DOCSLIB.ORG

THE OSWALD Review Undergraduate Research and Criticism in the Discipline of English: Volume 7 Fall 2005

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
THE OSWALD Review Undergraduate Research and Criticism in the Discipline of English: Volume 7 Fall 2005 The Oswald Review: An International Journal of Undergraduate Research and Criticism in the Discipline of English Volume 7 | Issue 1 Article 9 2005 THE OSWALD Review Undergraduate Research and Criticism In the Discipline of English: Volume 7 Fall 2005 Follow this and additional works at: https://scholarcommons.sc.edu/tor Part of the American Literature Commons, Comparative Literature Commons, Literature in English, Anglophone outside British Isles and North America Commons, Literature in English, British Isles Commons, and the Literature in English, North America Commons Recommended Citation (2005) "THE OSWALD Review Undergraduate Research and Criticism In the Discipline of English: Volume 7 Fall 2005," The Oswald Review: An International Journal of Undergraduate Research and Criticism in the Discipline of English: Vol. 7 : Iss. 1 , Article 9. Available at: https://scholarcommons.sc.edu/tor/vol7/iss1/9 This Full Issue is brought to you by the College of Humanities and Social Sciences at Scholar Commons. It has been accepted for inclusion in The Oswald Review: An International Journal of Undergraduate Research and Criticism in the Discipline of English by an authorized editor of Scholar Commons. For more information, please contact [email protected]. THE OSWALD Review Undergraduate Research and Criticism In the Discipline of English: Volume 7 Fall 2005 This full issue is available in The sO wald Review: An International Journal of Undergraduate Research and Criticism in the Discipline of English: https://scholarcommons.sc.edu/tor/vol7/iss1/9 THE OSWALD Review An International Journal Of Undereraduate Research and Criticism In the Discipline ofEnelish To acknowledge the generosity of James and Mary Oswald, whose love ofthe written word has inspired innumerable others to a deeper appreciation ofthe complexity and richness of the English language and its literatures, The Oswald Review is named in their honor. THE OSWALD Review An International Tournai Of Undergraduate Research and Criticism In the Discipline of English Volume VII Fall2005 THE OSWALD Review An International Journal of Underr:raduate Research and Criticism in the Discipline o(Enr:lisll Editor: Tom Mack Department of Eng! ish Uni1·ersitr o(Soulh Carolina Aiken Aiken, SC 2980 I tomm(a·usca.edu Associate Editor: Phebe Davidson Distinguished Professor Lmerita University o(South Carolina Aiken Editorial Intern: Katherine McPherson Junior, English University ofSouth Carolina A ikcn Editorial Review Board: Josephine A. Koster Winthrop University Rock Hill, SC Ron Lunsford Universitv of' North Carolina Charlotte Daniel Pigg UniversitJ' oj'Tcnncssce at Martin Susan Stiritz Washington Universi/v St. Louis, MO Patricia Ward College o!Charleston Charleston, SC Ron West iv!etrupolitan Communitv College Omaha, Nebraska THE OSWALD Review A 11 lntcrnar ionul ./ournit! _o[ L'ndi/_J_'Jf.ruduufc Research and Crif icis111 juL!L(~_[)j.lciJliinc '1[ !Cm!.l i.1h Tile Oswald Rel'iew i~ published annual!~ b;. the Department ol' l·nglish, llniversity of South Carolina Aiken, 4 71 llni\ ersity !'arb\ ay_ Aiken, SC 29XO I. TOR accepts submissions in the discipline of English ti-OJn undergraduates, \\ith a professor's endorsement (sec submission guidelines at the hack ofthc journal). The\ ie\\ s of the\\ ritcrs represented in the journal do not necessar­ ily rctlcct the scholar!;. or critical vic\\s ofthc editors. All reasonable care is taken to assure academic honesty. TOR docs not accept responsibility for copyright infringement on the part of the \\ritcrs. r:or more information about The Oswald Review, please visit the journal's web site at bttp:/ /\\\\\\. usca.cdu/cnul ish/pubs/oswald/oswald.html Cop;.right 2005 