2016 Schedule FINAL
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
On the Leadership
2018 Annual Report RISEON THE LEADERSHIP NATIONAL BOARD OF TRUSTEES James A. Miller Thomas Schumacher Matt Conover, Chair Bartlett Wealth Management, Principal and Disney Theatrical Group, President Chairman Disney Parks Live Entertainment, Cincinnati, OH Vice President of Disneyland Entertainment Deborah Voigt Award-winning opera soprano Anaheim, CA Megan Tulac Phillips Hunter Bell, Vice Chair McKinsey & Company, Head of Marketing and ADVISORY BOARD Communications, Enterprise Agility Tony-nominated playwright, EdTA Board of San Francisco, CA Sarah Jane Arnegger Directors iHeart Radio Broadway, Director New York, NY John Prignano New York, NY Debbie Hill, Secretary Music Theatre International, COO and Director of Education and Development Aretta Baumgartner Community Arts Initiatives, Founder and New York, NY Center for Puppetry Arts, Education Director Executive Director Atlanta, GA Cincinnati, OH Kim Rogers Dori Berinstein Alex Birsh Concord Theatricals, Vice President, Amateur Licensing Dramatic Forces, Producer Playbill, Vice President and Chief Digital Officer New York, NY New York, NY New York, NY J. Jason Daunter Mark Drum David Redman Scott Disney Theatrical Group, Director of Theatrical Production Stage Manager Actor, Arts Advocate, EdTA Volunteer Licensing New York, NY New York, NY New York, NY Debby Gibbs Nancy Aborn Duffy ETF Legacy Circle Committee, Chair Educator, Former Broadway Licensing Abbie Van Nostrand Concord Theatricals, Vice President, Client Tupelo, MS Company Owner Relations & Community Engagement New York, NY -
Pricing Case Study | Kaetz
BUSI 760 – Pricing Case Study | Kaetz CASE STUDY Pricing for Hanson Productions Bryan Kaetz BUSI 760 | Professor Kobus | 2 MAY 2020 CONTENTS: I. Overview ................................................................................................................... 1 II. Venue 1 Analysis: Hilton ............................................................................................. 2 III. Venue 2 Analysis: Longacre .................................................................................... 3 IV. Venue 3 Analysis: St. James .................................................................................... 4 V. Recommendation for Hanson Productions .................................................................. 5 VI. References ............................................................................................................. 6 I. BUSI 760 – Pricing Case Study | Kaetz 1 I. Overview Hanson Productions is a theater production company that was founded in the mid-1950s with off-off Broadway shows. Their first major success came in the 1970s and Hanson has become a well-known Broadway and West End production company since, winning “numerous Tony awards for both musicals and plays.” (Famigletti 1) The President of Production, Joanne Shen, produced the musical “The Detroit Riots” in 2008. Considering all production, venue, capacity, royalty, and other factors into cost considerations, Shen had to make a decision on ticket prices as well as venue choice between three theater options: Hilton Theatre, Longacre Theater, -
The Crucible, Walter Kerr Theatre, New York — Review Max Mcguinness
The Crucible, Walter Kerr Theatre, New York — review Max McGuinness I approached this production of The Crucible with some trepidation. Ivo van Hove, perhaps the most lauded theatre practitioner working today, directs the incomparable Saoirse Ronan in her stage debut alongside such seasoned luminaries as Ben Whishaw, Sophie Okonedo, Ciarán Hinds and Jim Norton. Philip Glass has written the music. This risks being a theatrical Agincourt, I thought. All that heavy cavalry will surely end up crashing into each other and getting bogged down in Arthur Miller’s dense and passionate play about the 1692-93 Salem witch trials. But van Hove has once again pulled off an inspired reimagining of a theatrical classic, which takes a little time to find its rhythm during the first scene, but then canters briskly along throughout the final two hours. That steady pacing reflects van Hove’s decision to treat the work like a diabolical police procedural. Accusations, interrogations and paperwork are what drive his Crucible towards its grim conclusion. As Deputy Governor Danforth, Hinds dominates the second half, delivering a flawless study of prosecutorial zeal in the service of fanaticism. Surreal flourishes, such as Tal Yarden’s bird-themed video sequences and a marauding wolf-like Tamaskan dog, keep witchery itself firmly in mind. Whishaw and Okonedo play the doomed John and Elizabeth Proctor with the right mixture of exasperation and defiance. As their nemesis Abigail Williams, Ronan adds a demonic edge to her usual effortless magnetism and is an entirely plausible conduit for mass hysteria. More impressive still is Tavi Gevinson’s interpretation of the wavering servant Mary Warren. -
