DOCSLIB.ORG

New York City Opera

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

PhPhototoo: © 201019 RyRyaann Muiuir NEW YORK CITY OPERA We are incredibly excited to welcome performing arts back to New York City! Since March 2020 — when all our lives changed — Bryant Park has not wavered from its mission to provide a safe and stimulating public space for everyone to enjoy. Outdoor space has never been so vital, and live events have never been more necessary. I want to thank our courageous and dedicated staff who have kept Bryant Park not only open but flourishing throughout the pandemic. This season Picnic Performances celebrates the return of live music, theater and dance to Midtown and the resiliency of artists and cultural organizations throughout this difficult period. All of our cultural partners have re-imagined what it means to perform, and it is with great pleasure we share their innovative works with you. We welcome those of you seated on the lawn, as well as our new virtual audience, too. For the first time, these performances are available by livestream so viewers can enjoy no matter where they are. We extend sincere gratitude to our neighbor, Bank of America, whose support is integral to the park year-round and who make the livestreams of Picnic Performances possible. Enjoy the show! President,. Bryant Park Corporation i magine, illuminate and inspire As a major supporter of arts and culture nonprofit organizations, Bank of America believes in the power of the arts. We are proud to sponsor the livestream of the 2021 season of Bryant Park Picnic Performances. WHAT WOULD YOU LIKE THE POWER TO DO?® © 2021 Bank of America Corporation. MAP#3621959 Protocols for All Attendees Upon arrival, visitors must show proof of full vaccination or a recent negative COVID-19 test. A matching government-issued photo ID is also required. Doors open at 5:30pm. Please arrive no later than the entry time on your ticket. Bryant Park chairs are available. Please do not bring plastic tarps. All event attendees are invited to bring food and drink. Food and beverage is also available for purchase from vendors in the park. The bathroom is located at the northeast corner of the park. A wristband is required for re-entry to the event area. Protocols for Vaccinated Attendees In line with current CDC and state guidelines, attendees may remove masks at their own discretion once within the fully vaccinated areas. Bring your own blanket or use a Bryant Park chair. Within the fully vaccinated area, attendees will have ample space to distance from others at their own discretion. Protocols for Tested Attendees Masks are required unless seated in socially distant chairs. Attendees must keep six-foot distance from other parties at all times. A temperature check and COVID-19 symptom screening is required as part of the entry process. Bryant Park chairs will be placed in exact positions by event staff. Please do not move chairs. Tested attendees may not enter the fully vaccinated areas. TONIGHT’S PROGRAM Pride In The Park June 18, 2021: Bryant Park Stage 7:00 pm – 8:15 pm This performance will feature a diverse program of selections from opera and musical theater sung by a quintet of stars from City Opera’s Pride Series. We will close this performance with a special new arrangement of the finale from Stonewall, by Iain Bell and Mark Campbell, which had its world premiere at New York City Opera in 2019. Come celebrate Pride in Bryant Park with New York City Opera! Michael Capasso Master of Ceremonies Kathryn Olander Music Director and Pianist CAST Jessica Fishenfeld Lauren Hoffmeier Jordan Weatherston Pitts Brian James Myer Peter Kendall Clark La traviata Verdi Libiamo Jordan Weatherston Pitts Alfredo Jessica Fishenfeld Violetta A Little Night Music Sondheim The Miller’s Son Melanie Long Petra Carmen Bizet Gypsy song Brian James Myer Carmen Get Happy/Happy Days Are Here Again Arlen/Koehler & Ager/Yellen Peter Kendall Clark Lauren Hoffmeier Eugene Onegin Tchaikovsky Kuda, Kuda (Lensky’s Aria) Jordan Weatherston Pitts Lensky Sunset Boulevard Webber/Rice As If We Never Said Goodbye Lauren Hoffmeier Norma Desmond Falsettos Finn What Would I Do? Brian James Myer Malcom Peter Kendall Clark Ethan West Side Story Bernstein/ Sondheim Somewhere Melanie Long Consuelo Candide Bernstein/Wilbur Glitter and be Gay Jessica Fishenfeld Cunégonde Carousel Rodgers/ Hammerstein You’ll Never Walk Alone Jordan Weatherston Pitts Il Barbiere di Siviglia Rossini Largo al factotum Brian James Myer Figaro The Baker’s Wife Schwartz Meadowlark Lauren Hoffmeier Geneviève La Cage aux Folles Herman I Am What I Am Peter Kendall Clark Albin Stonewall Bell/Campbell Finale Jessica Fishenfeld Jordan Weatherston Pitts Melanie Long Brian James Myer *Encore Arlen/Harburg Over the Rainbow Ensemble UPCOMING PICNIC PERFORMANCES CARMEN July 2, 2021 7:00 pm – 8:15 pm Kathryn Olander, Music Director and Pianist CAST Carmen: Lisa Chavez Don Jose : Jason Karn Escamillo: Joshua Jeremiah Micaëla: Kristin Sampson Frasquita: Stacy Dove Mercédès: Kristee Haney Lillas Pastia: Bill Van Horn NOW THAT’S WHAT I CALL OPERA! August 