by the Department otTngli~h, lJni\ersity of South Carolina Aiken I SSN 1520-96 79 Address correspondence and inquiries to Dr. Tom Mack, Editor, The Oswald Review, Department of Eng! ish, lJ nivcrsity of South Carol ina Aiken, 471 Uni­ versity I' arb\ ay. Aiken, SC 29XO I. The Univcrsit;. of South Carolina Aiken provides affinnative action and ad­ heres to the principle of equal education and employment opportunity with­ nut regard to race. color, religion, sex, creed, national origin. age, disability or veteran status. This policy extends to all programs and activities sup­ ported by the llni\crsity. The University of South Carolina Aiken is accred­ ited by the Commission on Colleges of the Southern Association of Colleges and Schools to a\\ard associate, baccalaureate. and master's degrees. Individual subscriptions: One year: $5.00 Five years: $20.00 To subscribe, please make a check out to The Oswald Review and mail it to Dr. Tom Mack. Editor. THE OSWALD Review CONTENTS: Lions and Tigers and Bears and Environmental Activists, Oh My! 1 An Eco-critical Reading of L. Frank Baum's The Wonderjitl Wizard of Oz Mollie Barnes and Rebecca Weber A;;nes Scott Colle;;e Decatur. Geor;;ia Redefining Ars Moriendi in J. R. R. Tolkien's The Lord of the Rings 47 Heather Harman Winthrop University Rock Hill. SC Language in the Silent Space: 61 Virginia Woolf's To the Lighthouse Elizabeth Hirt Messiah Colle;;e Grantham, PA The Greater of Two Evils: 73 Distinguishing between Machiavellians and Tyrants in Shakespeare's "The Rape of Lucrece" and Milton's Paradise Lost Mark Crisp Simon Fraser University Burnaby, BC Canada The Essential but Forgotten Woman: 93 A Feminist Reading of Chaim Potok's My Name is Asher Lev Kerry Brooks Messiah College Grantham, PA I~ ! Lions and Tigers and Rears and Environmental Activists, Oh My! An Eco-critical Reading of L. Frank Baum's The Wonderful Wizard of Oz Mollie Barnes & Rebecca Weber Agnes Scott College Decatlll: Gem:e,ia n L. Frank Baum 's The Wonder/it! Wizard ofOz. Dorothy I and three friends, the Scarecrow, the Tin Woodman, and the Lion, travel to Emerald City in search of happiness. In the process, they also find home. The characters' journey through the Land ofOz is not a linear progression; rather, it is a jumbled passage through the forests and the fields to the city-and then back again. The confusion that Dorothy and her companions experience during their seemingly aimless travels in Oz reflects the confusion that many Americans experienced during the 1900s in the developing Midwest: the conflict between economy and ecology. Baum, who lived in the Dakotas, saw the dustbowl transformed into an in­ dustrial frontier. His fictional Kansas and Oz reflect this reconstruction of the natural world. lie sets a gray but real 2 Kansas prairie against a rich but illusory Emerald City that, in many \vays, resembles Chicago after the 1893 Columbian Exposition. In this way, Baum situates his novel at the nexus of the cmironmcntalist debate. Published in 1900, The Wonder/it! Wizard ofOz speaks to a young generation faced with a new set of ideological questions. Dorothy and the Tin Woodman are products of their natural envi­ ronments and their socioeconomic environments. Through­ out the story, these two characters waver between acting for themselves and acting for their environments. They arc both wild and domestic. They arc both protectors and destroyers. The first American ecologists were tum-of-the-cen­ tury writers and politicians. While nineteenth-century es­ sayists like Ralph Waldo Emerson and Henry David Thoreau wrote about the value of the American environ­ ment, twentieth-century activists like John Burroughs and John Muir wrote about the vulnerability of the American environment: "although the roots of an environmentalist consciousness can be found in Romanticism and ... Tran­ scendentalism, environmentalism in its modern sense­ which implies an active effort to conserve and protect na­ ture-is