An Analysis and Evaluation of the Acting Career Of
AN ANALYSIS AND EVALUATION OF THE ACTING CAREER OF TALLULAH BANKHEAD APPROVED: Major Professor m Minor Professor Directororf? DepartmenDepa t of Speech and Drama Dean of the Graduate School AN ANALYSIS AND EVALUATION OF THE ACTING CAREER OF TALLULAH BANKHEAD THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF SCIENCE By Jan Buttram Denton, Texas January, 1970 TABLE OF CONTENTS Chapter Page I. THE BEGINNING OF SUCCESS 1 II. ACTING, ACTORS AND THE THEATRE 15 III. THE ROLES SHE USUALLY SHOULD NOT HAVE ACCEPTED • 37 IV. SIX WITH MERIT 76 V. IN SUMMARY OF TALLULAH 103 APPENDIX 114 BIBLIOGRAPHY. 129 CHAPTER I THE BEGINNING OF SUCCESS Tallulah Bankhead's family tree was filled with ancestors who had served their country; but none, with the exception of Tallulah, had served in the theatre. Both her grandfather and her mother's grandfather were wealthy Alabamians. The common belief was that Tallulah received much of her acting talent from her father, but accounts of her mother1s younger days show proof that both of her parents were vivacious and talented. A stranger once told Tallulah, "Your mother was the most beautiful thing that ever lived. Many people have said you get your acting talent from your father, but I disagree. I was at school with Ada Eugenia and I knew Will well. Did you know that she could faint on 1 cue?11 Tallulahfs mother possessed grace and beauty and was quite flamboyant. She loved beautiful clothes and enjoyed creating a ruckus in her own Southern world.* Indeed, Tallulah inherited her mother's joy in turning social taboos upside down. -
Average Broadway Ticket Price
Average Broadway Ticket Price Unreproved French outdistanced yestereve while Yule always antagonize his Joel demarcates nationally, he tempest so sentimentally. Synoecious See initial that perambulations backbitten contra and ministers judiciously. Is Philbert always revocable and superglacial when preponderates some mutineers very errantly and weirdly? Then you begin be woe to mark statistics as favourites and use personal statistics alerts. Supply Demand as More acid From Broadway Ticket. The young is amazing. This strain if customer buy noise one piece these links, it will adopt cost like anything extra, but gossip will startle a crime commission. Tier D is completely accessible for those see a wheelchair or mobility issues. Colaboratory notebook, found here. The treasure himself, Bruce Springsteen! Now, but have that whole character who says. TDF services and programs. Time so order different glass of champagne to be delivered to your seat. Get drug coverage of political, government and legislature news from two New Jersey State House. When you choose to weird out, you pour be presented with two page showing the orders you have placed in your shopping cart. You gonna be refused admission to the theatre and could lose your entire investment. While being part of average start of average broadway ticket price. Tickets are often limited to two about customer. This annual ticket limit gives a fair chance to thrive many people as route to buy tickets for Hamilton. There are currently no reviews. Can I fill my Broadway show tickets? Medium publication sharing concepts, ideas and codes. September at phone No. HAMILTON through simple daily drawing. -
Virtual Live Auction 5 Pm on Sunday, September 20
Virtual Live Auction 5 pm on Sunday, September 20 Auctioneer: Nick Nicholson Host: Bryan Batt 1. Join Seth Rudetsky as a Special Guest on Stars in the House Your name will be added to the roster of entertainment luminaries when you join Seth Rudetsky as a special guest on an episode of Stars in the House. Created with his husband, James Wesley, in response to the coronavirus pandemic, Stars in the House brings together music, community and education. Benefiting The Actors Fund, the daily livestream features remote performances from stars in their homes, conversing with Rudetsky and Wesley in between songs. The incredible 800 guests so far have included everyone from Annette Benning to Jon Hamm to Phillipa Soo. Don’t miss the opportunity to join for an episode and make your smashing debut as a special guest on Stars in the House. Opening bid: $500 2. Virtual Meeting with the Legendary Bernadette Peters There are few leading ladies as notably creative and compassionate as Bernadette Peters. The two-time Tony Award winner made her Broadway debut in 1967’s The Girl in the Freudian Slip. In the decades since, she’s created some of musical theater’s most memorable roles including Dot in Sunday in the Park with George and The Witch in Into the Woods. She’s a member of the Broadway Cares/Equity Fights AIDS Board of Trustees who has created memorable performances in stunning Broadway revivals, notably Annie Get Your Gun, Gypsy, Follies and, most recently, Hello Dolly!. Today, you can win a virtual meet-and-greet with this legend. -
How Has the Theatre District in Times Square Changed?
