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Book by Winnie Holzman
Libretto Book Wicked A New Musical Music and Lyrics by Stephen Schwartz Book by Winnie Holzman Based on the novel Wicked: The Life and Times of The Wicked Witch of the West by Gregory Maguire Originally Directed by Joe Mantello Originally Produced on Broadway by Marc Platt, Universal Pictures, The Araca Group, Jon B. Platt and David Stone HTTP://COPIONI.CORRIERESPETTACOLO.IT Wicked Cast: Glinda Kristin Chenoweth Elphaba Idina Menzel Fiyero Norbert Leo Butz Nessarose Michelle Federer Boq Christopher Fitzgerald The Wonderful Wizard of Oz Joel Grey Madame Morrible Carole Shelley Doctor Dillamond William Youmans Ensemble Kristy Cates Melissa Bell Chait Marcus Choi Kristoffer Cusick Kathy Deitch Melissa Fahn Rhett G. George Manuel Herrera Kisha Howard LJ Jellison Cristy Candler Sean McCourt Corinne McFadden Jan Neuberger Walter Winston Oneil Andrew Palermo Andy Pellick Michael Seelbach Lorna Ventura Ioana Alfonso Ben Cameron HTTP://COPIONI.CORRIERESPETTACOLO.IT ACT I [Scene 1 - No One Mourns The Wicked] Ozians: GOOD NEWS, SHE'S DEAD! THE WITCH OF THE WEST IS DEAD! THE WICKEDEST WITCH THERE EVER WAS, THE ENEMY OF ALL OF US HERE IN OZ, IS DEAD! GOOD NEWS! GOOD NEWS! Ozian: Look, it's Glinda! (Glinda floats in on a giant bubble) Glinda: It's good to see me, isn't it? (Ozians Agree) No need to respond that was rhetorical. Fellow Ozians, LET US BE GLAD, LET US BE GRATEFUL, LET US REJOICIFY THAT GOODNESS COULD SUBDUE THE WICKED WORKINGS OF YOU KNOW WHO! ISN'T IT NICE TO KNOW THAT GOOD WILL CONQUER EVIL? THE TRUTH WE ALL BELIEVE'LL BY AND BY OUTLIVE A LIE FOR YOU AND.. -
The Rainbow Pages
THE RAINBOW PAGES therainbowpages.ca THE FAMILY CENTRE | EDMONTON | EDITION NO. 4 ABOUT THIS RESOURCE GUIDE Hello! Transitioning into adulthood can be tough. You are figuring out who you are, including your sexual orientation and gender identity. Whether you are unsure or very clear about it all, there are tons of supports available in our city. This resource guide, The Rainbow Pages, was developed by The Family Centre to provide Lesbian Gay Bisexual Transgender Queer+ (LGBTQ+)* youth and the youth-serving community a consolidated guide of the supports available in Edmonton. The Family Centre would like to thank the participating organizations for supporting the development of this guide and their ongoing services in our community. The resources within this guide are intended to meet the needs of a broad audience. Some content is intended for mature youth. Please review the content before sharing resources with youth. To order more copies or update your organization’s listing please contact [email protected]. * The acronym LGBTQ+ has been used to represent the acronym LGBTTQQIA meaning Lesbian Gay Bisexual Transgendered Two-Spirited Queer Questioning Intersexed Asexual. TABLE OF CONTENTS HEALTH & SUPPORTS 5 TRANSGENDER SUPPORTS 16 EVENTS & ACTIVITIES 18 AFFIRMING CHURCHES/CONGREGATIONS 20 ONLINE MEDIA 23 HEALTH & SUPPORTS ALBERTA GAY STRAIGHT ALLIANCE NETWORK Alberta GSA is the Alberta chapter of the GSA network of student-run groups that provides a safe place for any and all students to meet and learn about all different orientations, to support each other while working together to end homophobia, and to raise awareness and promote equality for all human beings. -
The Wizard of Oz 4Th-8Th Grades
Study Guide: The Wizard of Oz 4th-8th Grades Created as part of the Alliance Theatre’s Dramaturgy by Students program by: Barry Stewart Mann, Teaching Artist with: students at The Friends School of Atlanta and their educator: Ms. Amy Lighthill Written by L. Frank Baum Music and lyrics by Harold Arlen and E.Y. Harburg Book adaptation by John Kane Directed by Rosemary Newcott March 9 – April 14, 2019 Rich Theatre, Woodruff Arts Center 1 TABLE OF CONTENTS Pre- and Post-Show Questions ________________________________________________ pg. 3 About the Director __________________________________________________________ pg. 4 Curriculum Standards _______________________________________________________ pg. 5 Synopsis __________________________________________________________________ pg. 5 About the Author ___________________________________________________________ pg. 6 About the Film ____________________________________________________________ pg. 6 • Fun Film Facts ____________________________________________________ pg. 7 • The Wizard of Oz Time Line _________________________________________ pg. 8 Character Profiles on Oztagramchatbook _______________________________________ pg. 9 Folk Art __________________________________________________________________ pg. 10 Themes • (There’s No Place Like) Home ________________________________________ pg. 11 • (Somewhere Over the) Rainbow ______________________________________ pg. 12 • The Hero’s Journey (a Debate) _______________________________________ pgs. 13-14 STEAM Connections _________________________________________________________ -
THE WACKY WIZARD of OZ by Patrick Dorn
THE WACKY WIZARD OF OZ By Patrick Dorn Copyright © 2015 by Patrick Dorn, All rights reserved. ISBN: 978-1-60003-837-2 CAUTION: Professionals and amateurs are hereby warned that this Work is subject to a royalty. This Work is fully protected under the copyright laws of the United States of America and all countries with which the United States has reciprocal copyright relations, whether through bilateral or multilateral treaties or otherwise, and including, but not limited to, all countries covered by the Pan-American Copyright Convention, the Universal Copyright Convention and the Berne Convention. RIGHTS RESERVED: All rights to this Work are strictly reserved, including professional and amateur stage performance rights. Also reserved are: motion picture, recitation, lecturing, public reading, radio broadcasting, television, video or sound recording, all forms of mechanical or electronic reproduction, such as CD-ROM, CD-I, DVD, information and storage retrieval systems and photocopying, and the rights of translation into non-English languages. PERFORMANCE RIGHTS AND ROYALTY PAYMENTS: All amateur and stock performance rights to this Work are controlled exclusively by Brooklyn Publishers, LLC. No amateur or stock production groups or individuals may perform this play without securing license and royalty arrangements in advance from Brooklyn Publishers, LLC. Questions concerning other rights should be addressed to Brooklyn Publishers, LLC. Royalty fees are subject to change without notice. Professional and stock fees will be set upon application in accordance with your producing circumstances. Any licensing requests and inquiries relating to amateur and stock (professional) performance rights should be addressed to Brooklyn Publishers, LLC. Royalty of the required amount must be paid, whether the play is presented for charity or profit and whether or not admission is charged. -
Pride Politics: a Socio-Affective Analysis by Randi Nixon a Thesis Submitted in Partial Fulfillment of the Requirements For
Pride Politics: A Socio-Affective Analysis by Randi Nixon A thesis submitted in partial fulfillment of the requirements for the degree of Doctorate of Philosophy Department of Sociology University of Alberta ©Randi Nixon, 2017 ii Abstract: This dissertation explores the affective politics of pride in the context of neoliberalism and the multitude of way that proud feelings map onto issues of social justice. Since pride is so varied in both its individual and political manifestations, I draw on numerous instances of collective pride to attend to the relational, structural and historical contours of proud feelings. Given the methodological challenges posed by affect, I use a mixed- method approach that includes interviews, participant observation, and discourse analysis, while being keenly attuned to the tension between bodily materiality and discursivity. Each chapter attends to an “event” of pride, exploring its emergence during particular encounters with collective difference. The project fills a gap in affect theory by attending to the way that proud feelings play a vital role in both igniting the political intensity necessary to bring about change (through Pride politics), and blocking or extinguishing possibilities of respectful dialogue and solidarity