DOCSLIB.ORG

Scanned Using Scannx OS15000 PC

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Scanned Using Scannx OS15000 PC THE OHIO NEWS bureau company Clevel-iiul. 44115 First Chppin<J In O lo COLUMBUS EVENING DISPATCH COLUMBUS, 0. E.M.S CIRC. 222,350 OCT-12-75 Sue Ann Kocks in the title role as Dolly • Otterbein College Theater production of i Levi makes a romantic advance toward Thornton Wilder’s farce. “The Matchmak- J her employer, Steven Black as Horace er, to be staged at 8:15 p.m. Oct. 22-25 ii ^Vandergelder, in this scene from the Cowan Hall. ^ ■ A I Season tickets available Season tickets are still available for . the 1975-76 Otterbein College Theatre season, opening Oct. 22-25 Matchmaker opens at 8:15 p.m. with Thornton | Wilder’s “The Matchmaker” ^ Sue Ann Kocks and Steven Black are cast in the lead I staged as a partof the Otter­ roles of the Otterbein College Theatre production of ! bein Bicentennial obser - Thornton Wilder's classic farce, "The Matchmaker" ^ vance.; Oct. 22-25 at 8:15 p.m,. in Cowan Hall. Miss Kocks is matchmaker Dolly Levi,, while Black plays the role of ; Sue Ann Kocks as Dolly Horace Vandergelder, a Yonkers merchant who emplovs ; Levi and Steven .Black as her to find him a bride. Tickets are now available at the J, Horace Vandergelder are Cowan Hall Box Office. j cast in leading roles in “The Matchmaker.” The long - running Broadway musical “Hello. Dolly!” was based on this farce. Miss Kocks, a senior from Whitehall, plays the title role while Black, a Columbus junior, portrays a wealthy Yonkers merchant who employs her to find a suitable spouse for j him. I Plans are to stage the pro­ duction in 1890’s fashion,; I complete with period cos- , tumes and music compli -' menting four sets and a cast of 16 characters . The set de­ sign is by Professor Fred Thayer. Costumes are by Petie Dodrill. Three other major pre-" sentations are slated for the season, including “Hamlet” (Feb. 18021), Blithe Spirit i (.April 7-10) and “Showboat” A (May 19-22). In addition, a ! special children’s theatre • production ,of “Aladdin and his Wonderful Lamp” is scheduled for four shows the weekend of Nov. 21-23. v Ticke'ts are available by | calling the Cowan Hall box j office daily from 1-4 p.m. j ^ NEWS ' ^ J ; :.BUREAU COMPANY ^ Ohio 44115 ii . v,.^irst Clipping Bureau In Ohio ^oLO.v/ouS EVENiNQ -iSPATCH COLUMBUS, 0. C.-M.* CIRC. 222.350 IN WILDER FARCE James St. Clair and Beth Titus share a glass of champagne in this scene from Otterbein College’s production of “The Matchmaker.” The farce by Thornton Wilder will be presented at 8:15 p.m. Wednesday through Saturday, y ■ 41 THE OHid NEWS ; I'fc^ ;i; >y. BUREAU company. :#v/ A ■'.. .;Clevel^d^ OhtoT44ri5 r’ j ::i-^'^^t.f^Iipp.i^9^^reau 'In Okiq\l *: /1 COLUMBUS CITIZEN JOURNAL COLUMBUS, 0. A.M. • CIRC. 117,500 Oxenford, first I OCT-24-75 London in 1835. The morning after. THIS VERSIC one Johann Nesi pare a German i^’ iv.- atchmaker^ opens Otterbein seasorr GENE GERRARD the surface vulgarity usually dergelder’s niece, doesn’t es. They get to kiss a girl, and lizen-Joomal Staff Critic associated with the role. have a great deal to do — but Cornelius is allowed to put As plays go, Thornton Miss Kocks’ Dolly is gen­ whit she does is so very his arm about the waist of Wilder's ‘‘The Matchmaker” tler, more vulnerable, less rigit. Miss Malloy. is not exactly in the first pushy and determined than “THe Matchmaker” is farci­ Then there are moments flush of youth. other Dollys we have seen. and other revealing pauses Neither is the title charac­ But those are deficiencies in cally blessed with lightning changes of pace, slapstick during which Dolly suspends ter, for that matter. But she's characterization that one the levity long enough to a spry young bird in Charles comes to expect sometimes anc an abundance of old- fashioned, innocent charm. converse with the spirit of W. Dodrili’s faithful revival in an all-student production. her dead husband. this week in Cowan Hall on PHYSICALLY, STEVE And it is a wonderfully wise the Otterbein College cam­ Black is too suave and debon­ pla^, one whose asides are A GOOD deal of Dodrill’s warimly human and keenly pus. air as blustering Horace Van- direction emphasizes the DODRILL HAS staged