of everyone at Ballet Arizona, I wish you good health and happiness coupled BEHIND THE SCENES with some spectacular ballet performances. I hope you’ll join with Ib Andersen us this February as we celebrate the return of Romeo & Juliet. Accompanied by The Phoenix Symphony, you have a unique opportunity to hear the Prokofiev score performed in its entirety. Q: What is your experience and history with In this issue, Executive Director Samantha Turner shares the Romeo & Juliet? news about an incredible legacy gift endowed to us by the A: I danced Romeo in Romeo & Juliet at the Royal Danish Ballet with late Hazel A. S. Hare. This gift is the largest one-time gift ever Mette-Ida Kirk. We were about 20 years old. It was choreographer received in the history of Ballet Arizona. We are deeply honored John Neumeier's premiere and it became such a huge success, to be the beneficiaries of such a transformational gift and to they are still doing that version today. This ballet was very crucial be among the few beneficiaries of such a generous woman. -
The Shubert Foundation 2020 Grants
The Shubert Foundation 2020 Grants THEATRE About Face Theatre Chicago, IL $20,000 The Acting Company New York, NY 80,000 Actor's Express Atlanta, GA 30,000 The Actors' Gang Culver City, CA 45,000 Actor's Theatre of Charlotte Charlotte, NC 30,000 Actors Theatre of Louisville Louisville, KY 200,000 Adirondack Theatre Festival Glens Falls, NY 25,000 Adventure Theatre Glen Echo, MD 45,000 Alabama Shakespeare Festival Montgomery, AL 165,000 Alley Theatre Houston, TX 75,000 Alliance Theatre Company Atlanta, GA 220,000 American Blues Theater Chicago, IL 20,000 American Conservatory Theater San Francisco, CA 190,000 American Players Theatre Spring Green, WI 50,000 American Repertory Theatre Cambridge, MA 250,000 American Shakespeare Center Staunton, VA 30,000 American Stage Company St. Petersburg, FL 35,000 American Theater Group East Brunswick, NJ 15,000 Amphibian Stage Productions Fort Worth, TX 20,000 Antaeus Company Glendale, CA 15,000 Arden Theatre Company Philadelphia, PA 95,000 Arena Stage Washington, DC 325,000 Arizona Theatre Company Tucson, AZ 50,000 Arkansas Arts Center Children's Theatre Little Rock, AR 20,000 Ars Nova New York, NY 70,000 Artists Repertory Theatre Portland, OR 60,000 Arts Emerson Boston, MA 30,000 ArtsPower National Touring Theatre Cedar Grove, NJ 15,000 Asolo Repertory Theatre Sarasota, FL 65,000 Atlantic Theater Company New York, NY 200,000 Aurora Theatre Lawrenceville, GA 30,000 Aurora Theatre Company Berkeley, CA 40,000 Austin Playhouse Austin, TX 20,000 Azuka Theatre Philadelphia, PA 15,000 Barrington Stage Company -
Roberto Muñoz
Roberto Muñoz Mr. Munoz has been teaching and coaching young dancers for over 30 years, both in the USA and abroad. Mr. Munoz served as Director of the Conservatory of Dance and Music Point Park College (now University) from 1983-1995. There, he created two successful programs for young aspiring dancers, The Pre-Professional Division and the International Summer Dance Program. During this time, he assembled an impressive faculty of world-renowned Master Teachers, including Laura Alonso, Barbara Sandonato, Karen Brown, Magda Aunon, Eva Evdokimova, Willy Burmann, Michael Uthoff, John McFall and Jose Molina. In the summer of 1993, Mr. Munoz, was invited to be part of the faculty at Pro Danza in Havana Cuba, where he taught classes at the Historical Theater Garcia Lorca. In the year 1995, was invited to teach at The Baltimore High School for the Performing Arts. From 1997-2005, Mr. Munoz was Ballet Master/Coach for both Pittsburgh Ballet Theater’s Company and its school. In 2005, he became Executive Director and Ballet Master at Gulfshore Ballet in Florida. Mr. Munoz’s former students are recognized for their high level of professionalism and their artistic and technical achievements. Most have gone on to successful careers with major companies across the US and Europe. Mr. Munoz has been a guest Master Teacher at a number of Ballet Companies, including Atlanta Ballet, Ballet Arizona, Ballet Met, Boston Ballet, Houston Ballet, Pittsburgh Ballet Theater and Colorado Ballet, among others. He has also taught master classes at Central Pennsylvania Youth Ballet, Magda Aunon Classical Ballet School, Wexford Dance Academy, Ballet Academy of Pittsburgh, Dmitri Kulev Classical Ballet Academy, Colorado Conservatory of Dance, Aspen Santa Fe Ballet School, both in Aspen and Santa Fe, Vail Valley Dance Academy, Ballet Conservatory of South Texas, Dance Conservatory of Maryland, Takeuchi Ballet Studio in Japan and the Kenny Wang Ballet School in Taiwan.. -