across gendered, sexual, and racial difference. Across the chapters, pride is used as a conduit through which the complexity of affective politics can be examined. The proud events around and through which each chapter is structured expose paths of affect and its politics. Taken together, the chapters provide an initial blueprint for navigating contemporary affective politics. Through an examination of the discursive rendering of pride, I find that, across several literatures, two key characteristics of pride are its deep relationality between individuals and collectives, and the way it circulates, is managed, and emerges in relation to social hierarches and the value attached to political categories (race, class, gender, ability). -
Aging with Pride: Supporting Lgbtq2s+ Seniors in Alberta
D A T E : August 20, 2020 AGING WITH PRIDE: T I M E : 1 0 : 0 0 – 1 1 : 3 0 a . m . SUPPORTING LGBTQ2S+ SENIORS IN ALBERTA H O S T : Floyd Visser Formerly with The SHARP F o u n d a t i o n CORE DISCUSSION FORUM Classification: Protected A INTRODUCTIONS & AGENDA • Forum background & purpose • Aging with Pride: Guide • Other work in Alberta • Community conversation & information sharing • Continuing collaboration: CORE Alberta Classification: Protected A CREATING A COORDINATED Community-based seniors serving sector in Alberta corealberta.ca A joint initiative by: Classification: Protected A KEY ISSUES EMERGING • Food security • Home supports • Social connection/mental health & wellness • Business continuity & operations • Transportation • Financial Matters (tax filing) Classification: Protected A AGING WITH PRIDE: SUPPORTING LGBTQ2S+ SENIORS IN A L B E R TA Floyd Visser Formerly with The SHARP Foundation Classification: Protected A Introducing… AGING WITH PRIDE The Government of Alberta launched Aging with Pride on June 1, 2020. It will empower organizations and businesses to ensure all seniors feel safe, welcome and supported in their communities. The easy-to-use guide provides six strategies and multiple sample tools that groups can use to conduct a self-audit and address any gaps in service. Classification: Protected A There are an estimated 16,000 – 81,000 LGBTQ2S+ older adults in Alberta Many of these individuals grew up when being LGBTQ2S+ was a criminal offence, immoral and/or a mental health condition Classification: Protected -
Si View Dance Troupe 2020
Wizard of Oz | Si View Dance Troupe 2020 Dorothy – Emily (Ballet slippers & Red character shoes) Auntie Em – Charlie Uncle Henry - Amber Toto – Ellie (tan jazz shoes) Ms. Gultch/Witch of the West – Josy (black character shoes) Lead Guards right and left to Witch – Jaiden & Jenna (black jazz shoes) Twister dancers – Allie, Sarah, Jaiden, Alexa, Jenna, Natalie, Lily (black jazz shoes) Glendalee twin #1 – Sydney (Tan character shoes) Glendalyn twin #2 – Maria (Tan character shoes) Munchkins – Addy, Ava, Izzy, Brynja, Rosa, Madelyn, Charlie, Amber, Sarah (Tan jazz shoes) Mayor of Munchkin land – Abby (black character shoes) Coroner – Elyse (black character shoes) Yellow Brick Road Rockettes– Cassie, Matilda, Savannah, Giana (Tan character shoes) Helen/Scarecrow – Marra (bare feet) Crows – Lily, Natalie (bare feet) Harriet/Tin woman – Kate – (Black Tap shoes & Black jazz shoes) Hattie/Oil can – Emma – (Black Tap shoes & Black jazz shoes) Hazel/Lion – Sadie (Tan jazz shoes) Trees – Brynja, Addy, Ava, Madelyn, Elyse (Black jazz shoes) Poppies – Izzy, Rosa, Allie, Sarah, Charlie, Amber (Tan jazz shoes) Castle guards Witch of the West – Cassie, Matilda, Savanna, Giana, Abby (black jazz shoes) Emerald City Mayor – Elyse (Black character shoes) Emerald City Citizens – Addy, Ava, Izzy, Brynja, Rosa, Madelyn, Allie, Abby, Cassie, Matildia, Savannah, Giana, Natalie, Lily, Emma, Sarah (Tan jazz shoes) Wizard of OZ – Alexa (Black character shoes) Nicky right hand to Wizard – Charlie (Black jazz shoes) Nicole left hand to Wizard – Amber (Black jazz shoes) Flying Monkeys – Rosa, Jenna, Jaiden, Madelyn, Allie, Sarah, Lily, Natalie, Elyse (Bare feet) www.siviewpark.org/dance Parts for each dancer: 1. Giana – Road Rockette, castle guard, ECC 2. -