dergelder, a merchant of observant. play’s merrily reckless Wilder's farce in 1890's fash­ Yonkers, N.Y., who doesn’t CNE FRENETICALLY hi­ mood. But there were times, ion with the aid of a younger- have the slightest idea that larious sequence occurs in particularly in the second than-springtime cast, which he is to be Mrs. Levi’s next the course of a Mack Sennett- act, when a brisker pace was includes Steve Black, Cabot husband, thus bringing her style chase in an elegant needed. Rea, Dan Hawk, Leslie infamous career as a match­ restaurant, when Cornelius “The Matchmaker” traces Young, James St. Clair, Jou maker to a close. Then, too. and Barnaby — in search of its ancestry all the way back John Cain, Anne Vittur, Ran­ Black strains at the bit for the adventure of their lives to an English trifle called “A dy Adams, Sue Kocks, Beth effect. He is forced instead of — realize their i^ildest wish- Day Well gpent,” by John Titus, Cindy Snodgrass, Dav­ forceful. - ■»-------------------- ^ ^ id Weller, David Robinson, Cindy Snodgrass (Minnie Tom Downard, Nancy Shel­ Fay) and John Cain (Barnaby ton and Beth Kendig. Tucker) are absolutely price­ Fred J. Thayer has provid­ less, and two of the show's ed four appropriately garish greatest assets. They were and colorful sets, and Sander the cause of more than one A. Frye's exquisitely fash­ burst of spontaneous ap­ ioned calliope contributes plause opening night. enormously to the general BETH TITUS makes a per­ mood and atmosphere of the fectly charming Irene Mal­ production. loy, a milliner who hates hats. OBVIOUSLY TOO young Also, I liked James St. in years for the role. Sue Clair as the 33-year-old ap­ Kocks is nonetheless a lovely prentice, Cornelius Hackl, in looking Dolly Levi — perhaps search of “adventure.” He’s a too handsome for her own very appealing young actor. good. She lacks the aggres­ siveness, the scheming and ANNE VITTUR, as Van­ Sue Ann Kocks and Steven farce, “The Matchmaker,” to Cincy Snodgress also will be Black have been cast m be presented at 8:15 p.m. featured in major roles. leading roles in the Otter- Oct. 22-25 in Cowan Hall. Other cast members will bein College production of Miss Kocks will portray include Randy Adams, Cabot Thornton Wilder’s classic Dolly Levi and Black will Rea, Dan Hawk, Leslie portray Horace Vandergel- Young, Anne Vittur, David der, the wealthy New York Weller, David Robinson, Tom merchant who employs her Downard, Nancy Shelton and as matchmaker. Beth Kendig. James St. Clair and John Dr. Charles W. Dodrill will Cain will play the appren­ direct the production, with tices with whom Vandergel- set design by Prof. Fred. der’s matchmaker becomes Thayer and costumes by Pe- involved, and Beth Titus and tie Dodrill. CCLUiUBUS P/ENING DISPATCH COLUMBUS, 0. EM..,CiRC. 222,350 OCT- 5-75 ; History Of.Play served When Otterbein College opens its theater season with Thornton Wilder’s “The Matchmaker” at 8:15 p.m. Oct. 22-25 as part of the Bicentennial observance, it will be staging a play with both American flavor and a . ^ foreign origin. ' ' Although Wilder’s “Matchmaker” is “typically American in spirit,” says director Dr. Charles W. Dod- rill, the origin of its plot can be traced to an English play written 140 years ago. t THE STORY OF a wealthy r merchant who employs * a matchmaker whom he even- : " tually marries came -from John Oxenford’s “^A Well Day . Spent,” which appeared in London in 1835. The same story was later ^ : ; adapted in a comedy by i f' Austrian Johann Nestroy, j “Einen Jux will er sich mach- i en” (“Out for a Good Time’") ! in 1842. * The plot got its initial ^ American adaptation in “The Merchant of Yonkers,” pro­ duced by Herman Shumlin, directed by Max Reinhardt and first performed at Bos­ ton’s Colonial Theater in 1938. WILDER’S version of the farce was rewritten from the earlier American production and produced for the Edin­ burgh Festival. It was first presented in 1954 at the Royal Lyceum Theater. The Wilder adaptation provided the basis for the long-running Broadway mus­ ical, “Hello, Dolly!”, with the main character fashioned after Wilder’s matchmaker, Dolly Levi. Dodrill says his plans are to stage the production in 1890s’ fashion, with period 5 and music corpnip- four sets and a.