little more than a hundred years old" (Rahn, "Green Worlds for Children" 151 ). Baum lived and wrote during this transitional period. His story captures the beginning of an American identity crisis historically and geographi­ cally. David B. Parker, Professor of History, explains that Bamn published The Wonder/it! Wizard of Oz "when the United States was in a tremendous state of t1ux, its rural agrarian society steadily giving \vay to cities and factories. Some Americans championed the new urban/industrial or­ der, while others mourned the loss of a more traditional life and the values and virtues that had accompanied it" (:2). Dorothy represents this divided American population because she comes from Kansas, a state in the heart of an American Midwest that was in a period of transition. The characters in The Wonder/it! Wizard of' Oz experience the tensions of Baum's time as they travel across the Munchkins' fields towards the Wizard's Emerald City. The publication of The Wonderjitf Wizard ol Oz marks an important moment in American children's litera­ ture and in American environmental literature. In "Green Worlds for Children," Suzanne Rahn explains the deep­ rooted connection between the tv,o: [N ]ot surprisingly---if one believes, like the Ro­ mantics, that children and the green world be­ long together-children were informed and in­ volved from the outset. In fact, merely by study­ ing old volumes of St. Nicholas Magazine that children read in the 1870s and '80s and '90s, one can trace the changes in attitudes toward the wilderness and its creatures with which en­ vironmentalism began. ( 151) Activists created the first green magazines and organiza­ tions in the late I ~WOs and early 1900s for children, not for adults. Consequently, these children were tbe fir~t Americans \\1dely c'l.poscd to conservationistthinkmg. Baum speaks to the ch1ldrcn of th•s generation through the nct•om. of Dorothy, a httlc girl. Fred Erisman "rites, "Baum \~rotc for children--children who would become the adu lts of the next genera tion. He presents to them a twofold picture of'lhc wllrld: in one form it is flawed, but still posscsse~. in truclitionu l volucs, the seeds of perfection; in the other, it is perfect" (qtd.
Load more

Recommended publications
  • DAVID WILLIAMSON Is Australia's Best Known and Most Widely
    DAVID WILLIAMSON is Australia’s best known and most widely performed playwright. His first full-length play The Coming of Stork was presented at La Mama Theatre in 1970 and was followed by The Removalists and Don’s Party in 1971. His prodigious output since then includes The Department, The Club, Travelling North, The Perfectionist, Sons of Cain, Emerald City, Top Silk, Money and Friends, Brilliant Lies, Sanctuary, Dead White Males, After the Ball, Corporate Vibes, Face to Face, The Great Man, Up For Grabs, A Conversation, Charitable Intent, Soulmates, Birthrights, Amigos, Flatfoot, Operator, Influence, Lotte’s Gift, Scarlet O’Hara at the Crimson Parrot, Let the Sunshine and Rhinestone Rex and Miss Monica, Nothing Personal and Don Parties On, a sequel to Don’s Party, When Dad Married Fury, At Any Cost?, co-written with Mohamed Khadra, Dream Home, Happiness, Cruise Control and Jack of Hearts. His plays have been translated into many languages and performed internationally, including major productions in London, Los Angeles, New York and Washington. Dead White Males completed a successful UK production in 1999. Up For Grabs went on to a West End production starring Madonna in the lead role. In 2008 Scarlet O’Hara at the Crimson Parrot premiered at the Melbourne Theatre Company starring Caroline O’Connor and directed by Simon Phillips. As a screenwriter, David has brought to the screen his own plays including The Removalists, Don’s Party, The Club, Travelling North and Emerald City along with his original screenplays for feature films including Libido, Petersen, Gallipoli, Phar Lap, The Year of Living Dangerously and Balibo.
