DOCSLIB.ORG

Edition 4 | 2018-2019

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Edition 4 | 2018-2019 SHUBERT THEATRE 2018–2019 SEASON Bjorn Haber Und Bjork Boyett | 5 Spamalot Title Page | 9 Spamalot Cast | 11 Spamalot Scenes & Musical Numbers | 13 Spamalot Who’s Who | 15 Spamalot Staff | 21 Shubert Supporters | 23 The Shubert Theatre is located at 247 College Street, New Haven BOX OFFICE HOURS: Mon–Fri 9:30am–5:30pm and during all performances Call 203-562-5666 or 888-736-2663 www.shubert.com ADVERTISING Onstage Publications Advertising Department 937-424-0529 | 866-503-1966 e-mail: [email protected] www.onstagepublications.com This program is published in association with Onstage Publications, 1612 Prosser Ave., Dayton, Ohio 45409. This program may not be reproduced in whole or in part without written permission from the publisher. Onstage Publications is a division of Just Business!, Inc. Contents © 2019. All rights reserved. Printed in the U.S.A. Shubert Theatre | 2018–2019 3 BJÖRN HABER UND BJÖRK BOYETT mit VLAD THE IMPALER WANKEL Fannnii Oopsaatli, Mooni Murikkikonnen and Ni-Jerkk Productions In association with The Flying Finns Aerial Ballet, Rovaniemi Traffic Police, Border Guards for Christ and The International Friends of the Sauna Present A Ruudo Kokki – Lapp Cheese Council Production Of Bin Faaarkrekkionʼs new Moosical DIK OD TRIAANENEN FOL (Finns Ainʼt What They Used To Be) Book by Bin Faaarkrekkion From an idea by Sid, Coco and Edith Piaf Lyrics by Hutti Jaarvennianen, Walli Maatritiiiaaaeenioon and Jiggi Ni. The story, in music and song, of Finlandʼs transformation from a predominantly rural agricultural base to one of the most sophisticated industrial and entrepreneurial economies in the world. Shubert Theatre | 2018–2019 5 AUGUST 2007 2 MUSICAL NUMBERS “These Little Finns Remind Me of You” “Milk It” “I Hear Your Nokia But I Can’t Come In” “Milk It (Reprise)” “It’s a Bleeding (Economic) Miracle!” “Foek You, Farmers” “Milk It (Finale)” THE ACTION TAKES PLACE ENTIRELY IN A SAUNA. DIK OD TRIAANENEN FOL WILL BE PERFORMED WITH THREE INTERMISSIONS: ONE EVERY TWO-AND-A-HALF HOURS. Featuring the show-stopping, foot-stomping East Finland Moose Ballet—45 magnificent creatures in high-stepping harmony. Believed to be the greatest display of horn ever seen on anA merican stage. WHO’S WHO in theCAST BIN FAAARKREKKION (Writer). to share a towel with Noggi, Bonk com- Faarkrekkion’s career typifies the Finnish eco- plained that Tuulivaarskinonen’s name was nomic miracle. Born the son of a humble bigger on the door and Ken-Angela turned woodcutter, Bin worked his way up through out to be Norwegian. Kokki changed his shrubbery management to become Professor name to Art Polaris and wrote Do of Treadmill Dynamics at the University of Skleeezwiaanaenblon, an erotic opera set Toooti, believed to be the 28th most northerly amongst the winkle pickers on Finland’s university in the world. “I have always been Baltic Sea coast. The show closed after only interested in the relatively rapid transition eight minutes. The sight of 94 aroused win- from a predominantly rural agricultural base kles was too much even for Helsinki’s liberal to one of the most advanced industrial Ghooti Sponen newspaper. “Do economies in the Western world, and one day Skleeezwiaaanaenblon gives Finnish erotic in the sauna, it came to me: What a great sub- opera a bad name. I’ve seen more erotic ac- ject for a musical.” tivity at a builder’s yard.” Undaunted, Kokki set to work on an erotic opera set in a RUUDI KOKKI (Producer). Like Bin builder’s yard. Di Hoviekrekkertilllniamen, Faaarkrekkion, Kokki’s life has had its twists the story of a young female crane operator and turns. He learnt his t rade up country who pleasures herself during preliminary where he was, for a time, the 28th most works connected with the extension of northerly person in Finland. “My father was a Helsinki’s Metro system, was an instant hit. humble woodcutter. But at these latitudes, “I discovered, for the first time, how many where it is dark for half the year, this was a people were interested in the extension of the very dangerous business, as it was not always Metro system, and in the burgeoning Finnish possible to see where the trees are falling— economy generally.” Kokki set himself a new and one year my father brought down a huge task, to represent this extraordinary economic spruce on top of his friend Nee-Wom, partly transformation in music, dance, mime and killing him.” Kokki’s father would never magic. One night he was explaining his plans touch a tree again. He would hang about the at the exclusive Sons of Humble Woodcut- cabin nursing his grief, rocking backwards