Load more

Recommended publications
  • The Matchmaker Study Guide
    The Matchmaker Study Guide The Matchmaker by Thornton Wilder The following sections of this BookRags Literature Study Guide is offprint from Gale's For Students Series: Presenting Analysis, Context, and Criticism on Commonly Studied Works: Introduction, Author Biography, Plot Summary, Characters, Themes, Style, Historical Context, Critical Overview, Criticism and Critical Essays, Media Adaptations, Topics for Further Study, Compare & Contrast, What Do I Read Next?, For Further Study, and Sources. (c)1998-2002; (c)2002 by Gale. Gale is an imprint of The Gale Group, Inc., a division of Thomson Learning, Inc. Gale and Design and Thomson Learning are trademarks used herein under license. The following sections, if they exist, are offprint from Beacham's Encyclopedia of Popular Fiction: "Social Concerns", "Thematic Overview", "Techniques", "Literary Precedents", "Key Questions", "Related Titles", "Adaptations", "Related Web Sites". (c)1994-2005, by Walton Beacham. The following sections, if they exist, are offprint from Beacham's Guide to Literature for Young Adults: "About the Author", "Overview", "Setting", "Literary Qualities", "Social Sensitivity", "Topics for Discussion", "Ideas for Reports and Papers". (c)1994-2005, by Walton Beacham. All other sections in this Literature Study Guide are owned and copyrighted by BookRags, Inc. Contents The Matchmaker Study Guide ..................................................................................................... 1 Contents .....................................................................................................................................
    [Show full text]
  • TWS Newsletter Sampler
    Vol. 1, #1, Fall 2002 THE THORNTON WILDER SOCIETY NEWSLETTER FEATURES I NTERVIEW Tappan Wilder and John McIntyre WORK IN PROGRESS Penelope Niven on the progress of her Wilder biography FEATURED WORK Our Town: Rare letters, reviews, photographs and flyers about the play’s opening night WILDER REVEALED Photographs, journal entries and a play from United States Postal Service the youthful Wilder, Flamingo Red 1997 postage stamp honoring Thornton Wilder on the centennial of his birth. The stamp was designed by Michael Deas, who also designed COMMENTARY stamps honoring Marilyn Monroe and James Dean, and is based on a photograph by renowned photographer Gisele Freund. The background J. D. McClatchy on Wilder’s fiction landscape in the stamp depicts an idealized Our Town. PUBLICATIONS Edward Burns on Wilder’s correspondence INTERVIEW TAPPAN WILDER TALKS WITH JOHN MCINTYRE PART I: AN OLD-FASHIONED STORYTELLER WORK IN PROGRESS JPM: I’d like to start by asking you to comment on your uncle’s legacy. ATW: I see Thornton’s chief legacy as his capacity to identify questions about life and living, then to write stories about them, stories that still speak to us today. If this sounds terribly simplistic, Thornton Wilder, well, there you are. At a very deep level, the entertainer and the fabulist meet in Wilder, and they still work for readers and audiences in many parts of the world. For this reason, I enjoy describ- So Far ing him as an old-fashioned storyteller. JPM: Since your uncle had such a complete life, do we stop there? Penelope Niven ATW: No, no.
    [Show full text]
  • THE POLITICS of THORNTON WILDER's DRAMA by Wesley
    “IMPORTANT THINGS TO GIVE EACH OTHER”: THE POLITICS OF THORNTON WILDER’S DRAMA By Wesley Stewart Longacre B.A., Baylor University, 2004 M.A., Wake Forest University, 2013 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Doctor of Philosophy Department of Theatre & Dance 2017 This thesis entitled: “Important Things to Give Each Other”: The Politics of Thornton Wilder’s Drama has been approved for the Department of Theatre and Dance Dr. Oliver Gerland Dr. Beth Osnes Date The final copy of this thesis has been examined by the signatories, and we find that both the content and the form meet acceptable presentation ABSTRACT Longacre, Wesley (Ph.D., Theatre) “Important Things to Give Each Other”: The Politics of Thornton Wilder’s Drama Thesis directed by Associate Professor Oliver Gerland Thornton Wilder (1897-1975) was one of the most celebrated U.S. authors of the 20th century. As a dramatist, he wrote one of the most frequently produced plays in American dramatic history, Our Town. Given his fame, it is surprising that very little has been written about Wilder’s dramatic works from a political perspective. My dissertation aims to address this oversight by unearthing a family-based social and political ethic in his dramatic works. Through close study of his plays, interviews, letters, influences, and other writings, I have found that he promotes a democratic ethic through his drama. He creates the utopia that he longed to see in our global political climate and imagines what the world would look like if we truly ascribed to democratic ideals.