21, 2021 7:00 pm – 8:15 pm Kamal Khan, Music Director and Pianist CAST Lisa Chavez Adam Cioffari Kristin Sampson Victor Starsky RIGOLETTO September 3, 2021 7:00 pm – 8:30 pm Constantine Orbelian, Conductor CAST Rigoletto: Michael Chioldi The Duke of Mantua: Won Whi Choi Gilda: Brandie Sutton Maddalena: Lisa Chavez Sparafucile: Kevin Short ABOUT NEW YORK CITY OPERA Since its founding in 1943 by Mayor Fiorello LaGuardia as “The People’s Opera,” New York City Opera has been a critical part of the city’s cultural life. During its history, NYCO launched the careers of dozens of major artists and presented engaging productions of both mainstream and unusual operas alongside commissions and regional premieres. The result was a uniquely American opera company of international stature. Today, New York City Opera continues its legacy at a new, state-of-the-art home at the Rose Theater at Jazz at Lincoln Center and with revitalized outreach and education programs at venues throughout the city, designed to welcome and inspire a new generation of opera audiences. City Opera’s acclaimed summer series in Bryant Park brings free performances to thousands of New Yorkers and visitors every year. Coming soon THE GARDEN OF THE FINZI-CONTINIS January 2022 World Premiere opera by Ricky Ian Gordon and Michael Korie A co-production with NATIONAL YIDDISH THEATRE FOLKSBIENE Based on Giorgio Bassani’s 1962 novel, (considered a modern classic which is also the basis for Vittorio De Sica’s 1970 film adaptation starring Dominique Sanda and Helmet Berger – a 1972 Academy Award winner for Best Foreign Language Film), THE GARDEN OF THE FINZI- CONTINIS is set on the eve of World War II and tells the story of an aristocratic Italian-Jewish family, the Finzi-Continis, who believe they will be immune to the changes happening around them. www.nycopera.com Instagram: @nycopera Facebook.com/NewYorkCityOpera Twitter: @nycityopera Baritone Peter Kendall Clark has created roles in numerous world premieres, including the title role in Ted Rosenthal’s jazz opera Dear Erich at New York City Opera, for which the New York Times praised his “gravity and earthy sound.” He has also sung leading operatic and musical theatre roles with Caramoor Opera, Anchorage Opera, Union Avenue Opera, Opera on the James, Charlottesville Opera, Hawaii Opera Theatre, Virginia Opera, St. Petersburg Opera, Chelsea Opera, Syracuse Opera and Skylight Music Theatre. Recent roles include Sweeney Todd, Older Thompson, Henry Higgins, Fredrik Eggerman, King Arthur, MacHeath, Count Almaviva and Eugene Onegin. A regular performer with New York City Opera, he was featured in Harold Prince’s production of Candide, Peter Eötvös’ Angels in America, La Fanciulla del West, and Charles Wuorinen’s Brokeback Mountain, and the premiere of Iain Bell and Mark Campbell’s Stonewall. Since May of 2020 he has given nearly 200 outdoor concerts in Brooklyn Heights in the series “Songs From The Ledge” which the New York Post has called “the hottest ticket in town.” As the “Brownstone Baritone” he has been profiled on ABC News, CBS Inside Edition, Only Good Heroes for OGTV, Voice Of America, the New York Post, Japan Public Television’s (NHK) Catch! World Top News, and WQXR’s New York in Concert. www.peterkendallclark.com www.songsfromtheledge.com Brownstone Baritone (YouTube) Instagram: @brownstonebaritone Facebook.com/PeterKendallClark Soprano and actor Jessica Fishenfeld “triumphed” (New York Observer) in her New York City Opera debut as Leah in the world premiere of Iain Bell and Mark Campbell’s Stonewall, with “clean coloratura,” (Opera News) and “spunky personality” (OperaWire); made her off-Broadway debut as Brünnhilde in Das Barbecü; and sang Gilda in an immersive Rigoletto at THE BOX Theatre just before the mass pandemic closures of 2020. She then produced and performed in Grateful: The Songs of John Bucchino, 20th Anniversary Virtual Concert, “one of the slickest, best-produced virtual concerts to come out of the last ten months” (BroadwayWorld), alongside Stephen Schwartz, Leslie Odom Jr. and Toni Tennille, among other Broadway and cabaret luminaries. She also appeared virtually with New York Festival of Song, Dallas Opera Network, OmniArts Foundation, Opera Carolina, Center for Contemporary Opera, Teatro Grattacielo, and Savannah VOICE Festival. She recently starred in world and New York premieres at Circle in the Square and National Sawdust, and won semifinalist prizes in the 2021 American Traditions Competition and 2019 Lotte Lenya Competition. Other highlights include a residency with Palm Beach Opera and soloist appearances at Carnegie’s Zankel Hall, Helena Symphony, St. Bart’s Music Festival, Orquesta Filarmonía de Xalapa, Festival de Órgano de Morelia, and Birdland Jazz Club. www.jessicafishenfeld.com Instagram: @jecafish Facebook.com/jessicafishenfeldsoprano Twitter: @jessfishenfeld Tiktok: @jecafish Lauren Hoffmeier was raised in the heart of New York City with a performance background in opera and musical theatre.
Recommended publications
  • Seattle Opera Announces 2021/22 Season— a Return to Live, In-Person Performances