ter’s Club in the chic Kongspalatzen, when a and forwards and listening to the hated fellow diner pricked up his hears. His name Swedish group Abba. “My loathing of Abba, was Bin Faaarkrekkion. The rest is history. and their enormous earnings, led me to my first musical venture, the formation of an al- DILLI AARNEN. Dilli, 43, began her career ternative Finnish group: Udda. Two boys, understudying Speeni Solkomen in The Keith two girls and, my master-stroke, one her- Richard Story. She’s married to producer maphrodite, Ken-Angela Nuuti.” Udda’s Mooni Moorikikinen but is having an affair problems are now well known. Shiiti refused 3PLAYBILL WHO’S WHO in theCAST with Ost Fwellok and Stubbi Bwenolllenson. TANAKA ING (Director). The only non- She has won four Golden Nukkies. Finn in the company, Ing has a long history in experimental theatre, including SWELL PEST. Swell is best known for his Churchill’s History of the English Speaking portrayal of Gossi Tweshonen, the unsighted People in mime, a salsa version of the Ti- bus driver in FinnTV’s hit series “Aaarghh! betan Book of the Dead and a puppet version Villianomeniaanen Schiederrbobrana Ig” of The U.S. Population Census of 1973. A (“Watch Out!”). He lives in the woods many great tennis lover, Ing went to Finland for a miles north of Helsinki in a house modelled contemplation weekend and found himself on Steve Earle’s early hit “Guitar Town.” hooked. “I love trees and always have, and in Finland there are something like a thousand SAD AAARSE. As well as being Finland’s trees for each person. I also like the bits in open unicycle champion, Sadd is a keen envi- between them, which allow you to walk ronmentalist, who believes that man has much around the trees without hitting them. I hope I to learn from the moose. “We think we have can do my bit to make the world sing along all the answers, but we don’t. If we did we’d with the remarkable transformation from a have horns.” He has twice won the Shapeless predominantly conservative rural base to one Gray Thing of Tampere. of the most advanced industrial economies in the Western world.” Ing’s next project is to THE HONNI OBIKKIONEN SINGERS. drain Lake Michigan for a day. Twelve boys, seven girls and an ostrich who all met up at Utsjoki Cold Research Institute Patrons are asked not to smoke or speak Swedish in the in the extreme north of Finland. “There was theatre. Please use cell phones whenever possible. not much to do in the evenings but sneeze,” laughs Honni, now 57, “so we used to cheer CREDITS everyone up with a few Leonard Cohen songs. Bicycle hire by O Vienhonhennin. Live chick- They went down so well that we now do Tom ens by Barry Vig. Cigarettes by De Mornay. Waits, Tibetan songs for the dead and Petula Penises by Vic and Wilf. Miss Aarnen’s writ- Clark.” A little-known fact about the Honni ing paper by Bureau de Monde. Animal cos- Obikkionen Singers is that they once had two tumes by Wolf out Fitz. Boys’ shackles by ostriches in the team. Chain-Me. Moose costumes by Rump’s Pelt. STONG VATTIAAANIKKERA Moose ( The producers, and their wives, wish to thank Trainer ). Stong, twice winner of the most Olli Brun Executive Ski-Wear, The “Verri- westerly man in Finland, grew up with moose. Big” Gold Watch Company, Bahama Villas, “Very often I would go down to breakfast and The Flying Butler, Chirac Champagne Cel- find moose in the kitchen, in the car and lars, The Sapphire Salon and Frank’s Viagra sometimes listening to the radio, dressed up Warehouse. to look like my mother and father.” During al- most a decade of psychiatric treatment, Stong took up ballet as a way of dealing with what COME TO FINLAND he called “bad thoughts.” The treatment worked, and Stong took, and on the third time If you’ve enjoyed this production, why not passed, accountancy exams. He returned to hop on a plane and see Finland for yourself? the community and rose to become CEO and It is such a lovely place. (Mostly flat but lifetime president of the Finnish Steel Corpo- with some raised bits.) Quite warm some- ration. What few people knew was that in the times in the south, though on the whole cold- evening Stong was combining the two “loves er in the north. There are some paper mills. of my life”: moose and ballet. Without anyone The roads have relatively few bumps. All ho- knowing, he hired a theatre and put on his tels have curtains. Things are very clean, but very own creation, Moose Lake. As a result he not pathologically so. It’s a great place for was re-admitted to hospital where, despite trees. Alongside the trees you will find other everyone’s best efforts, he wrote and scored trees, which blend into a forest running for a 12 more moose ballets.