Twister Unleashes Fury on TCU Campus Tornado Tornado Damages Procedures Unclear Campus, Apartments
DICAPRIO SOARS IN 'BASKETBALL DIARIES' - PAGE 6 TCU DAILY SKIFF FRIDAY, APRIL 21,1995 TEXAS CHRISTIAN UNIVERSITY, FORT WORTH. TEXAS 92NDYEAR, NO.105 Twister unleashes fury on TCU Campus tornado Tornado damages procedures unclear campus, apartments BY KIMBERLY WILSON BY CHRIS NEWTON TCU DAILY SKIFF TCU DAILY SKIFF Several TCU students and professors said they were In the wake of a tornado some witnesses said confused about official university instructions for tor- touched down several times around the TCU campus. nado warnings after a tornado touched down near cam- Physical Plant officials estimate between S25.000 and pus Wednesday night. S40.000 of damage was done to university property. Heather Novak, a sophomore psychology major, was Andy Kesling, associate director of the Office of taking American and Texas Government with Richard Communications, said the university had extensive Millsap, an adjunct professor in political science, at damage. 8:30 p.m. when a student interrupted class with an "The roof of the Miller Speech and Hearing Clinic announcement that the university had cancelled classes was damaged, two lights were damaged at Amon for the evening. Carter stadium and 15 to 20 trees were damaged." Novak said the civil defense warning was inaudible Kesling said. "One (tree) was completely uprooted." in the Moudy Building. Kesling said university officials were still assessing "We didn't know what was going on," Millsap said. the damage. "I gave my students the option that they could leave or Wednesday night. Skiff reporters and photographers they could stay with me." witnessed the aftermath of the storm and reported that Millsap said all of his students left, so he went home. -
Gaycalgary and Edmonton Magazine, June 2007
June 2007 Issue 44 FREE of charge PPrideride 20072007 GuideGuide Inside!Inside! PProudroud SSponsorsponsors oof:f: >> STARTING ON PAGE 16 GLBT RESOURCE • CALGARY & EDMONTON 2 gaycalgary and edmonton magazine #44, June 2007 gaycalgary and edmonton magazine #44, June 2007 3 4 gaycalgary and edmonton magazine #44, June 2007 Established originally in January 1992 as Men For Men BBS by MFM Communications. Named changed to 10 GayCalgary.com in 1998. Stand alone company as of January 2004. First Issue of GayCalgary.com Magazine, November 2003. Name adjusted in November 2006 to GayCalgary and Edmonton Magazine. Publisher Steve Polyak & Rob Diaz-Marino, [email protected] Table of Contents Editor Rob Diaz Marino, editor@gaycalgary. com 7 That Personal Touch 35 Original Graphic Design Deviant Designs Letter from the Publisher Advertising Steve Polyak [email protected] 10 Priape Swimwear 2007 Contributors Winners of the Priape Model Search Steve Polyak, Rob Diaz-Marino, Jason Clevett, Jerome Voltero, Kevin Alderson, Benjamin 14 Gay Pride Event Listing - Hawkcliffe, Stephen Lock, Arthur McComish, 16 Allison Brodowski , and the Gay and Lesbian Calgary Community of Calgary Photographer 15 Gay Pride Event Listing - Steve Polyak and Rob Diaz-Marino Edmonton Videographer Steve Polyak and Rob Diaz-Marino 16 Map & Event Listings Please forward all inquiries to: Find out what’s happening GayCalgary and Edmonton Magazine Suite 100, 215 14th Avenue S.W. 23 Gay Legalese Calgary, Alberta T2R 0M2 Phone (403) 543-6960 or toll free (888) 24 Bitter Girl -
Granting in Action 20 15
GRANTING 20 in action 15 Introduction In 2015, Edmonton Community Foundation (ECF) granted more than $21.2 million (up from $16.8 million in 2014 and a record level of granting) to more than 500 registered charities and 300 students, primarily in the Edmonton area. Since its inception in 1989, ECF has granted over $170 million! These grants were primarily made from income from permanently endowed funds and were made possible by the generosity of donors, past and present. In this document, we disclose our grants to raise awareness about our work and the work of our charitable partners. It is our most comprehensive look at how ECF fulfills our role supporting the charitable community. For more information on ECF’s grant programs or for more detailed financial