    [Show full text]
  • From the Old to the New World: Cinematic Offers of Spiritually
    FROM THE OLD TO THE NEW WORLD: CINEMATIC OFFERS OF SPIRITUALLY RECUPERATIVE TRIPS TO THE EMERALD ISLE* Rosa González Casademont Universitat de Barcelona Abstract The recuperative retreat undertaken by Yeats in “The Lake Isle of Innisfree”The ( Rose, 1893) from the drab reality of London’s “pavements grey” to an Irish scenery of solitude and natural harmony where he would find “some peace,” has being persistently rehearsed by Irish expatriates. However, it is in the cinematic portrayals of Ireland, often made by outsiders, where, notwithstanding the changed economic, political and social circumstances experienced by the Republic, the idealisation of rural Ireland and the healing powers of the island’s supposedly primitive lifestyle and values that people escaping from the stresses of urban life and competitive environments have endured longer. By considering the presence, and frequently random use, of anachronistic and clichéd cinematic signifiers of Irishness, the paper highlights both the recent proliferation of offerings of an Emerald Isle that does not exist beyond the screen and a regret concerning the films’ missed opportunity of inter- rogating and building on the vast corpus of the Irish diaspora’s narrativised history. Key words: Cinematic Irish clichés, Ireland as an Arcadia, exogenous expectations of Ireland, Celtic spirituality, romcoms, travel cinema. 119 Resumen La restauradora escapada que Yeats hiciera en “La isla del lago de Innisfree” (The Rose, 1893) desde la realidad monótona de las “aceras grises” de Londres a un paisaje irlandés de soledad y armonía natural donde encontrar “un poco de paz,” ha sido persistentemente emprendida por generaciones de expatriados irlandeses. No obstante, es en las representaciones cinema- tográficas de Irlanda, realizadas a menudo por extranjeros, donde han perdurado por más tiempo la idealización de la Irlanda rural y de los poderes curativos que los supuestamente arcaicos valores y estilo de vida de la isla aportan a las personas que huyen de entornos competitivos y del estrés de la vida urbana.
    [Show full text]
  • Spring 2021 Nonfiction Rights Guide
    Spring 2021 Nonfiction Rights Guide 19 West 21st St. Suite 501, New York, NY 10010 / Telephone: (212) 765-6900 / E-mail: [email protected] TABLE OF CONTENTS SCIENCE, BUSINESS & CURRENT AFFAIRS HOUSE OF STICKS THE BIG HURT BRAIN INFLAMMED HORSE GIRLS FIRST STEPS YOU HAD ME AT PET NAT RUNNER’S HIGH MY BODY TALENT MUHAMMAD, THE WORLD-CHANGER WINNING THE RIGHT GAME VIVIAN MAIER DEVELOPED SUPERSIGHT THE SUM OF TRIFLES THE KINGDOM OF CHARACTERS AUGUST WILSON WHO IS BLACK, AND WHY? CRYING IN THE BATHROOM PROJECT TOTAL RECALL I REGRET I AM ABLE TO ATTEND BLACK SKINHEAD REBEL TO AMERICA CHANGING GENDER KIKI MAN RAY EVER GREEN MURDER BOOK RADICAL RADIANCE DOT DOT DOT FREEDOM IS NOT ENOUGH HOW TO SAY BABYLON THE RISE OF THE MAMMALS THE RECKONING RECOVERY GUCCI TO GOATS TINDERBOX RHAPSODY AMERICAN RESISTANCE SWOLE APOCALYPSE ONBOARDING WEATHERING CONQUERING ALEXANDER VIRAL JUSTICE UNTITLED TOM SELLECK MEMOIR UNTITLED ON AI THE GLASS OF FASHION IT’S ALL TALK CHANGE BEGINS WITH A QUESTION UNTITLED ON CLASSICAL MUSIC MEMOIRS & BIOGRAPHIES STORIES I MIGHT REGRET TELLING YOU FIERCE POISE THE WIVES BEAUTIFUL THINGS PLEASE DON’T KILL MY BLACK SON PLEASE THE SPARE ROOM TANAQUIL NOTHING PERSONAL THE ROARING GIRL PROOF OF LIFE CITIZEN KIM BRAT DON’T THINK, DEAR TABLE OF CONTENTS, CONT. MINDFULNESS & SELF-HELP KILLING THATCHER EDITING MY EVERYTHING WE DON’T EVEN KNOW YOU ANYMORE SOUL THERAPY THE SCIENCE AND TECHNOLOGY OF GROWING YOUNG HISTORY TRUE AGE THE SECRETS OF SILENCE WILD MINDS THE SORCERER’S APPRENTICE INTELLIGENT LOVE THE POWER OF THE DOWNSTATE
    [Show full text]