    [Show full text]
  • HELLO DOLLY Program Notes.Pdf
    ` PROGRAM NOTES By Joshua S. Ritter Goodspeed Education & Library Director When Hello, Dolly! opened on Broadway in January of 1964, the nation was still reeling from the shock of President Kennedy’s assassination and apprehensive about the worsening situation in Vietnam. The Beatles invasion had just begun; a youthful fervor for change and rock ‘n’ roll was palpable. David Merrick, a preternaturally gifted producer, could sense the longing of another American generation. He undoubtedly knew the time was right to provide the comfort and nostalgia of a good old-fashioned Broadway musical. After all, he was in possession of a successful theatrical property that was screaming to be set to music. It could also serve as a star vehicle for Ethel Merman, and it contained a 1890’s period flavor that would offer much-needed diversion from current events. Merrick began assembling a team of future Broadway legends to give music and new life to Thorton Wilder’s highly-successful play The Matchmaker. The title would quickly change to Dolly! A Damned Exasperating Woman; Call on Dolly; and finally to Hello, Dolly!. Merrick hired Gower Champion and Michael Stewart, with whom he had previously worked on Carnival!, to stage and adapt the book for what would later be called Hello, Dolly!. Merrick hired the young Jerry Herman to compose the music soon after his success penning the score for his first Broadway musical, Milk and Honey. Champion, Stewart, and Herman worked together to anchor the show to the title song and “Put on your Sunday Clothes.” These became massive production numbers, the former involving whirling waiters, trays of food, and Dolly Levi’s grand descent down a flight of stairs.
    [Show full text]
  • 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
    [Show full text]
  • Grover's Corners Neighbors, George Gibbs and Emily Webb, Whose Childhood Friendship Blossoms Into Romance, and Then Culminates in Marriage
    CREATING OUR TOWN A Resource Guide To Help Create Grover’s Corner by MaryAnne Piccolo 1 TABLE OF CONTENTS Plot and Task Statement...…………………..p.3 About the Playwright……………………...…p.4 Dramaturgy………………………………….…p.8 Imagery…………………………………………p.9 Film/ Music Inspiration...……………………p.12 Essential Question Ideas……………….…..p.14 Activity One……………………………..……p.15 Activity Two………………………………..…p.16 Activity Three…………………………………p.17 Activity Four………………………………..…p.22 Activity Five…………………………..………p.23 Moving into Text…………………………..…p.24 2 ________________________________________________________________________ The Plot Our Town explores the relationship between two young Grover's Corners neighbors, George Gibbs and Emily Webb, whose childhood friendship blossoms into romance, and then culminates in marriage. When Emily looses her life in childbirth, the circle of life portrayed in each of the three acts of Our Town--growing up, adulthood, and death--is fully realized. This timeless drama of life in the mythical village of Grover's Corners, New Hampshire, has become an American classic with universal appeal. Thornton Wilder's most frequently performed play, Our Town appeared on Broadway in 1938 to wide acclaim, and won the Pulitzer Prize. From the very beginning, Our Town has been produced in amateur and professional theatres around the world. Wilder offers a couple of chairs on a bare stage as the backdrop for an exploration of the universal human experience. The simple story of a love affair is constantly rediscovered because it asks timeless questions about the meaning of love, life and death. In the final moments of the play, the recently deceased Emily is granted the opportunity to revisit one day in her life, only to discover that she never fully appreciated all she possessed until she lost it.