Load more

Recommended publications
  • The First Critical Assessments of a Streetcar Named Desire: the Streetcar Tryouts and the Reviewers
    FALL 1991 45 The First Critical Assessments of A Streetcar Named Desire: The Streetcar Tryouts and the Reviewers Philip C. Kolin The first review of A Streetcar Named Desire in a New York City paper was not of the Broadway premiere of Williams's play on December 3, 1947, but of the world premiere in New Haven on October 30, 1947. Writing in Variety for November 5, 1947, Bone found Streetcar "a mixture of seduction, sordid revelations and incidental perversion which will be revolting to certain playgoers but devoured with avidity by others. Latter category will predomin­ ate." Continuing his predictions, he asserted that Streetcar was "important theatre" and that it would be one "trolley that should ring up plenty of fares on Broadway" ("Plays Out of Town"). Like Bone, almost everyone else interested in the history of Streetcar has looked forward to the play's reception on Broadway. Yet one of the most important chapters in Streetcar's stage history has been neglected, that is, the play's tryouts before that momentous Broadway debut. Oddly enough, bibliographies of Williams fail to include many of the Streetcar tryout reviews and surveys of the critical reception of the play commence with the pronouncements found in the New York Theatre Critics' Reviews for the week of December 3, 1947. Such neglect is unfortunate. Streetcar was performed more than a full month and in three different cities before it ever arrived on Broadway. Not only was the play new, so was its producer. Making her debut as a producer with Streetcar, Irene Selznick was one of the powerhouses behind the play.
    [Show full text]
  • Into the Woods Is Presented Through Special Arrangement with Music Theatre International (MTI)
    PREMIER SPONSOR ASSOCIATE SPONSOR MEDIA SPONSOR Music and Lyrics by Book by Stephen Sondheim James Lapine June 28-July 13, 2019 Originally Directed on Broadway by James Lapine Orchestrations by Jonathan Tunick Original Broadyway production by Heidi Landesman Rocco Landesman Rick Steiner M. Anthony Fisher Frederic H. Mayerson Jujamcyn Theatres Originally produced by the Old Globe Theater, San Diego, CA. Scenic Design Costume Design Shoko Kambara† Megan Rutherford Lighting Design Puppetry Consultant Miriam Nilofa Crowe† Peter Fekete Sound Design Casting Director INTO The Jacqueline Herter Michael Cassara, CSA Woods Musical Director Choreographer/Associate Director Daniel Lincoln^ Andrea Leigh-Smith Production Stage Manager Production Manager Myles C. Hatch* Adam Zonder Director Michael Barakiva+ Into the Woods is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI. www.MTIShows.com Music and Lyrics by Book by STEPHEN JAMES Directed by SONDHEIM LAPINE MICHAEL * Member of Actor’s Equity Association, † USA - Member of Originally directed on Broadway by James LapineBARAKIVA the Union of Professional Actors and United Scenic Artists Orchestrations by Jonathan Tunick Stage Managers in the United States. Local 829. ^ Member of American Federation of Musicians, + Local 802 or 380. CAST NARRATOR ............................................................................................................................................HERNDON LACKEY* CINDERELLA
    [Show full text]
  • The Merry Widow Program, April 29
    APRIL 29 - MAY 8 CITI PERFORMING ARTS CENTERSM SHUBERT THEATRE ESTHER NELSON, STANFORD CALDERWOOD GENERAL & ARTISTIC DIRECTOR DAVID ANGUS, MUSIC DIRECTOR | JOHN CONKLIN, ARTISTIC ADVISOR Boston Lyric Opera counts on the generous support of patrons like you who stand up and say: I BELIEVE IN BLO Make a gift today to BLO's Annual Fund and keep opera Sandra Piques Eddy performs in Werther. at the forefront of Boston's T. CHARLES ERICKSON cultural landscape. MAKE A GIFT BY JUNE 30TH Learn more at blo.org/give B | BOSTON LYRIC OPERA THE MERRY WIDOW 2016 WELCOME In 1907, The New York Times announced, “Tomorrow night is coming to town a young person who has attracted an enormous amount of