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Press Release-AMERICAN STAGE ANNOUNCES PRODUCING
For Immediate Release (after given date/time below) January 20, 2015 (after 12 pm) Contact: Roman Black, Marketing Director (727) 823-1600 x 202 mailto:[email protected] AMERICAN STAGE ANNOUNCES NEW PRODUCING ARTISTIC DIRECTOR ST. PETERSBURG, FL – American Stage Theatre Company is excited to announce and welcome Stephanie Gularte as the company’s next Producing Artistic Director. Ms. Gularte will begin her role as Producing Artistic Director on February 24, 2015. The Board of Trustees and staff of American Stage are excited to have Stephanie Gularte accept this position and they are confident she will successfully lead American Stage into the theater’s next era. “Stephanie brings an extraordinary combination of leadership, talent, energy, and vision to American Stage and the Tampa Bay region,” said Matthew Conigliaro, chair of the Board of Trustees at American Stage. “She will thrive here, continuing the traditions of excellence at American Stage while taking this theatre to new heights and expanding our ability to bring the magic of live theatre to growing audiences from all around the bay area.” Gularte has 14 years of experience as a producing artistic director, including 10 years as the executive artistic director of Capital Stage Company, an acclaimed professional, nonprofit theatre company in Sacramento, California. Gularte was the Founding Artistic Director of Capital Stage Company and successfully led the theater while developing a strong reputation as an arts leader and creating a legacy of excellence that has brought her to the Tampa Bay region, where she will guide American Stage into an exciting new era. Gularte brings an impressive range of experience to American Stage. -
You Can't Take It With
Insights A Study Guide to the Utah Shakespeare Festival You Can’t Take It with You The articles in this study guide are not meant to mirror or interpret any productions at the Utah Shakespeare Festival. They are meant, instead, to be an educational jumping-off point to understanding and enjoying the plays (in any production at any theatre) a bit more thoroughly. Therefore the stories of the plays and the interpretative articles (and even characters, at times) may differ dramatically from what is ultimately produced on the Festival’s stages. Insights is published by the Utah Shakespeare Festival, 351 West Center Street; Cedar City, UT 84720. Bruce C. Lee, communications director and editor; Phil Hermansen, art director. Copyright © 2011, Utah Shakespeare Festival. Please feel free to download and print Insights, as long as you do not remove any identifying mark of the Utah Shakespeare Festival. For more information about Festival education programs: Utah Shakespeare Festival 351 West Center Street Cedar City, Utah 84720 435-586-7880 www.bard.org. Cover photo: Michael Thomas Holmes (left) and Laurie Birmingham in You Can’t Take It with You, 1995. Contents You Can’tInformation Take on theIt Play with You Synopsis 4 Characters 5 About the Playwright 6 Scholarly Articles on the Play Happy Lunacies 7 Still Speaking to Audiences 9 Utah Shakespeare Festival 3 351 West Center Street • Cedar City, Utah 84720 • 435-586-7880 Synopsis: You Can’t Take It with You The Vanderhof family at the center of You Can’t Take It with You is a collection of cheerful and erratic (yet lovable) incompetents. -
The Country House
THE COUNTRY HOUSE BY DONALD MARGULIES DRAMATISTS PLAY SERVICE INC. Country House, The.indd 1 2/4/2015 2:55:30 PM THE COUNTRY HOUSE Copyright © 2015, Donald Margulies All Rights Reserved CAUTION: Professionals and amateurs are hereby warned that performance of THE COUNTRY HOUSE is subject to payment of a royalty. It is fully protected under the copyright laws of the United States of America, and of all countries covered by the International Copyright Union (including the Dominion of Canada and the rest of the British Commonwealth), and of all countries covered by the Pan-American Copyright Convention, the Universal Copyright Convention, the Berne Convention, and of all countries with which the United States has reciprocal copyright relations. All rights, including without limitation professional/amateur stage rights, motion picture, recitation, lecturing, public reading, radio broadcasting, television, video or sound recording, all other