    Seattle Opera Announces 2021/22 Season— a Return to Live, In-Person Performances

    FOR IMMEDIATE RELEASE: May 11, 2021 Contact: Gabrielle Gainor (206) 295-0998, [email protected] Press images: https://seattleopera.smugmug.com/2122 Password: “press” Seattle Opera announces 2021/22 season— a return to live, in-person performances La bohème Orpheus and Eurydice Blue The Marriage of Figaro Plus a special recital by Lawrence Brownlee McCaw Hall and The Opera Center Subscriptions begin at $240 (BRAVO! Club, senior, and student pricing is also available). Single tickets will go on sale closer to each production. seattleopera.org SEATTLE—After more than a year without live, in-person performances due to COVID-19, Seattle Opera will officially return to the theater this fall with its 2021/22 Season. Offerings include immortal favorites (La bohème, The Marriage of Figaro), historic works with a modern twist (Orpheus and Eurydice), plus an award-winning piece speaking to racial injustice in America (Blue). It will take years for Seattle Opera—and the arts sector as a whole—to recover from the pandemic’s economic impact. Feeling the presence and excitement of live performance again is one way that the healing can begin, said General Director Christina Scheppelmann. “The theater, where music, storytelling, lights, performers, and audiences meet, is a space of magic and impact,” Scheppelmann said. “This past year has been difficult and challenging on so many levels. As we process all that we’ve been through, we can come here to enjoy ourselves. We can rediscover the positive moment and outlook we are seeking. Through opera, we can reconnect with our deepest emotions and our shared humanity.” In addition to mainstage productions, the company will offer a special, one-night- only recital by tenor Lawrence Brownlee (April 29, 2022, at McCaw Hall) with pianist John Keene.
  • Glendale Central Park Community Workshops