attention in foreign parts and who is expected to attract as much here… Great preparations have been made for her and her wiles are expected to be potent.” The arrival was Franz Lehár’s The Merry Widow. Since its debut, this masterpiece has enthralled and delighted audiences around the world. And the widow herself, Hanna Glawari, has proved to be a woman of substance for generations. Life at the height of the gilded age, or La Belle Époque, aspired to be merry, lavish, and carefree. However, they were all dancing on the precipice of disaster: the Great War. We recognize it in the irresistible cast of characters who seduce, sway and swoon their way to true love or farewell. And we hear it in the unforgettable melodies of a Polish mazurka, the cancan, and, of course, the indelible “Merry Widow Waltz.” Sandra Piques Eddy and Alex Richardson in “ As we refl ect on our time on this venerable stage, we are Boston Lyric Opera's production of Werther.
    [Show full text]
  • The Rutles: All You Need Is Cash
    SPOOFS The Rutles: All You Need Is Cash In the 1970s, Eric Idle, a former member of the legendary British com- edy team Monty Python, featured a Beatles parody song called “It Must Be Love” on Rutland Weekend Television, his own television show on BBC-2. The song had been written by Neil Innes, who had previously worked with Monty Python and the Bonzo Dog Doo-Dah Band. The song was performed by ‘The Rutles’, a Beatles look-alike band featuring Neil Innes as the John Lennon character, and Eric Idle as the Paul McCartney character (vgl. Harry 1985: 69). In October 1976, the parody was shown on America’s NBC TV’s show Saturday Night Live as a se- quel to the running gag of a Beatles reunion for $3,000. The parody went down so well that Eric Idle and Neil Innes decided to produce a feature program about The Rutles for television. Idle, who was a close friend of George Harrison, was allowed to watch Neil Aspinall’s unreleased do- cumentary about The Beatles, called The Long and Winding Road. Aspi- nall’s film featured a bulk of famous footage of The Beatles, from their first televised performance at the Cavern Club in Liverpool to their last group performance on the roof of their Apple business building. Idle u- sed The Long and Winding Road as a model for his fake-documentary about The Rutles and basically re-told the history of The Beatles pro- jected upon this imaginary rock band, adding essential elements of par- ody and the Pythonesque sense of surreal humor.
    [Show full text]
  • Bergen Goes to Broadway 2017/2018 Season
    BERGEN GOES TO BROADWAY 2017/2018 SEASON Our Bergen Goes to Broadway series is pleased to announce its exciting 2017/2018 season with the opportunity to attend the following outstanding Broadway productions! Because of the popularity and the high demand for tickets to these performances, the due dates for payment are already upon us. Please join us for all performances or choose those that are most appealing to you. Tickets are limited and are open to the entire Bergen Catholic community. Checks should be made out to Bergen Catholic and sent to the attention of Barbara Peraino. Our opening shows, Come from Away, and closing show, Dear Evan Hansen, have already sold out! However, we are pleased to announce that tickets are now available for the following production that is about to take the Broadway stage by storm as well as the continuing smash hit, School of Rock! The Band`s Visit - Thursday, January 4th 2018. Dinner at Tony DiNapoli and transportation is included in the $120.00 cost of the trip. Payment is due by September 10th. “Some shows are so full of heart and so overflowing with integrity — of talent, of skill and of purpose – that a critic is torn between singing its praises from the rooftops and wanting to protect something rare and fragile. Even when, truth to tell, a great show is usually a tough one as well, able to withstand the pressure of raves and the demand to sacrifice a little bit of proximity to reach a wider audience. That was true of Rent, and Spring Awakening and, of course, Hamilton.