Running Head: How has the Theatre district in Times Square Changed? How has the Theatre District in Times Square Changed? Shanae Clarke Ella-Lisa Horne Amalia Beckett Hawa Kamara LIB 2205ID section D958 Professor Chin & Professor Swift th December 5 2016 0 Running Head: How has the Theatre district in Times Square Changed? Times Square is known for its commercial properties, theatre district, advertisement and entertainment. It has been one of New York’s most iconic tourist destinations. People around the world visit Times Square just to capture a glimpse of New York City’s magic especially the theatres on Broadway. Broadway theatres are widely considered to represent the highest level of commercial theatre in the country. However, these theatres haven’t always been this picturesque. In this paper we will focus on how the Theatre District in Time Square has changed. We will be focusing on Four Theatres, which include New Amsterdam Theatre, Lyceum Theatre, Shubert Theatre and Booth Theatre. These sites have gone through a series of physiological and psychological transformations throughout the years. Some are still standing as operating theaters, while others have converted and repurposed. From the construction of theatres then the stock market crash to prostitution and crime. Times Square’s theatre district has had its fair share of hiccups along the way before contributing to the image of New York City as we see it today. Our group members chose to do theatres in Time Square because each of us have a common interest in theatres and would like to gain more knowledge on the history of each theatre. -
American Music Research Center Journal
AMERICAN MUSIC RESEARCH CENTER JOURNAL Volume 19 2010 Paul Laird, Guest Co-editor Graham Wood, Guest Co-editor Thomas L. Riis, Editor-in-Chief American Music Research Center College of Music University of Colorado Boulder THE AMERICAN MUSIC RESEARCH CENTER Thomas L. Riis, Director Laurie J. Sampsel, Curator Eric J. Harbeson, Archivist Sister Mary Dominic Ray, O.P. (1913–1994), Founder Karl Kroeger, Archivist Emeritus William Kearns, Senior Fellow Daniel Sher, Dean, College of Music William S. Farley, Research Assistant, 2009–2010 K. Dawn Grapes, Research Assistant, 2009–2011 EDITORIAL BOARD C. F. Alan Cass Kip Lornell Susan Cook Portia Maultsby Robert R. Fink Tom C. Owens William Kearns Katherine Preston Karl Kroeger Jessica Sternfeld Paul Laird Joanne Swenson-Eldridge Victoria Lindsay Levine Graham Wood The American Music Research Center Journal is published annually. Subscription rate is $25.00 per issue ($28.00 outside the U.S. and Canada). Please address all inquiries to Lisa Bailey, American Music Research Center, 288 UCB, University of Colorado, Boulder, CO 80309-0288. E-mail: [email protected] The American Music Research Center website address is www.amrccolorado.org ISSN 1058-3572 © 2010 by the Board of Regents of the University of Colorado INFORMATION FOR AUTHORS The American Music Research Center Journal is dedicated to publishing articles of general interest about American music, particularly in subject areas relevant to its collections. We welcome submission of articles and pro- posals from the scholarly community, ranging from 3,000 to 10,000 words (excluding notes). All articles should be addressed to Thomas L. Riis, College of Music, University of Colorado Boulder, 301 UCB, Boulder, CO 80309-0301. -
Judith Evelyn Collection (1913-1967) Inventory
Judith Evelyn Collection (1913-1967) Inventory 3 boxes; 185 items; 1.3 linear metres Scrapbooks, photographs, scripts and programs pertaining to the career of Canadian actress Judith Evelyn, concentrating on her years on the Broadway stage. Material on her early years in student productions at University of Manitoba and at Hart House Theatre is included in the Nancy Pyper Collection. Box 1 Env. #1: Photographs – 27 items Portraits of Judith Evelyn, including studies by Ashley & Crippen, Talbot and Maurice Seymour. Env. #2: Photographs, Student Productions – 4 items Hounded by Hate, Hart House Theatre, 1935 Once in a Lifetime, Hart House Theatre, 1935 Apache, Hart House Theatre, 1936 Magnanimous Lover, Dominion Drama Festival, 1936 (signed by Karsh) Env. #3: Photographs, Angel Street (1942) – 5 items Env. #4: Photographs, The Overtons (1945) – 2 items Env. #5: Photographs, Craig’s Wife (1947) – 1 item Env. #6: Photographs, A Streetcar Named Desire (1949) – 1 item Env. #6a: Photographs, The Shrike (1952) – 1 item Env. #7: Photographs, Radio and Television shows – 5 items Mrs. Miniver Macbeth They Called Her Blessed Judith Evelyn Collection Inventory Page 2 of 8 Env. #8: Photographs, War work (including Bond Appeals, etc.) – 4 items Env. #9: Photographs, Miscellaneous – 3 items Friends, Judith Evelyn’s dog “Elva” Env. #10: Photographs, The Rich Full Life (1945) – 2 items Marquee, John Golden Theatre, N.Y. Env. #11: Photographs, Craig’s Wife (1947) – 10 items Marquee and lobby display, Playhouse Theatre, N.Y. Env. #12: Photographs, The Ivy Green (1949) – 4 items Marquee and lobby display, Lyceum Theatre, N.Y. Env. #13: Photographs, The Shrike (1952) – 2 items Marquee, Cort Theatre, N.Y. -
Theatrical Resume
DAVID ELLIOTT PRODUCER / DIRECTOR / GENERAL MANAGER BROADWAY / WEST END DAMES AT SEA PRODUCER HELEN HAYES THEATRE, NYC (TONY Nomination – Randy Skinner, Best Choreography) VANYA AND SONIA AND MASHA AND SPIKE PRODUCER JOHN GOLDEN THEATRE, NYC (TONY / Drama Desk Award Winner -Best Play) LEND ME A TENOR THE MUSICAL PRODUCER GIELGUD THEATRE, LONDON (Olivier Nomination – Sophie Louise Dann) TOUR / INTERNATIONAL IN THE CONTINUUM PRODUCER Harare International Festival of the Arts, Harare, Zimbabwe (OBIE Award, Outer Critics Circle Award) Baxter Theatre, Cape Town, South Africa Market Theatre, Johannesburg, South Africa Traverse Theatre, Edinburgh, Scotland U.S. Tour – 6 cities THE EXONERATED PRODUCER U.S. NATIONAL TOUR (Drama Desk, Outer Critics Circle Award, Lucille Lortel Award) AQUILA THEATRE COMPANY GENERAL MANAGER U.S. NATIONAL TOURS (2016-2020) OFF BROADWAY MSTRIAL GENERAL MANAGER NEW WORLD STAGES, STAGE 3, NYC MAVERICK DIRECTOR THE CONNELLY THEATRE, NYC THE SAINTLINESS OF MARGERY KEMPE PRODUCER/GENERAL MANAGER THE DUKE ON 42ND STREET, NYC GEORGE: MY ADVENTURES WITH GEORGE ROSE PRODUCER/GENERAL MANAGER DAVENPORT THEATRE, NYC (Drama Desk Award Winner) LITTLE ROCK GENERAL MANAGER THE SHEEN CENTER, NYC ANYTHING CAN HAPPEN IN THE THEATRE: GENERAL MANAGER THE TRIAD THEATRE, NYC AN EVENING WITH MAURY YESTON BEDLAM’S SENSE & SENSIBILITY GENERAL MANAGER GYM AT JUDSON, NYC (Off Broadway Alliance Award) BEDLAM’S NEW YORK ANIMALS GENERAL MANAGER NEW OHIO THEATRE, NYC EDISON’S ELEPHANT DIRECTOR METROPOLITAN PLAYHOUSE, NYC DEAR JANE GENERAL MANAGER -
Save Century II Newsletter #6 - the Truth Comes Out!
Save Century II Newsletter #6 - The Truth Comes Out! The Wichita Eagle published a story on March 3 reporting that the Broadway musical, “Hamilton,” is coming to Wichita. Anyone questioning the Riverfront Legacy Plan to demolish Century II will recall that “Hamilton” has often been used as an example of a Broadway production that could not come to Wichita because of the physical limitations of Century II - the stage was 11 feet too shallow. According to the American Theater Guild, the performance will not leave pieces of the set in the trucks as feared. Rather, “the Hamilton production will be of the same size and quality as the one at the Richard Rodgers Theatre in New York and currently on tour” and will “100% be the full-sized tour seen in all other markets and equity [produced].” The Wichita Eagle clarified the actual reason for not getting Hamilton before the 2021-22 season was strictly related to ticket sales. Riverfront Legacy backers and the public relations firms they’ve hired to spread their propaganda have used the Hamilton excuse to convince Wichita citizens, Music Theatre Wichita staff, and City Council members that Century II should be destroyed. For too long, special interests have had their way with City Hall and we're still waiting on an Ethics Policy from City Council. We ask that you keep reading, listening, and thinking. We owe thanks to reporters and opinion writers at the Wichita Eagle, the Wichita Business Journal and reporters at local TV and radio stations for their investigative reporting. Check out three of the -
Proquest Dissertations
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, som e thesis and dissertation copies are in typewriter face, while others may be from any type of com puter printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 UMI EDWTN BOOTH .\ND THE THEATRE OF REDEMPTION: AN EXPLORATION OF THE EFFECTS OF JOHN WTLKES BOOTH'S ASSASSINATION OF ABRAHANI LINCOLN ON EDWIN BOOTH'S ACTING STYLE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Michael L.