    Glendale Central Park Community Workshops

    Glendale Central Park Community Workshops IMAGE CREDIT: STREET FOOD CINEMA JANUARY 2018 Glendale Central Park Block Enhancing public open space to function within its evolving urban context GLENDALE CENTRAL PARK BLOCK 2 Community Workshops January 2018 Community Workshop Overview WHY: 1. Share information on the Central Park Block project and potential open space opportunities 2. Collect community input on the desired use and amenities for the Central Open Space WHAT: 1. Short introductory presentation 2. Interactive stations for dialogue and input GLENDALE CENTRAL PARK BLOCK 3 Community Workshops January 2018 Sense of Place: The Site Today Event in the parking alley. View of planting grove along S Louise St. Event in Central Park. GLENDALE CENTRAL PARK BLOCK 4 Community Workshops January 2018 Sense of Place: The Site Today N 0’ 40’ 80’ 120’ GLENDALE CENTRAL PARK BLOCK 5 Community Workshops January 2018 Open Space Comparison EXISTING OPEN SPACE: 76,675 SQ FT N GLENDALE CENTRAL PARK BLOCK 6 Community Workshops January 2018 Open Space Comparison EXISTING OPEN SPACE: 76,675 SQ FT EXISTING OPEN SPACE with PROPOSED BUILDING: 47,630 SQ FT 173’ X 165’ PROPOSED BUILDING FOOTPRINT N GLENDALE CENTRAL PARK BLOCK 7 Community Workshops January 2018 Open Space Comparison EXISTING OPEN SPACE: 76,675 SQ FT EXISTING OPEN SPACE WITH PROPOSED BUILDING: 47,630 SQ FT PROPOSED OPEN SPACE: 92,590 SQ FT 173’ X 165’ PROPOSED BUILDING FOOTPRINT N GLENDALE CENTRAL PARK BLOCK 8 Community Workshops January 2018 Park Components Central 39,975 SQ FT BLOCK OUTLINE HARVARD
  • The 200 Plays That Every Theatre Major Should Read

    The 200 Plays That Every Theatre Major Should Read

    The 200 Plays That Every Theatre Major Should Read Aeschylus The Persians (472 BC) McCullers A Member of the Wedding The Orestia (458 BC) (1946) Prometheus Bound (456 BC) Miller Death of a Salesman (1949) Sophocles Antigone (442 BC) The Crucible (1953) Oedipus Rex (426 BC) A View From the Bridge (1955) Oedipus at Colonus (406 BC) The Price (1968) Euripdes Medea (431 BC) Ionesco The Bald Soprano (1950) Electra (417 BC) Rhinoceros (1960) The Trojan Women (415 BC) Inge Picnic (1953) The Bacchae (408 BC) Bus Stop (1955) Aristophanes The Birds (414 BC) Beckett Waiting for Godot (1953) Lysistrata (412 BC) Endgame (1957) The Frogs (405 BC) Osborne Look Back in Anger (1956) Plautus The Twin Menaechmi (195 BC) Frings Look Homeward Angel (1957) Terence The Brothers (160 BC) Pinter The Birthday Party (1958) Anonymous The Wakefield Creation The Homecoming (1965) (1350-1450) Hansberry A Raisin in the Sun (1959) Anonymous The Second Shepherd’s Play Weiss Marat/Sade (1959) (1350- 1450) Albee Zoo Story (1960 ) Anonymous Everyman (1500) Who’s Afraid of Virginia Woolf Machiavelli The Mandrake (1520) (1962) Udall Ralph Roister Doister Three Tall Women (1994) (1550-1553) Bolt A Man for All Seasons (1960) Stevenson Gammer Gurton’s Needle Orton What the Butler Saw (1969) (1552-1563) Marcus The Killing of Sister George Kyd The Spanish Tragedy (1586) (1965) Shakespeare Entire Collection of Plays Simon The Odd Couple (1965) Marlowe Dr. Faustus (1588) Brighton Beach Memoirs (1984 Jonson Volpone (1606) Biloxi Blues (1985) The Alchemist (1610) Broadway Bound (1986)
  • Undergraduate Play Reading List