  • Queer Friendship and Erotic Bonds a Dissertation Submitted in Partial Sa
    UNIVERSITY OF CALIFORNIA RIVERSIDE Anarchic Intimacies: Queer Friendship and Erotic Bonds A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English by Laurence Hilary Dumortier March 2017 Dissertation Committee: Dr. Jennifer Doyle, Chairperson Dr. Steven Gould Axelrod Dr. George E. Haggerty Copyright by Laurence Hilary Dumortier 2017 The Dissertation of Laurence Hilary Dumortier is approved: Committee Chairperson University of California, Riverside Acknowledgments I would like to acknowledge the tremendous support and guidance of my dissertation committee, Jennifer Doyle, Steven Gould Axelrod and George E. Haggerty. Their advice, suggestions and encouragement have been invaluable. I also want to recognize how inspiring they have been to me as examples of brilliant scholarship, dedicated teaching, and personal integrity. I’m also grateful to Stephen Koch who granted me several lengthy personal interviews about his recollections of Peter Hujar and David Wojnarowicz, and who allowed me to study previously unpublished photographs and contact sheets from the Peter Hujar Archive. iv ABSTRACT OF THE DISSERTATION Anarchic Intimacies: Queer Friendship and Erotic Bonds by Laurence Hilary Dumortier Doctor of Philosophy, Graduate Program in English University of California, Riverside, March 2017 Dr. Jennifer Doyle, Chairperson What makes a friendship “queer”? The queerness of the friendships I will explore in this project is, in part related to, but not co-extensive with, the sexual orientation of its participants. In all of the pairings I examine, at least one, if not both, of the friends is non- heterosexual. However, what makes the “queerness” of each of these friendships is not only the orientation of its participants, but the relationship’s exceeding of the conventional boundaries and definitions of friendships.
    [Show full text]
  • Government Emblems, Embodied Discourse and Ideology: an Artefact-Led History of Governance in Victoria, Australia
    Government Emblems, Embodied Discourse and Ideology: An Artefact-led History of Governance in Victoria, Australia Katherine Hepworth Doctor of Philosophy 2012 ii iii Abstract Government emblems are a rich source of historical information. This thesis examines the evidence of past governance discourses embodied in government emblems. Embodied discourses are found within an archive of 282 emblems used by local governments in Victoria, Australia in the nineteenth and twentieth centuries. They form the basis of a history of governance in the State of Victoria from first British exploration in 1803 to the present day. This history of governance was written to test the main contribution of this thesis: a new graphic design history method called discursive method. This new method facilitates collecting an archive of artefacts, identifying discourses embodied within those artefacts, and forming a historical narrative of broader societal discourses and ideologies surrounding their use. A strength of discursive method, relative to other design history methods, is that it allows the historian to seriously investigate how artefacts relate to the power networks in which they are enmeshed. Discursive method can theoretically be applied to any artefacts, although government emblems were chosen for this study precisely because they are difficult to study, and rarely studied, within existing methodological frameworks. This thesis demonstrates that even the least glamorous of graphic design history artefacts can be the source of compelling historical narratives. iv Acknowledgements This thesis would not have been written without the support of many people. Fellow students, other friends and extended family have helped in many small ways for which I am so grateful.