    [Show full text]
  • Hello Dolly ...Full Name Mrs Dolly Gallagher Levi, but Where Does She Come From? She Is Obviously of Irish Extraction Before
    Hello Dolly ...full name Mrs Dolly Gallagher Levi, but where does she come from? She is obviously of Irish extraction before her marriage to Ephraim Levi. Different directors and actresses have therefore had a choice about which particular aspect to emphasise. However, she really owes as much to Ancient Rome as Ireland for it was here in about 200BC that a farce was written about two slaves who run away from their master for a day on the town. The farce has been adapted many times since: A Day Well Spent by John Oxenford (London, 1835); He's out for a fling by John Nestroy (Vienna, 1842) and On the Razzle by Tom Stoppard (1981, London), amongst others. The Wisconsin-born playwright, Thornton Wilder, came by Nestroy's version of the play and adapted it as The Merchant of Yonkers (1938) and later, following a complete re-write, called it The Matchmaker (first performed at the Edinburgh Festival in 1954). Thus, the focus has shifted from the two young slaves/shop employees via the crusty merchant, finally to rest on Dolly Levi in The Matchmaker and it is this version on which Michael Stewart and Jerry Herman based their hit musical, Hello Dolly! in 1964. Dolly Levi is a widowed marriage broker who is instructed to find a second wife for Horace Vandergelder, an impossibly cantankerous merchant from Yonkers, New York. Dolly decides, however, that she is going to marry him herself. She must now sabotage the match she's fixed up, (Mrs Molloy, a young widow and milliner from New York), and takes advantage of the fact that Vandergelder's two store clerks, Cornelius and Barnaby, are planning a clandestine day-trip to New York whilst Vandergelder himself is in the City.
    [Show full text]
  • Clarence Brown Theatre Produces High-Speed Farce with Tom Stoppard’S 'On the Razzle'
    Clarence Brown Theatre Produces High-Speed Farce With Tom Stoppard’s 'On the Razzle' By George Logan Wednesday, May 1, 2013 Clarence Brown Theatre’s producing artistic director Cal MacLean introduced On the Razzle as “a profoundly silly show,” and he was right about that. “One false move, and we would have a farce on our hands,” one character says early on. As it happens, there are lots of false moves, and we do indeed have a farce on our hands. What transpires is “a real razzle of a day, packed with adventure and hijinks.” It’s the classic mistaken-identity, disapproving-parent, jealous-pursuit romp turned up a few notches. It’s like a long Marx Brothers routine, with about a dozen Marx Brothers, and no musical breaks. The play, which debuted in 1981 as one of Tom Stoppard’s lighter efforts, has a pedigree even more complicated than the plot. It’s the contemporary Czech-born Englishman’s version of an 1842 Viennese playwright’s version of an English playwright’s original, but the Viennese version had already spawned Thornton Wilder’s The Merchant of Yonkers and The Matchmaker, which begat a major Broadway musical. So On the Razzle is, essentially, a first cousin, once removed, of Hello Dolly! There’s no Dolly character in On the Razzle, but you’ll see some family resemblance. According to the program, Stoppard “updated” the 1842 play, but only by about half a century, to the 1890s. It explores an interesting time and place, analogous to ours in some ways, a time in which urban cultural diversity was savored, and reveled in.
    [Show full text]
  • Adventure Awaits in Asolo Repertory Theatre's Production of Thornton Wilder's the Matchmaker
    ***For Immediate Release*** December 5, 2014 Adventure Awaits in Asolo Repertory Theatre's Production of Thornton Wilder's The Matchmaker "The Matchmaker is a match – many matches – made in heaven." - The National Post (SARASOTA, December 5, 2014) — Asolo Repertory Theatre kicks off its 2014-15 rep season with three-time Pulitzer Prize winner Thornton Wilder's uproarious romantic comedy, THE MATCHMAKER. Directed by Peter Amster, the play opens Friday, January 9, 2015 at 8pm, with previews Tuesday, January 6 at 7:30 pm, Wednesday, January 7 and Thursday, January 8 at 8pm. THE MATCHMAKER, which was adapted into the Tony Award®-winning musical Hello, Dolly!, runs in rotating rep through Saturday, April 11, 2015. Set at the dawn of the 20th century, THE MATCHMAKER chronicles an eccentric band of characters as they frolic through New York City in search of love, fortune and adventure. When the brusque and affluent merchant Horace Vandergelder wants a wife, he seeks the assistance of sprightly matchmaker Dolly Gallagher Levi. He intends to marry Irene Molloy, a widowed, disenchanted milliner, but Dolly -more- The Matchmaker Page 2 of 6 has already secretly concocted a plan to marry him herself. Vandergelder's madcap employees Cornelius and the young Barnaby are never far from their boss' quest for a wife, leaving a sticky trail of shenanigans along the way. "Some might ask why Asolo Rep would not just do Hello, Dolly!" said Amster. "Well, it turns out that the play offers pleasures and insights into the American character that the musical does not. Dolly Gallagher Levi, as conceived by Wilder, is every bit as deliciously sly, witty, and entertaining as Jerry Herman and Michael Stewart’s Dolly, but she’s more than that.