    Undergraduate Play Reading List

    UND E R G R A DU A T E PL A Y R E A DIN G L ISTS ± MSU D EPT. O F T H E A T R E (Approved 2/2010) List I ± plays with which theatre major M E DI E V A L students should be familiar when they Everyman enter MSU Second 6KHSKHUGV¶ Play Hansberry, Lorraine A Raisin in the Sun R E N A ISSA N C E Ibsen, Henrik Calderón, Pedro $'ROO¶V+RXVH Life is a Dream Miller, Arthur de Vega, Lope Death of a Salesman Fuenteovejuna Shakespeare Goldoni, Carlo Macbeth The Servant of Two Masters Romeo & Juliet Marlowe, Christopher A Midsummer Night's Dream Dr. Faustus (1604) Hamlet Shakespeare Sophocles Julius Caesar Oedipus Rex The Merchant of Venice Wilder, Thorton Othello Our Town Williams, Tennessee R EST O R A T I O N & N E O-C L ASSI C A L The Glass Menagerie T H E A T R E Behn, Aphra The Rover List II ± Plays with which Theatre Major Congreve, Richard Students should be Familiar by The Way of the World G raduation Goldsmith, Oliver She Stoops to Conquer Moliere C L ASSI C A L T H E A T R E Tartuffe Aeschylus The Misanthrope Agamemnon Sheridan, Richard Aristophanes The Rivals Lysistrata Euripides NIN E T E E N T H C E N T UR Y Medea Ibsen, Henrik Seneca Hedda Gabler Thyestes Jarry, Alfred Sophocles Ubu Roi Antigone Strindberg, August Miss Julie NIN E T E E N T H C E N T UR Y (C O N T.) Sartre, Jean Shaw, George Bernard No Exit Pygmalion Major Barbara 20T H C E N T UR Y ± M ID C E N T UR Y 0UV:DUUHQ¶V3rofession Albee, Edward Stone, John Augustus The Zoo Story Metamora :KR¶V$IUDLGRI9LUJLQLD:RROI" Beckett, Samuel E A R L Y 20T H C E N T UR Y Waiting for Godot Glaspell, Susan Endgame The Verge Genet Jean The Verge Treadwell, Sophie The Maids Machinal Ionesco, Eugene Chekhov, Anton The Bald Soprano The Cherry Orchard Miller, Arthur Coward, Noel The Crucible Blithe Spirit All My Sons Feydeau, Georges Williams, Tennessee A Flea in her Ear A Streetcar Named Desire Synge, J.M.
  • Vision for Change: Acceptance Without Exception for Trans People

    Vision for Change: Acceptance Without Exception for Trans People

    A VISION FOR CHANGE Acceptance without exception for trans people 2017-2022 A VISION FOR CHANGE Acceptance without exception for trans people Produced by Stonewall Trans Advisory Group Published by Stonewall [email protected] www.stonewall.org.uk/trans A VISION FOR CHANGE Acceptance without exception for trans people 2017-2022 CONTENTS PAGE 5 INTRODUCTION FROM STONEWALL’S TRANS ADVISORY GROUP PAGE 6 INTRODUCTION FROM RUTH HUNT, CHIEF EXECUTIVE, STONEWALL PAGE 7 HOW TO READ THIS DOCUMENT PAGE 8 A NOTE ON LANGUAGE PAGE 9 EMPOWERING INDIVIDUALS: enabling full participation in everyday and public life by empowering trans people, changing hearts and minds, and creating a network of allies PAGE 9 −−THE CURRENT LANDSCAPE: o Role models o Representation of trans people in public life o Representation of trans people in media o Diversity of experiences o LGBT communities o Role of allies PAGE 11 −−VISION FOR CHANGE PAGE 12 −−STONEWALL’S RESPONSE PAGE 14 −−WHAT OTHERS CAN DO PAGE 16 TRANSFORMING INSTITUTIONS: improving services and workplaces for trans people PAGE 16 −−THE CURRENT LANDSCAPE: o Children, young people and education o Employment o Faith o Hate crime, the Criminal Justice System and support services o Health and social care o Sport PAGE 20 −−VISION FOR CHANGE PAGE 21 −−WHAT SERVICE PROVIDERS CAN DO PAGE 26 −−STONEWALL’S RESPONSE PAGE 28 −−WHAT OTHERS CAN DO PAGE 30 CHANGING LAWS: ensuring equal rights, responsibilities and legal protections for trans people PAGE 30 −−THE CURRENT LANDSCAPE: o The Gender Recognition Act o The Equality Act o Families and marriage o Sex by deception o Recording gender o Asylum PAGE 32 −−VISION FOR CHANGE PAGE 33 −−STONEWALL’S RESPONSE PAGE 34 −−WHAT OTHERS CAN DO PAGE 36 GETTING INVOLVED PAGE 38 GLOSSARY INTRODUCTION FROM STONEWALL’S TRANS ADVISORY GROUP The UK has played an While many of us benefited from the work to give a voice to all parts of trans successes of this time, many more communities, and we are determined important role in the did not.
  • Harvey Milk Page 1 of 3 Opera Assn