    [Show full text]
  • BIRTHRIGHT, and the TSR Logo Are Registered Trademarks Owned by TSR, Inc
    Written by Ed Stark Edited by Carrie A. Bebris Creative Direction by Harold Johnson Cover and Conceptual Art by Tony Szczudlo Art Direction by Dawn Murin Typography by Angelika Lokotz Web Production by Mark Jindra and Sue Weinlein Cook U.S., CANADA, EUROPEAN HEADQUARTERS ASIA, PACIFIC, & LATIN AMERICA Wizards of the Coast, Belgium Wizards of the Coast, Inc. P.B. 34 P.O. Box 707 2300 Turnhout Renton, WA 98057-0707 Belgium +1-206-624-0933 +32-14-44-30-44 Visit our website at www.wizards.com/dnd 3137 AD&D, ADVANCED DUNGEONS & DRAGONS, DUNGEON MASTER, BIRTHRIGHT, and the TSR logo are registered trademarks owned by TSR, Inc. ENCYCLOPEDIA MAGICA and MONSTROUS MANUAL are trademarks owned by TSR, Inc. All TSR characters, character names, and the distinctive likenesses thereof are trademarks owned by TSR, Inc. TSR, Inc. is a subsidiary of Wizards of the Coast, Inc. ©2000 Wizards of the Coast, Inc. All rights reserved. Made in the U.S.A. This material is protected under the copyright laws of the United States of America. Any reproduction or unauthorized use of the material or artwork contained herein is prohibited without the express written permission of Wizards of the Coast. Able Assistance . .66 Lieutenants . .66 Acquiring Lieutenants . .71 Advisers . .73 Creating Advisers . .75 Paying Advisers . .76 Promoting an Adviser to Lieutenant .76 Introduction . .3 Henchmen . .76 Types of Henchmen . .76 The Head that Bears the Crown . .4 Acquiring Henchmen . .78 Humans . .4 Paying Henchmen . .78 Elves . .10 Using Henchmen in the Campaign . .78 Dwarves . .11 Player Characters as Henchmen . .79 Halflings .
    [Show full text]
  • Xerox University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 76-9968
    INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to . help you understand markings or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation.
    [Show full text]
  • Cities in Film: Architecture, Urban Space and the Moving Image
    Cities in Film: Architecture, Urban Space and the Moving Image An International Interdisciplinary Conference University of Liverpool, 26-28th March 2008 Conference Proceedings. This conference is organised by the School of Architecture and School of Politics and Communication Studies. The AHRC-funded research project, entitled City in Film: Liverpool's Urban Landscape and the Moving Image, is conducted by Dr Julia Hallam (principle investigator), Professor Robert Kronenburg (co-investigator), Dr Richard Koeck and Dr Les Roberts. This conference is supported by the Arts and Humanities Research Council (AHRC) and the University of Liverpool. Cover design: Richard Koeck and Les Roberts. Copyright cover image: Angus Tilston. Edited by Julia Hallam, Robert Kronenburg, Richard Koeck and Les Roberts. Please note that authors are responsible for copyright clearance of images reproduced in the proceedings. Cities in Film: Architecture, Urban Space and the Moving Image An International Interdisciplinary Conference University of Liverpool, 26-28th March 2008 Cities in Film explores the relationship between film, architecture and the urban landscape drawing on interests in film, architecture, urban studies and civic design, cultural geography, cultural studies and related fields. The conference is part of University of Liverpool's contribution to the European Capital of Culture 2008, and aims to foster interdisciplinary dialogues around architectural and film history and theory, film and urban space, and to point towards new intellectual frameworks for discussion. It seeks to draw on the work of theorists and practitioners engaged in ideas in these areas, examining film in the context of urban design and development and exploring in particular the contested social, cultural and political terrain that underpins these practices.
    [Show full text]
  • David Williamson's
    WORLD PREMIERE DAVID WILLIAMSON’S 14 FEB – 9 APR 2020 WELCOME SYNOPSIS What a privilege and pleasure it is to direct David Williamson’s last ever play. His Steve is the typical Aussie bloke, self- work always has a finger on the pulse of contemporary issues and CRUNCH TIME assured, social and sports-mad. Recently sits right at the heart of the ongoing debate about the right to die with dignity. retired from a high-flying career, he’s But the main theme stems from within the family nucleus so CRUNCH TIME is passed the family business over to his son also about parents and children, husbands and wives, betrayal and ultimately Jimmy — a chip off the old block. But his love. It also happens to be very funny. eldest son Luke, an engineer with more of an interest in algebra than AFL, has never If there is a message in David’s amazing 50 year career in writing plays, it is this: quite seen eye-to-eye with his dad and be tolerant. Accept people with all their flaws, foibles and idiosyncrasies. Find a they haven’t spoken in seven years. When way to work together, and then you can move forward. I couldn’t think of a better Steve suddenly falls ill, time is running out message at this time in the world. Enjoy CRUNCH TIME and this wonderful cast to repair their broken relationship — and working with an incredible writer. Thank you David, it has been an honour. Luke and Jimmy will have to go to extreme Mark Kilmurry lengths to fulfil their father’s final wishes.