Dance Theatre of Harlem
François Rousseau François DANCE THEATRE OF HARLEM Founders Arthur Mitchell and Karel Shook Artistic Director Virginia Johnson Executive Director Anna Glass Ballet Master Kellye A. Saunders Interim General Manager Melinda Bloom Dance Artists Lindsey Croop, Yinet Fernandez, Alicia Mae Holloway, Alexandra Hutchinson, Daphne Lee, Crystal Serrano, Ingrid Silva, Amanda Smith, Stephanie Rae Williams, Derek Brockington, Da’Von Doane, Dustin James, Choong Hoon Lee, Christopher Charles McDaniel, Anthony Santos, Dylan Santos, Anthony V. Spaulding II Artistic Director Emeritus Arthur Mitchell PROGRAM There will be two intermissions. Friday, March 1 @ 8 PM Saturday, March 2 @ 2 PM Saturday, March 2 @ 8 PM Zellerbach Theatre The 18/19 dance series is presented by Annenberg Center Live and NextMove Dance. Support for Dance Theatre of Harlem’s 2018/2019 professional Company and National Tour activities made possible in part by: Anonymous; The Arnhold Foundation; Bloomberg Philanthropies; The Dauray Fund; Doris Duke Charitable Foundation; Elephant Rock Foundation; Ford Foundation; Ann & Gordon Getty Foundation; Harkness Foundation for Dance; Howard Gilman Foundation; The Dubose & Dorothy Heyward Memorial Fund; The Klein Family Foundation; John L. McHugh Foundation; Margaret T. Morris Foundation; National Endowment for the Arts; New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature; New England Foundation for the Arts, National Dance Project; Tatiana Piankova Foundation; May and Samuel Rudin -
November 12, 2017
A Love/Hate Story in Black and White Directed by Lou Bellamy A Penumbra Theatre Company Production October 19 – November 12, 2017 ©2017 Penumbra Theatre Company Wedding Band Penumbra’s 2017-2018 Season: Crossing Lines A Letter from the Artistic Director, Sarah Bellamy Fifty years ago a young couple was thrust into the national spotlight because they fought for their love to be recognized. Richard and Mildred Loving, aptly named, didn’t intend to change history—they just wanted to protect their family. They took their fight to the highest court and with Loving v. The State of Virginia, the Supreme Court declared anti-miscegenation law unconstitutional. The year was 1967. We’re not far from that fight. Even today interracial couples and families are met with curiosity, scrutiny, and in this racially tense time, contempt. They represent an anxiety about a breakdown of racial hierarchy in the U.S. that goes back centuries. In 2017 we find ourselves defending progress we never imagined would be imperiled, but we also find that we are capable of reaching beyond ourselves to imagine our worlds anew. This season we explore what happens when the boundlessness of love meets the boundaries of our identities. Powerful drama and provocative conversations will inspire us to move beyond the barriers of our skin toward the beating of our hearts. Join us to celebrate the courage of those who love outside the lines, who fight to be all of who they are, an in doing so, urge us to manifest a more loving, inclusive America. ©2017 Penumbra Theatre Company 2 Wedding Band Table of Contents Introductory Material ........................................................................................................................ -
Brand-New Theaters Planned for Off-B'way