    Harvey Milk Page 1 of 3 Opera Assn

    San Francisco Orpheum 1996-1997 Harvey Milk Page 1 of 3 Opera Assn. Theatre Production made possible by a generous grant from Madeleine Haas Russell. Harvey Milk (in English) Opera in three acts by Stewart Wallace Libretto by Michael Korie Commissioned by S. F. Opera, Houston Grand Opera, and New York City Opera The commission for "Harvey Milk" has been funded in substantial part by a generous gift from Drs. Dennis and Susan Carlyle and has been supported by major grants from the Lila Wallace-Reader's Digest Opera for a New America, a project of OPERA America; the Caddell & Conwell Foundation for the Arts; as well as the National Endowment for the Arts. Conductor CAST Donald Runnicles Harvey Milk Robert Orth Production Messenger James Maddalena Christopher Alden Mama Elizabeth Bishop Set designer Young Harvey Adam Jacobs Paul Steinberg Dan White Raymond Very Costume Designer Man at the opera James Maddalena Gabriel Berry Gidon Saks Lighting Designer Bradley Williams Heather Carson Randall Wong Sound Designer William Pickersgill Roger Gans Richard Walker Chorus Director Man in a tranch coat/Cop Raymond Very Ian Robertson Central Park cop David Okerlund Choreographer Joe Randall Wong Ross Perry Jack Michael Chioldi Realized by Craig Bradley Williams Victoria Morgan Beard Juliana Gondek Musical Preparation Mintz James Maddalena Peter Grunberg Horst Brauer Gidon Saks Bryndon Hassman Adelle Eslinger Scott Smith Bradley Williams Kathleen Kelly Concentration camp inmate Randall Wong Ernest Fredric Knell James Maddalena Synthesizer Programmer
  • QUASIMODE: Ike QUEBEC

    QUASIMODE: Ike QUEBEC

    This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ QUASIMODE: "Oneself-Likeness" Yusuke Hirado -p,el p; Kazuhiro Sunaga -b; Takashi Okutsu -d; Takahiro Matsuoka -perc; Mamoru Yonemura -ts; Mitshuharu Fukuyama -tp; Yoshio Iwamoto -ts; Tomoyoshi Nakamura -ss; Yoshiyuki Takuma -vib; recorded 2005 to 2006 in Japan 99555 DOWN IN THE VILLAGE 6.30 99556 GIANT BLACK SHADOW 5.39 99557 1000 DAY SPIRIT 7.02 99558 LUCKY LUCIANO 7.15 99559 IPE AMARELO 6.46 99560 SKELETON COAST 6.34 99561 FEELIN' GREEN 5.33 99562 ONESELF-LIKENESS 5.58 99563 GET THE FACT - OUTRO 1.48 ------------------------------------------ Ike QUEBEC: "The Complete Blue Note Forties Recordings (Mosaic 107)" Ike Quebec -ts; Roger Ramirez -p; Tiny Grimes -g; Milt Hinton -b; J.C. Heard -d; recorded July 18, 1944 in New York 34147 TINY'S EXERCISE 3.35 Blue Note 6507 37805 BLUE HARLEM 4.33 Blue Note 37 37806 INDIANA 3.55 Blue Note 38 39479 SHE'S FUNNY THAT WAY 4.22 --- 39480 INDIANA 3.53 Blue Note 6507 39481 BLUE HARLEM 4.42 Blue Note 544 40053 TINY'S EXERCISE 3.36 Blue Note 37 Jonah Jones -tp; Tyree Glenn -tb; Ike Quebec -ts; Roger Ramirez -p; Tiny Grimes -g; Oscar Pettiford -b; J.C. Heard -d; recorded September 25, 1944 in New York 37810 IF I HAD YOU 3.21 Blue Note 510 37812 MAD ABOUT YOU 4.11 Blue Note 42 39482 HARD TACK 3.00 Blue Note 510 39483 --- 3.00 prev. unissued 39484 FACIN' THE FACE 3.48 --- 39485 --- 4.08 Blue Note 42 Ike Quebec -ts; Napoleon Allen -g; Dave Rivera -p; Milt Hinton -b; J.C.
  • Clybourne Park Study Guide