reporting, please visit our website at www.ecfoundation.org or contact ECF. For those who are interested, this information is available in raw format through the Open Data page on our website. Grants by Sector Community & Social Services (31%) Education & Learning (16.5%) Arts, Culture & Heritage (15%) Environment (12.5%) Health & Wellness (10%) Other (8%) Student Awards (5%) Recreation & Leisure (2%) Grants by Program Introduction 1 $ Community Grants Program 2 Community Grants Program 2,630,657 $ Community Play Space Program 8 Community Play Space 42,000 $ Foundation Directed Grants 8 Foundation Directed Initiatives 2,025,811 $974,337 Student Awards 10 Student Awards $234,000 Vital Signs Grants 11 Vital Signs Grants $63,492 Young Edmonton Grants 12 Young Edmonton Grants Designated -
Table of Contents
I table of Contents: Letter fro m the Producer ..... ...2 Before you Go .................. ...... ....... .... .... ... ..... .... 34 Theater Etiquette ..... ..... ....... ... ... ....... ....... ...... ...... ..... ................. Scemc. Breakdown ······ . .... .... 5 Synopsis ······· ..... ...... ........ ...... ........ ...... ....... ..... ...... ········ 6&7 About the Author ...... ....... ...... ..... ··········· . ... 8 After the Show ...... ...... ..... ············ . ... 9 Interdisctplmary. Activities ...... ..... ······ ..10 & 11 Acrostic ··········· ..... ....... ..... ...... .12 Think Theatrically ...... ..... ... ... ....... ...... ....... ... .... ..... ..... ........ ..... 13 Fan Letter ...... ..... ................ ..... 14 Theater Vocabulary ....... ...... .. .... .... .. ...... ...... ....... ..... .. .. .. ...... ..... .15 ...... ..... ...... .. .... ..... .16 Write a Review .............................. ...... 17 ............ .. ·······. ..... 18 Careers in the Arts . .................................... Wo rd Search . .. .. ............................. ..... 19 Draw a Picture ........ ...... ...... ...... ....... .. ..... 2 Dear Educator: This guide contains suggested learning experiences for various grade levels. It is intended to help your students enjoy and utilize the theater-going experience. Please select those ideas that best relate to your curriculum and classroom needs. We would appreciate knowing which suggestions you actually incorporated into your lesson plans and how they worked for you. Share your -
Critical and Creative Approaches Ed. Jan Shaw, Philippa Kelly, LE Semler
Published in Storytelling: Critical and Creative Approaches ed. Jan Shaw, Philippa Kelly, L. E. Semler (Basingstoke: Palgrave, 2013), pp. 83-113. Transnational Glamour, National Allure: Community, Change and Cliché in Baz Luhrmann’s Australia. Meaghan Morris What are the links between stories and the wider social world—the contextual conditions for stories to be told and for stories to be received? What brings people to give voice to a story at a particular historical moment? … and as the historical moment shifts, what stories may lose their significance and what stories may gain in tellability? (Plummer 25). The vantage points from which we customarily view the world are, as William James puts it, ‘fringed forever by a more’ that outstrips and outruns them (Jackson 23-24). Poetry from the future interrupts the habitual formation of bodies, and it is an index of a time to come in which what today exists potently—even if not (yet) effectively— but escapes us will find its time. (Keeling, ‘Looking for M—’ 567) 1 The first time I saw Baz Luhrmann’s Australia I laughed till I cried. To be exact, I cried laughing at dinner after watching the film with a group of old friends at an inner suburban cinema in Sydney. During the screening itself I laughed and I cried. As so often in the movies, our laughter was public and my tears were private, left to dry on my face lest the dabbing of a tissue or an audible gulp should give my emotion away. The theatre was packed that night with a raucously critical audience groaning at the dialogue, hooting at moments of high melodrama (especially Jack Thompson’s convulsive death by stampeding cattle) and cracking jokes at travesties of history perceived on screen.