    [Show full text]
  • The Nineteenth-Century Russian Gypsy Choir and the Performance of Otherness
    The Nineteenth-Century Russian Gypsy Choir and the Performance of Otherness Erik R. Scott Summer 2008 Erik R. Scott is a Ph.D. candidate in the Department of History, at the University of California, Berkeley Acknowledgments I would like to thank Professor Victoria Frede and my fellow graduate students in her seminar on Imperial Russian History. Their careful reading and constructive comments were foremost in my mind as I conceptualized and wrote this paper, first for our seminar in spring 2006, now as a revised work for publication. Abstract: As Russia’s nineteenth-century Gypsy craze swept through Moscow and St. Petersburg, Gypsy musicians entertained, dined with, and in some cases married Russian noblemen, bureaucrats, poets, and artists. Because the Gypsies’ extraordinary musical abilities supposedly stemmed from their unique Gypsy nature, the effectiveness of their performance rested on the definition of their ethnic identity as separate and distinct from that of the Russian audience. Although it drew on themes deeply embedded in Russian— and European—culture, the Orientalist allure of Gypsy performance was in no small part self-created and self-perpetuated by members of Russia’s renowned Gypsy choirs. For it was only by performing their otherness that Gypsies were able to seize upon their specialized role as entertainers, which gave this group of outsiders temporary control over their elite Russian audiences even as the songs, dances, costumes, and gestures of their performance were shaped perhaps more by audience expectations than by Gypsy musical traditions. The very popularity of the Gypsy musical idiom and the way it intimately reflected the Russian host society would later bring about a crisis of authenticity that by the end of the nineteenth century threatened the magical potential of Gypsy song and dance by suggesting it was something less than the genuine article.
    [Show full text]
  • • Includes the Best and Most Frequently Quoted Moments • Each Disc
    Each of these six discs contains a cornucopia of Monty Python’s best, most famous, and most frequently quoted songs and sketches as selected and introduced by the very lunatics who made Monty Python the world’s premier comedy troupe. Indeed, it’s the perfect package for all of your comedy consumers, from the newcomer to the fanatic, and everyone in between.* • Includes the best and most frequently quoted moments from the groundbreaking Flying Circus series to give new fans a primer on everything Python—that will have them reciting Python like their Megaset™-purchasing brethren in no time! • At under $8 per disc, THE PERSONAL BEST OF MONTY PYTHON’S FLYING CIRCUS opens the best-selling Flying Circus DVD franchise to new, Python-curious audiences. • Each disc includes new footage with the present-day Pythons, plus all of the naughty bits that were edited out of the PBS broadcasts and never-broadcast, DVD-exclusive bonuses with the cast. • Monty Python’s Spamalot on Broadway is still sold out—and touring North America—continuing to bring new fans with deep pockets into the Monty fold. • All of the Pythons’ best sketches are represented, including: “Self-Defense Against Fresh Fruit,” “The Upper Class Twit of the Year,” “The Lumberjack Song,” “Spanish Inquisition,” “Fish Slapping Dance,” “Silly Walks,” and “The Man Who Wrestles Himself,” plus Terry Gilliam’s best animation sequences. DVD PREORDER AUG 1 RELEASE AUG 29 special features: Behind the Scenes of John Cleese’s Personal Best a Terry Gilliam’s Featurette: A Retrospective of Python’s Animation a Eric Idle’s Personal Second-Best a Terry Jones’ Personal Second-Best a Michael Palin’s Personal Second-Best a Graham Chapman’s Personal Second-Best a Six 15-Question, 15-Ton Megaquizzes—One for Each Python a Biography and Selected Credits for Each Python a Interactive Menus a Scene Selection $44.95 srp U.S., $59.95 srp Can.