    Clybourne Park Study Guide

    Clybourne Park Study Guide The Theatre/Dance Department’s production oF Clybourne Park can be seen December 2 – 7 at 7:30 pm in Barnett Theatre. Tickets 262-472-2222 Monday – Friday 9:30 am – 5:00 pm The Clybourne Park Study Guide was originally created by Studio 180 Theatre, Toronto, Canada, and is being used at UW-Whitewater with Studio 180 Theatre’s permission. www.studio180theatre.com Table of Contents A. Notes for Teachers ...................................................................................................................... 3 B. Introduction to the Company and the Play .................................................................................. 4 UW-Whitewater Theatre/Dance Department .......................................................................................................... 4 Clybourne Park by Bruce Norris ..................................................................................................................................... 5 Bruce Norris – Playwright ................................................................................................................................................. 6 C. Attending the Performance ......................................................................................................... 7 D. Background Information ............................................................................................................. 8 1. Source Material: A Raisin in the Sun by Lorraine Hansberry .......................................................................
  • A LITTLE LIGHT MUSIC Songs of Electromagnetic Radiation

    A LITTLE LIGHT MUSIC Songs of Electromagnetic Radiation

    presents A LITTLE LIGHT MUSIC Songs of Electromagnetic Radiation Songs by David Haines, Michael Ching, Andrea Gaudette, Ruth Hertzman-Miller, Daniel Kallman, Dan Kohane, Bruce Lazarus, Tim Maurice, and Lauren Mayer Directed by Laura Backley Cambridge Science Festival 2015 Cambridge, Massachusetts college prep Harvard Secondary School Program • 7 weeks • Earn undergraduate credit in classes with college students • A residential experience, commuting option, or online classes Pre-College Program • 2 weeks • Explore a topic in depth with Harvard faculty or visiting scholars • On-campus housing with residential staff Programs for High School Students summer.harvard.edu/high-school-students presents A LITTLE LIGHT MUSIC Songs of Electromagnetic Radiation Songs by David Haines, Michael Ching, Andrea Gaudette, Ruth Hertzman-Miller, Daniel Kallman, Dan Kohane, Bruce Lazarus, Tim Maurice, and Lauren Mayer Directed by Laura Backley Producer: Carla Procaskey Artistic Director: David Bass Piano ........................................................... David Haines Slideshow ................................................ Carla Procaskey Graphic Design ...................................................Sue Hall Website/IT Support ..................Nick Aiuto and Phil Budne Museum of Science: Sunday, April 19, 2015, 6:00pm Broad Institute: Saturday, April 25, 2015, 3:00pm Peabody School: Sunday, April 26, 2015, 3:00pm www.familyopera.org A Little Light Music: Singers and Artists North Cambridge Family Opera Festival Chorus Directed by Laura Backley
  • Retrofuture Hauntings on the Jetsons

    Retrofuture Hauntings on the Jetsons

    City University of New York (CUNY) CUNY Academic Works Publications and Research Queens College 2020 No Longer, Not Yet: Retrofuture Hauntings on The Jetsons Stefano Morello CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/qc_pubs/446 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] de genere Rivista di studi letterari, postcoloniali e di genere Journal of Literary, Postcolonial and Gender Studies http://www.degenere-journal.it/ @ Edizioni Labrys -- all rights reserved ISSN 2465-2415 No Longer, Not Yet: Retrofuture Hauntings on The Jetsons Stefano Morello The Graduate Center, City University of New York [email protected] From Back to the Future to The Wonder Years, from Peggy Sue Got Married to The Stray Cats’ records – 1980s youth culture abounds with what Michael D. Dwyer has called “pop nostalgia,” a set of critical affective responses to representations of previous eras used to remake the present or to imagine corrective alternatives to it. Longings for the Fifties, Dwyer observes, were especially key to America’s self-fashioning during the Reagan era (2015). Moving from these premises, I turn to anachronisms, aesthetic resonances, and intertextual references that point to, as Mark Fisher would have it, both a lost past and lost futures (Fisher 2014, 2-29) in the episodes of the Hanna-Barbera animated series The Jetsons produced for syndication between 1985 and 1987. A product of Cold War discourse and the early days of the Space Age, the series is characterized by a bidirectional rhetoric: if its setting emphasizes the empowering and alienating effects of technological advancement, its characters and its retrofuture aesthetics root the show in a recognizable and desirable all-American past.
  • The Hunchback of Notre Dame by Richard Hills a Smith Script