    [Show full text]
  • Thornton Wilder in Collaboration
    Thornton Wilder in Collaboration Thornton Wilder in Collaboration: Collected Essays on His Drama and Fiction Edited by Jackson R. Bryer, Judith P. Hallett and Edyta K. Oczkowicz Thornton Wilder in Collaboration: Collected Essays on His Drama and Fiction Edited by Jackson R. Bryer, Judith P. Hallett and Edyta K. Oczkowicz This book first published 2018 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2018 by Jackson R. Bryer, Judith P. Hallett, Edyta K. Oczkowicz and contributors Cover photograph: Thornton Wilder and Alfred Hitchcock collaborating on the script of the film Shadow of a Doubt. Image of Alfred Hitchcock courtesy Alfred Hitchcock LLC. All rights reserved. Thornton Wilder's unpublished handwritten manuscript, The Villa Rahbani (1920-21) © The Wilder Family LLC. Courtesy of the Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library. All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-0832-3 ISBN (13): 978-1-5275-0832-3 CONTENTS Introduction .............................................................................................. viii Books by Thornton Wilder .....................................................................
    [Show full text]
  • Wilder, Thornton 1897-1975 by Jeff Johnson
    Wilder, Thornton 1897-1975 by Jeff Johnson Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2006 glbtq, Inc. Reprinted from http://www.glbtq.com A 1946 portrait of Thornton Wilder as Mr. Pulitzer Prize-winning American playwright and novelist Thornton Niven Wilder was a Antrobus in his play "The prolific writer prominent in twentieth-century literature. A discreet homosexual, his Skin of Our Teeth." Photograph by Carl Van sexual proclivities were kept far out of the limelight. Vechten. Courtesy Library of Wilder's mainstream literary works are landmarks of American literature, but they Congress Prints and reveal scant traces of his homosexuality. He can be credited for acting as a behind- Photographs Division. the-scenes ambassador for the Lost Generation, making their avant-garde themes accessible to a middle- brow American public. Family Background and Education Wilder was born in Madison, Wisconsin on April 17, 1897, though he spent most of his boyhood in Berkeley, California. As an adolescent, Wilder isolated himself in academic projects, heeding his father's admonitions for constant self-improvement. Wilder's entire family was one of achieving, industrious, self-reliant Congregationalists with a strong work ethic. His father was the outspoken editor of a small-town newspaper in Madison, Wisconsin. In 1906 he was appointed U. S. consul general to Hong Kong and, later, to Shanghai. After retiring from the foreign service in 1914, he directed the Yale-in-China Association and became known as a popular public speaker. Wilder's mother, Isabella Nevins Wilder, was especially close to her son and encouraged his literary aspirations.
    [Show full text]
  • Producing the Classic Musical at the High School Level
    University of Central Florida STARS Electronic Theses and Dissertations, 2020- 2020 Dolly'll Never Go Away Again: Producing the Classic Musical at the High School Level Jason Whitehead University of Central Florida Part of the Theatre and Performance Studies Commons Find similar works at: https://stars.library.ucf.edu/etd2020 University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2020- by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Whitehead, Jason, "Dolly'll Never Go Away Again: Producing the Classic Musical at the High School Level" (2020). Electronic Theses and Dissertations, 2020-. 150. https://stars.library.ucf.edu/etd2020/150 DOLLY’LL NEVER GO AWAY AGAIN: PRODUCING THE CLASSIC MUSICAL AT THE HIGH SCHOOL LEVEL by JASON WHITEHEAD B.F.A. University of Central Florida, 2006 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Theatre in the Department of Theatre in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Spring Term 2020 © 2020 Jason Whitehead ii ABSTRACT High school theatre programs tend to select musicals that employ many students, both on and offstage, as well as titles which contain little to no objectionable content, making it safe for all family members to attend. The community standards imposed by school districts limit the choices for theatre teachers. Students also tend to be attracted to the newer and recently released musicals, ones that just finished a national tour or their Broadway run.
    [Show full text]