20100503-NEWS--0001-NAT-CCI-CN_-- 4/30/2010 7:40 PM Page 1 INSIDE THE BEST SMALL TOP STORIES BUSINESS A little less luxury NEWS YOU goes a long way NEVER HEARD on Madison Ave. ® Greg David Page 11 PAGE 2 Properties deemed ‘distressed’ up 19% VOL. XXVI, NO. 18 WWW.CRAINSNEWYORK.COM MAY 3-9, 2010 PRICE: $3.00 PAGE 2 ABC Brand-new News gets cut theaters to the bone planned for PAGE 3 Bankrupt St. V’s off-B’way yields rich pickings PAGE 3 Hit shows and lower prices spur revival as Surprise beneficiary one owner expands of D.C. bank attacks IN THE MARKETS, PAGE 4 BY MIRIAM KREININ SOUCCAR Soup Nazi making in the past few months, Catherine 8th Ave. comeback Russell has been receiving calls constant- ly from producers trying to rent a stage at NEW YORK, NEW YORK, P. 6 her off-Broadway theater complex. In fact, the demand is so great that Ms. Russell—whose two stages are filled with the long-running shows The BUSINESS LIVES Fantasticks and Perfect Crime—plans to build more theaters. The general man- ager of the Snapple Theater Center at West 50th Street and Broadway is in negotiations with landlords at two midtown locations to build one com- plex with two 249-seat theaters and an- other with two 249-seat theaters and a 99-seat stage. She hopes to sign the leases within the next two months and finish the theaters by October. “There are not enough theaters cen- GOTHAM GIGS by gettycontour images / SPRING AWAKENING: See NEW THEATERS on Page 22 Healing hands at the “Going to Broadway has Bronx Zoo P. -
Qurrat Ann Kadwani: Still Calling Her Q!
1 More Next Blog» Create Blog Sign In InfiniteBody art and creative consciousness by Eva Yaa Asantewaa Tuesday, May 6, 2014 Your Host Qurrat Ann Kadwani: Still calling her Q! Eva Yaa Asantewaa Follow View my complete profile My Pages Home About Eva Yaa Asantewaa Getting to know Eva (interview) Qurrat Ann Kadwani Eva's Tarot site (photo Bolti Studios) Interview on Tarot Talk Contact Eva Name Email * Message * Send Contribute to InfiniteBody Subscribe to IB's feed Click to subscribe to InfiniteBody RSS Get InfiniteBody by Email Talented and personable Qurrat Ann Kadwani (whose solo show, They Call Me Q!, I wrote about Email address... Submit here) is back and, I hope, every bit as "wicked smart and genuinely funny" as I observed back in September. Now she's bringing the show to the Off Broadway St. Luke's Theatre , May 19-June 4, Mondays at 7pm and Wednesdays at 8pm. THEY CALL ME Q is the story of an Indian girl growing up in the Boogie Down Bronx who gracefully seeks balance between the cultural pressures brought forth by her traditional InfiniteBody Archive parents and wanting acceptance into her new culture. Along the journey, Qurrat Ann Kadwani transforms into 13 characters that have shaped her life including her parents, ► 2015 (222) Caucasian teachers, Puerto Rican classmates, and African-American friends. Laden with ▼ 2014 (648) heart and abundant humor, THEY CALL ME Q speaks to the universal search for identity ► December (55) experienced by immigrants of all nationalities. ► November (55) Program, schedule and ticket information ► October (56) ► September (42) St. -
Umbra Search: African American History
Umbra Search: African American History Umbra Search African American History is a freely available widget (an element of a graphical user interface that displays) information or provides a specific way for a user to interact with an operation system or an application and search tool via umbrasearch.org that facilitates access to African American history through digitization content, community events and workshops developed by the Givens Collection of African American Literature at the University of Minnesota Libraries’ Archives and Special Collections, with Penumbra Theatre Company. The service is a response to a project dedicated to understanding the role of theater archives in documenting history. However, the scope of immediately went beyond theater and the performing arts to unite the historical artifacts and documents that represent the full depth and breadth of the African American experience—its people, places, ideas, events, movements, and inspirations in hope that this rich history will find new life and form in theater, literature, works of art, journalism, scholarship, teaching curricula, and much more. Hence the project began in 2012 with ‘Preserving the Ephemeral: An Archival Program for Theater and the