forms of mechanical, electronic and digital reproduction, transmission and distribution, such as CD, DVD, the Internet, private and file-sharing networks, information storage and retrieval systems, photocopying, and the rights of translation into foreign languages are strictly reserved. Particular emphasis is placed upon the matter of readings, permission for which must be secured from the Author’s agent in writing. The English language stock and amateur stage performance rights in the United States, its territories, possessions and Canada for THE COUNTRY HOUSE are controlled exclusively by DRAMATISTS PLAY SERVICE, INC., 440 Park Avenue South, New York, NY 10016. No professional or nonprofessional performance of the Play may be given without obtaining in advance the written permission of DRAMATISTS PLAY SERVICE, INC., and paying the requisite fee. -
South Coast Repertory Is a Professional Resident Theatre Founded in 1964 by David Emmes and Martin Benson
IN BRIEF FOUNDING South Coast Repertory is a professional resident theatre founded in 1964 by David Emmes and Martin Benson. VISION Creating the finest theatre in America. LEADERSHIP SCR is led by Artistic Director David Ivers and Managing Director Paula Tomei. Its 33-member Board of Trustees is made up of community leaders from business, civic and arts backgrounds. In addition, hundreds of volunteers assist the theatre in reaching its goals, and about 2,000 individuals and businesses contribute each year to SCR’s annual and endowment funds. MISSION South Coast Repertory was founded in the belief that theatre is an art form with a unique power to illuminate the human experience. We commit ourselves to exploring urgent human and social issues of our time, and to merging literature, design, and performance in ways that test the bounds of theatre’s artistic possibilities. We undertake to advance the art of theatre in the service of our community, and aim to extend that service through educational, intercultural, and community engagement programs that harmonize with our artistic mission. FACILITY/ The David Emmes/Martin Benson Theatre Center is a three-theatre complex. Prior to the pandemic, there were six SEASON annual productions on the 507-seat Segerstrom Stage, four on the 336-seat Julianne Argyros Stage, with numerous workshops and theatre conservatory performances held in the 94-seat Nicholas Studio. In addition, the three-play family series, “Theatre for Young Audiences,” produced on the Julianne Argyros Stage. The 20-21 season includes two virtual offerings and a new outdoors initiative, OUTSIDE SCR, which will feature two productions in rotating rep at the Mission San Juan Capistrano in July 2021. -
Board of Directors. I Want to Make Sure That There’S a Diversity Ourselves — We Live with Them for Long Periods of of Voices Being Published by DPS
ISSUE 16 DRAMATISTS PLAY SERVICE SPRING 2015 ROUND TABLE with JOHN PATRICK SHANLEY, Dramatists Play Service POLLY PEN, and LYNN NOTTAGE is very fortunate not just to publish and license the best BY PETER HAGAN, PRESIDENT American playwrights, but also to have four of them sit on our the publishing conversation. As a woman of always going to be slightly different from that of the color, I also see my role as one of advocacy; agents. Our plays are creative extensions of Board of Directors. I want to make sure that there’s a diversity ourselves — we live with them for long periods of of voices being published by DPS. time; we keep them close and protected until we release them into the world. The founding charter of the Play Service, back in As time has gone by, have you seen your Then we entrust our plays 1936, called for the Board to be split evenly position as a playwright member change? to others for safekeeping: between playwrights (all members of the initially agents, and eventually Dramatists Guild) and agents. Back then, the star John Patrick Shanley: When I first served on publishing companies like playwrights included Howard Lindsay, George the Board, I was skeptical and challenging DPS. For better or worse, Abbott, and Sidney Howard. Today our stars are and, frankly, young. But over time I morphed agents can approach the Donald Margulies, Polly Pen, Lynn Nottage, and from opponent to colleague. business of publishing with John Patrick Shanley, who have been members a certain level of objectivity of the board ranging from five years (Nottage) to PP: Ways of thinking about how theatrical and distance; however, it’s over 20 (Shanley). -