    [Show full text]
  • Island Sun News Sanibel Captiva
    Read Us Online at IslandSunNews.com NEWSPAPER VOL. 20, NO. 31 SANIBELSanibel & CAPTIVA & Captiva ISLANDS, Islands FLORIDA JANUARY 25, 2013 JANUARY SUNRISE/SUNSET: 25 7:16 • 6:05 26 7:16 • 6:06 27 7:15 • 6:07 28 7:15 • 6:08 29 7:15 • 6:08 30 7:14 • 6:09 31 7:14 • 6:10 Quiz show competitors, from left, Caitlin Ross, Tyler Ulrich and Ashley Thibaut Center 4 Life, Sanibel School Gather For Potluck And Quiz Show by Jeff Lysiak Guests at the Historical Village’s fundraiser will have a chance to bid on lunch and a tour of Sanibel Fire Station #1. Pictured from left are Gerri Perkins of the auction committee, fire- hat was the smallest of Christopher Columbus’ three ships? fighter Shane Grant, Anita Smith of the auction committee and firefighter Brian Howell. How many teaspoons are in two tablespoons? W In which direction does the Earth spin – clockwise or counter-clockwise? If you’re like most folks, the answers to these questions may come to you after a Historical Village Live Auction Items little bit of thought or even some calculated guessing. However, for the three students – Caitlin Ross, Tyler Ulrich and Ashley Thibaut – participating in last Thursday’s Are You ive auction items at the Sanibel Historical Museum and Village’s February 5 Smarter Than A Fifth Grader? quiz show, the answers appeared to be rather easy. fundraiser, It’s Paradise ... Because, are varied enough to be on everyone’s wish But don’t blame John Brown, host of the Center 4 Life’s potluck/game night, who Llist, and exciting enough to entertain everyone.
    [Show full text]
  • The Enduring Power of Musical Theatre Curated by Thom Allison
    THE ENDURING POWER OF MUSICAL THEATRE CURATED BY THOM ALLISON PRODUCTION SUPPORT IS GENEROUSLY PROVIDED BY NONA MACDONALD HEASLIP PRODUCTION CO-SPONSOR LAND ACKNOWLEDGEMENT Welcome to the Stratford Festival. It is a great privilege to gather and share stories on this beautiful territory, which has been the site of human activity — and therefore storytelling — for many thousands of years. We wish to honour the ancestral guardians of this land and its waterways: the Anishinaabe, the Haudenosaunee Confederacy, the Wendat, and the Attiwonderonk. Today many Indigenous peoples continue to call this land home and act as its stewards, and this responsibility extends to all peoples, to share and care for this land for generations to come. CURATED AND DIRECTED BY THOM ALLISON THE SINGERS ALANA HIBBERT GABRIELLE JONES EVANGELIA KAMBITES MARK UHRE THE BAND CONDUCTOR, KEYBOARD ACOUSTIC BASS, ELECTRIC BASS, LAURA BURTON ORCHESTRA SUPERVISOR MICHAEL McCLENNAN CELLO, ACOUSTIC GUITAR, ELECTRIC GUITAR DRUM KIT GEORGE MEANWELL DAVID CAMPION The videotaping or other video or audio recording of this production is strictly prohibited. A MESSAGE FROM OUR ARTISTIC DIRECTOR WORLDS WITHOUT WALLS Two young people are in love. They’re next- cocoon, and now it’s time to emerge in a door neighbours, but their families don’t get blaze of new colour, with lively, searching on. So they’re not allowed to meet: all they work that deals with profound questions and can do is whisper sweet nothings to each prompts us to think and see in new ways. other through a small gap in the garden wall between them. Eventually, they plan to While I do intend to program in future run off together – but on the night of their seasons all the plays we’d planned to elopement, a terrible accident of fate impels present in 2020, I also know we can’t just them both to take their own lives.
    [Show full text]
  • Musical! Theatre!