Performing Arts” (https://www.lib.umn.edu/about/ephemeral/), originally conceived as The African American Theater History Project with funding from the Institute of Museum and Library Services, Preserving the Ephemeral was a collaboration between the University of Minnesota and Penumbra Theatre Company to assess the needs of the theater community, and ethnic theaters in particular, around questions of archives and historical legacy wherein over 300 theater representatives responded to a national survey in partnership with American Theatre Archive Project, and artistic directors and founders from over 60 theaters around the U.S. -
2021-02-12 FY2021 Grant List by Region.Xlsx
New York State Council on the Arts ‐ FY2021 New Grant Awards Region Grantee Base County Program Category Project Title Grant Amount Western New African Cultural Center of Special Arts Erie General Support General $49,500 York Buffalo, Inc. Services Western New Experimental Project Residency: Alfred University Allegany Visual Arts Workspace $15,000 York Visual Arts Western New Alleyway Theatre, Inc. Erie Theatre General Support General Operating Support $8,000 York Western New Special Arts Instruction and Art Studio of WNY, Inc. Erie Jump Start $13,000 York Services Training Western New Arts Services Initiative of State & Local Erie General Support ASI General Operating Support $49,500 York Western NY, Inc. Partnership Western New Arts Services Initiative of State & Local Erie Regrants ASI SLP Decentralization $175,000 York Western NY, Inc. Partnership Western New Buffalo and Erie County Erie Museum General Support General Operating Support $20,000 York Historical Society Western New Buffalo Arts and Technology Community‐Based BCAT Youth Arts Summer Program Erie Arts Education $10,000 York Center Inc. Learning 2021 Western New BUFFALO INNER CITY BALLET Special Arts Erie General Support SAS $20,000 York CO Services Western New BUFFALO INTERNATIONAL Electronic Media & Film Festivals and Erie Buffalo International Film Festival $12,000 York FILM FESTIVAL, INC. Film Screenings Western New Buffalo Opera Unlimited Inc Erie Music Project Support 2021 Season $15,000 York Western New Buffalo Society of Natural Erie Museum General Support General Operating Support $20,000 York Sciences Western New Burchfield Penney Art Center Erie Museum General Support General Operating Support $35,000 York Western New Camerta di Sant'Antonio Chamber Camerata Buffalo, Inc. -
Student Matinee Study Guide Ballet History, Trivia and Test Your Knowledge
Student Matinee Study Guide BALLET HISTORY, TRIVIA AND TEST YOUR KNOWLEDGE BALLET TIME LINE Renaissance Period This era was all about also included a solo for each of them and a coda (a short, entertainment. The ballet de court was performed by quick finale). The classic tutu (stiff skirt) became popular; aristocrats from the royal courts of Europe. Ballet was many ballets were choreographed such as Swan Lake, brought in from Italy to France in the 1530’s when Italian The Sleeping Beauty, and The Nutcracker, which are still Catherine Medici married Henry II of France. In 1661, performed today. Baroque Period: 1710 – 1770 Maria Camargo the first ballet school opened in France. It was begun by In 1909, a Russian impresario Louis XIV and called Académie de Royale Danse. The five The Ballet Russes (a person who produces ballets, operas, and basic foot positions were named and are the basis for all concerts) named Sergei Diaghilev created the Ballet classical ballet steps. At first, only men were allowed to Russes and brought them to Paris. They traveled all dance. Women were allowed in 1681 but had to wear full throughout Europe, bringing with them innovative length gowns. new choreography, costumes, and scenery designed by Baroque Period In this era, it was common to master artists. combine opera, ballet, and music into one performance Ballet continued to grow throughout to tell a story. Ballet in Europe Europe, and today we have the Royal Ballet in London Romantic Ballet: 1831 – 1848 Classical Period This era occurred during the late and the Royal Danish Ballet in Copenhagen.