    [Show full text]
  • Ja Ck O F H E a R
    David Williamson’s JACK OF HEARTS 29 JANUARY – 2 APRIL 2016 David Williamson’s JACK OF HEARTS PLAYWRIGHT AND DIRECTOR DAVID WILLIAMSON ASSISTANT DIRECTOR SUSANNA DOWLING CREW CAST DESIGNER EMMA ANNA GARDINER PAIGE GARDINER LIGHTING DESIGNER CARL MATTHEW MARSHALL PETER MOCHRIE SOUND DESIGNER KELLI ALISTAIR WALLACE CHRISTA NICOLA STAGE MANAGER STU DANI IRONSIDE CRAIG REUCASSEL WARDROBE COORDINATOR DENYS ALANA CANCERI BROOKE SATCHWELL ASSISTANT STAGE MANAGER (Secondment) NIKKI ERIN SHAW ISABELLA TANNOCK MAKEUP JACK PEGGY CARTER CHRIS TAYLOR RUNNING TIME: 2 HOURS 30 MINUTES INCLUDING INTERVAL DAVID WILLIAMSON – PLAYWRIGHT / DIRECTOR David Williamson has been and Washington (THE CLUB in 1979 and RUPERT in Australia’s best known and most 2013 at the Kennedy Center). UP FOR GRABS went widely performed playwright for on to a West End production starring Madonna in over forty years. His more than the lead role. David’s screen adaptations of his own fifty produced plays include THE REMOVALISTS, plays include THE REMOVALISTS, DON’S PARTY, DON’S PARTY, THE CLUB, TRAVELLING NORTH, THE CLUB, TRAVELLING NORTH, EMERALD CITY, THE PERFECTIONIST, SONS OF CAIN, EMERALD along with his original screenplays for feature films CITY, MONEY AND FRIENDS, BRILLIANT LIES, including LIBIDO, PETERSEN, GALLIPOLI, PHAR LAP, DEAD WHITE MALES, AFTER THE BALL, THE JACK THE YEAR OF LIVING DANGEROUSLY, and BALIBO MANNING TRILOGY, THE GREAT MAN, UP FOR (as co-writer) and for television he adapted ON THE GRABS, SOULMATES, SCARLETT O’HARA AT THE BEACH. David’s many awards include 12 Australian CRIMSON PARROT, NOTHING PERSONAL, WHEN Writers’ Guild Awards, 5 Australian Film Institutes’ DAD MARRIED FURY, MANAGING CARMEN, RUPERT, Award for Best Screenplay and, in 1996, the United CRUISE CONTROL and most recently DREAM Nations Association of Australia Media Peace Award.