    Premier Sponsors: Sound Designer Video Producer Costume Coordinator Lance Perl Chrissy Guest Megan Rutherford Production Stage Manager Assistant Stage Manager Stage Management Apprentice Mackenzie Trowbridge* Kat Taylor Lyndsey Connolly Production Manager Dramaturg Assistant Director Adam Zonder Hollyann Bucci Jacob Ettkin Musical Director Daniel M. Lincoln Directors Gerry McIntyre+ & Michael Barakiva+ We wish to express our gratitude to the Performers’ Unions: ACTORS’ EQUITY ASSOCIATION AMERICAN GUILD OF MUSICAL ARTISTS AMERICAN GUILD OF VARIETY ARTISTS SAG-AFTRA through Theatre Authority, Inc. for their cooperation in permitting the Artists to appear on this program. * Member of the Actor's Equity Association, the Union of Professional Actors and Stage Managers in the United States. + ALEXA CEPEDA is delighted to be back at The KRIS COLEMAN* is thrilled to return to the Hangar. Hangar! Select credits: Mamma Mia (CFRT), A Broadway Credit: Jersey Boys (Barry Belson) Chorus Line (RTP), In The Heights (The Hangar Regional Credit: Passing Strange (Narrator), Jersey Theatre), The Fantasticks (Skinner Boys - Las Vegas (Barry Belson), Chicago (Hangar Barn), Cabaret (The Long Center), Anna in the Theatre, Billy Flynn), Dreamgirls (Jimmy Early), Sister Tropics (Richard M Clark Theatre). She is the Act (TJ), Once on This Island (Agwe), A Midsummer founder & host of Broadway Treats, an annual Nights Dream (Oberon) and Big River (Jim). benefit concert organized to raise funds for Television and film credits include: The Big House Animal Lighthouse Rescue (coming up! 9/20/20), and is (ABC), Dumbbomb Affair, and The Clone. "As we find ourselves currently working on her two-person musical Room 123. working through a global pandemic and race for equality, work Proud Ithaca College BFA alum! "Gracias a mamacita y papi." like this shows the value and appreciation for all.
    [Show full text]
  • Sample Teaching Artists
    Sample Teaching Artists George Hamilton, Broadway and Film Actor, Broadway Actresses Charlotte D’Amboise & Jasmine Guy speaks at a Chicago Day on Broadway speak at a Chicago Day on Broadway Fashion Designer, Tommy Hilfiger, speaks at a Career Day on Broadway SOME OF OUR PASSPORT TO BROADWAY CREATIVE TEAM STEPHEN BROTEBECK (Choreographer) Mr. Brotebeck is an Associate Professor of Musical Theatre at San Diego State University in the prestigious MFA Musical Theatre program where he has directed and choreographed productions of Leonard Bernstein’s Mass, Company, Enchanted April, The Full Monty, Jesus Christ Superstar, The Drowsy Chaperone (Craig Noel Award Nomination), and On The Eve. Mr. Brotebeck is also the Artistic Director of the Okoboji Summer Theatre in Okoboji, Iowa, where he has directed I Ought To Be In Pictures, A Grand Night For Singing, And The World Goes ‘Round and The Spitfire Grill. On Broadway, Stephen served as the Movement Associate on the Tony® Award winning production of Peter and the Starcatcher and also the Off-Broadway transfer to New World Stages, choreographed by Steven Hoggett. In addition he served as an Assistant Director on the Broadway premiere of Ghost The Musical, directed by Matthew Warchus. As a Director and Choreographer, Stephen’s credits include Enchanted April (Co-Director and Choreographer) at Arena Stage in Washington D.C., My Fair Lady, Camelot and Children of Eden (Associate Director/Choreographer) at The Kennedy Center, and The 2012 and 2013 Great American Songbook Hall of Fame Ceremonies presented by Michael Feinstein, honoring Liza Minnelli, Rita Moreno, Jimmy Webb, Cole Porter, Marilyn and Alan Bergman, Barry Manilow and Frank Sinatra (Director and Choreographer).
    [Show full text]
  • A Love Affair with Danger
    A Love Affair With Danger Bill Hastings has been in Norway about 20 times. He was first hired by The Norwegian University College of Dance in 1991 to do Dancin’ Man for their 25th anniversary. Now, he’s back at The Norwegian University College of Dance to rehearse The Rich Man’s Frug for the 50th anniversary. Can you tell me about your career as a dancer? - I went to college on a full music scholarship. I was a self-taught percussionist who dreamed of playing in a classical orchestra; however, I graduated with a degree in theatre. While in college, a friend of mine came to me and said there was an audition for a local production of the musical “Paint your Wagon”. He encouraged me to audition, and so I did. Quite surprisingly I was hired for the job. A whole new world opened to me. The combination of music, theatre and dance was thrilling. I was hooked. A lifelong career as dancer, choreographer and teacher was to follow. About the same time, I saw a film of Martha Graham’s Seraphic Dialogue; and I thought, I want to do THAT - the beautiful, powerful movement; the iconic design; and, the theatrical artfulness. However, it was the bright lights of musical theatre that ultimately won me over. You seem like you like what you are doing. Is that right? - I love what I’m doing; but, it also frightens me. It demands much from the heart, the spirit, the intellect and the body (as with most athletes, age is a constant sparring partner).
    [Show full text]