    The Hunchback of Notre Dame by Richard Hills a Smith Script

    THE HUNCHBACK OF NOTRE DAME BY RICHARD HILLS A SMITH SCRIPT EXTRACT This script is protected by copyright laws. No performance of this script – IN ANY MEDIA – may be undertaken without payment of the appropriate fee and obtaining a licence. For further information, please contact SMITH SCRIPTS – [email protected] THE HUNCHBACK OF NOTRE DAME A Pantomime By RICHARD HILLS Loosely based on the story by Victor Hugo CHARACTERS 1ST Gargoyle Part of Bell Tower 2nd Gargoyle Part of Bell Tower Claude Frollo Nasty Minister of Justice. Qussimodo The Hunchback of Notre Dame Fe Fe La Large Proprietress of the Jolly Frenchman Gringoire A Street Actor Yvette Owner of Ye Olde Bread Basket Shop Clopin King of the Beggars Esmeralda A Gypsy Dancer Marguerite Daughter of Fe Fe Phoebus Captain of the Guard Chorus of Street Urchins, Carnival Revellers, Townspeople, Beggars, Soldiers and Dancers SYNOPSIS OF SCENES PROLOGUE Part of the Bell Tower of Notre Dame ACT 1 Scene 1 The Square outside Notre Dame Scene 2 Part of the Bell Tower of Notre Dame Scene 3 The Square outside Notre Dame, the next morning Scene 4 Part of the Bell Tower of Notre Dame Scene 5 The Court of Miracles, that night ACT 2 Scene 1 The Square outside Notre Dame, next morning Scene 2 Part of the Bell Tower of Notre Dame, later that day Scene 3 The Square outside Notre Dame, later that day Scene 4 Another street in Paris, the next day Scene 5 The weddings inside Notre Dame MUSICAL NUMBERS This is a list of suggested songs only, and can be changed to suit needs and voices available.
  • View the Program!

    View the Program!

    cast EDWARD KYNASTON Michael Kelly v Shea Owens 1 THOMAS BETTERTON Ron Loyd v Matthew Curran 1 VILLIERS, DUKE OF BUCKINGHAM Bray Wilkins v John Kaneklides 1 MARGARET HUGHES Maeve Höglund v Jessica Sandidge 1 LADY MERESVALE Elizabeth Pojanowski v Hilary Ginther 1 about the opera MISS FRAYNE Heather Hill v Michelle Trovato 1 SIR CHARLES SEDLEY Raùl Melo v Set in Restoration England during the time of King Charles II, Prince of Neal Harrelson 1 Players follows the story of Edward Kynaston, a Shakespearean actor famous v for his performances of the female roles in the Bard’s plays. Kynaston is a CHARLES II Marc Schreiner 1 member of the Duke’s theater, which is run by the actor-manager Thomas Nicholas Simpson Betterton. The opera begins with a performance of the play Othello. All of NELL GWYNN Sharin Apostolou v London society is in attendance, including the King and his mistress, Nell Angela Mannino 1 Gwynn. After the performance, the players receive important guests in their HYDE Daniel Klein dressing room, some bearing private invitations. Margaret Hughes, Kynaston’s MALE EMILIA Oswaldo Iraheta dresser, observes the comings and goings of the others, silently yearning for her FEMALE EMILIA Sahoko Sato Timpone own chance to appear on the stage. Following another performance at the theater, it is revealed that Villiers, the Duke of Buckingham, has long been one STAGE HAND Kyle Guglielmo of Kynaston’s most ardent fans and admirers. SAMUEL PEPYS Hunter Hoffman In a gathering in Whitehall Palace, Margaret is presented at court by her with Robert Balonek & Elizabeth Novella relation Sir Charles Sedley.