    [Show full text]
  • Odd Man out 19 January – 18 March 2017
    DAVID WILLIAMSON’S ODD MAN OUT 19 JANUARY – 18 MARCH 2017 Odd Man Out - A5 Program v7.indd 1 20/12/16 2:22 pm DAVID WILLIAMSON’S ODD MAN OUT The action of the play takes place over a period of approximately 12 months. DIRECTOR ASSISTANT DIRECTOR MARK KILMURRY SAMANTHA YOUNG CAST CREW EMILY/POLLY ALICE DESIGNER GAEL BALLANTYNE LISA GORMLEY ANNA GARDINER RYAN EVAN/NEVILLE LIGHTING DESIGNER JUSTIN MATT MINTO CHRISTOPHER PAGE STEWART COTTA GARY/POLICE SOUND DESIGNER CARLA OFFICER ALISTAIR WALLACE RACHEL GORDON BILL YOUNG STAGE MANAGER DANI IRONSIDE WARDROBE COORDINATOR RENATA BESLIK SPECIAL THANKS: THOMAS KUZMA, TOM TUTTON AND JOSHUA DODD RUNNING TIME APPROX 2 HOURS INCLUDING INTERVAL THANK YOU FOR YOUR $2 DONATION, IT HELPS COVER THE PRODUCTION OF OUR PROGRAMS 02 9929 0644 • ensemble.com.au Odd Man Out - A5 Program v7.indd 2 20/12/16 2:22 pm DAVID WILLIAMSON – PLAYWRIGHT David Williamson is Australia’s best known and most widely performed playwright. Some of his more than forty-five produced plays include THE REMOVALISTS, DON’S PARTY, THE CLUB, TRAVELLING NORTH, THE PERFECTIONIST, SONS OF CAIN, EMERALD CITY, MONEY AND FRIENDS, BRILLIANT LIES, DEAD WHITE MALES, AFTER THE BALL, THE JACK MANNING TRILOGY, THE GREAT MAN, UP FOR GRABS, SOULMATES, SCARLETT O’HARA AT THE CRIMSON PARROTT, NOTHING PERSONAL, WHEN DAD MARRIED FURY, MANAGING CARMEN, CRUISE CONTROL, RUPERT, DREAM HOME and JACK OF HEARTS. His plays have been translated into many languages and performed internationally, including major productions in London, Los Angeles, New York and Washington (THE CLUB in 1979 and RUPERT in 2014 at the Kennedy Centre as well as a season at the Theatre Royal, Sydney).
    [Show full text]
  • The Seagull Leila George - Nina
    Cast featuring: Black Swan State Theatre Company Adam Booth - Medvedenko presents Rebecca Davis - Masha The Seagull Leila George - Nina By Anton Chekhov (in a new adaptation by Hilary Bell, by arrangement with Michael Loney - Sorin the State Theatre Company of South Australia) Andrew McFarlane - Dr Dorn 9 – 31 August Luke McMahon - Konstantin The lives of unforgettable characters, including Greg McNeill - Shamrayev the famous novelist Trigorin, the celebrated actress Arkadina, her son Konstantin and the Sarah McNeill - Polina young Nina, unfold in Chekhov’s work of genius. Greta Scacchi - Arkadina The Seagull is about the stories we craft out of our dreams and disappointments, about love in Director: Kate Cherry all its guises and about artists who behave just like everyone else – only a little bit more so! Assistant Director: Jeffrey Jay Fowler Tender and humorous, this play is for anyone touched by love, or anyone who harbours a Set and Costume Designer: secret passion for Who magazine. A passionate, Fiona Bruce delightful, infuriating diva brings her entourage home to the family estate, and nothing will ever Lighting Designer: be the same again. Jon Buswell Glittering with style, talent and passion, Emmy and AFI Award-winning and Sound Designer: Golden Globe and BAFTA Award-nominated Greta Scacchi brings Arkadina Ash Gibson Greig to life. Movement Director: Chrissie Parrott Fight Director: Andy Fraser Duration: 2h 40mins (inc. interval) Warning: Adult themes, smoking. Venue: Heath Ledger Theatre, State Theatre Centre of WA Tickets: Tickets $27.90 - $83.90 Tickets through ticketek.com.au, Ticketek outlets or 1300 795 012 Groups 8+ 1300 364 001 [*A service/delivery fee also applies] Please note there is a High Tea on Saturday 16 August @ 1pm $48 Media Enquiries: Irene Jarzabek, Publicist, Black Swan State Theatre Company Tel: +61 8 9430 8134 mob +61 419 192 140 Email: [email protected] or [email protected] Web: www.bsstc.com.au About Anton Chekhov Anton Pavlovich Chekhov was born in the small seaport of Taganrog, Ukraine on January 29th in the year 1860.
    [Show full text]