La Ronde by Arthur Schnitzler Translated by Carl Mueller Directed by Cameron Watson Scene Dock Theatre Nov 19–22, 2015 PRESENTS
La Ronde By Arthur Schnitzler Translated by Carl Mueller Directed by Cameron Watson Scene Dock Theatre Nov 19–22, 2015 PRESENTS Cast of Characters La Ronde (in order of appearance) The Prostitute The Husband By Arthur Schnitzler Selina Scott-Bennin Ryan Holmes Translated by Carl Mueller The Soldier The Sweet Young Thing Jim French Mehrnaz Mohammadi WITH (in alphabetical order) The Parlor Maid The Poet Jim French Kristina Hanna Ryan Holmes Philippa Knyphausen Julián Juaquín The Young Gentleman The Actress Julián Juaquín Philippa Knyphausen Courtney Lloyd Charley Stern Courtney Lloyd Mehrnaz Mohammadi Selina Scott-Bennin Charley Stern The Young Wife The Count Kristina Hanna Jim French SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN Katrina Coulourides Erica Park Nicole Eng TIME: The late 1890s. SOUND DESIGN VOCAL COACH STAGE MANAGER PLACE: Vienna. Briana Billups Lauren Murphy Savannah Harrow The story is told in ten dialogues with no intermission. DIRECTED BY Cameron Watson WARNING Please be advised that this production contains e-cigarettes, e-cigars, nudity, as well as mature language and themes. PRODUCTION STAFF Scene Dock Theatre | November 19-22, 2015 Scenic Artist Erin O’Donnell Crew Alison Applebaum, Caroline Berns, Haley Brown, Justin Chien, Anna Courvette, “La Ronde” is produced in special arrangement with Smith & Kraus Publishers. Sabrina Sonner, John Tavcar, Patrick Wallace INTERIM DEAN Associate Professor of Theatre Practice David Bridel (Director of MFA in Acting) ASSOCIATE DEANS Professor Sharon Marie Carnicke Professor Velina Hasu Houston (Director of Dramatic Writing) ASSOCIATE PROFESSORS Meiling Cheng (Director of Critical Studies) Oliver Mayer ASSISTANT PROFESSORS Luis Alfaro Carla Della Gatta Takeshi Kata DIRECTOR'S NOTE Tom Ontiveros La Ronde Sibyl Wickersheimer Everything that can go wrong between lovers, will. -
South Pacific
THE MUSICO-DRAMATIC EVOLUTION OF RODGERS AND HAMMERSTEIN’S SOUTH PACIFIC DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By James A. Lovensheimer, M.A. ***** The Ohio State University 2003 Dissertation Committee: Approved by Professor Arved Ashby, Adviser Professor Charles M. Atkinson ________________________ Adviser Professor Lois Rosow School of Music Graduate Program ABSTRACT Since its opening in 1949, Rodgers and Hammerstein’s Pulitzer Prize- winning musical South Pacific has been regarded as a masterpiece of the genre. Frequently revived, filmed for commercial release in 1958, and filmed again for television in 2000, it has reached audiences in the millions. It is based on selected stories from James A. Michener’s book, Tales of the South Pacific, also a Pulitzer Prize winner; the plots of these stories, and the musical, explore ethnic and cutural prejudice, a theme whose treatment underwent changes during the musical’s evolution. This study concerns the musico-dramatic evolution of South Pacific, a previously unexplored process revealing the collaborative interaction of two masters at the peak of their creative powers. It also demonstrates the authors’ gradual softening of the show’s social commentary. The structural changes, observable through sketches found in the papers of Rodgers and Hammerstein, show how the team developed their characterizations through musical styles, making changes that often indicate changes in characters’ psychological states; they also reveal changing approaches to the musicalization of the novel. Studying these changes provides intimate and, occasionally, unexpected insights into Rodgers and Hammerstein’s creative methods. -
July 7, 1994: Short Plays and Monologues, 1997, 109 Pages, Donald Margulies, 0822215683, 9780822215684, Dramatists Play Service, Inc., 1997
July 7, 1994: Short Plays and Monologues, 1997, 109 pages, Donald Margulies, 0822215683, 9780822215684, Dramatists Play Service, Inc., 1997 DOWNLOAD http://bit.ly/16T2GFA http://www.alibris.co.uk/booksearch?browse=0&keyword=July+7%2C+1994%3A+Short+Plays+and+Monologues&mtype=B&hs.x=19&hs.y=26&hs=Submit DOWNLOAD http://bit.ly/1OF54ZB http://bit.ly/1mXIBQu Time Stands Still , Donald Margulies, 2011, Drama, 64 pages. THE STORY: TIME STANDS STILL focuses on Sarah and James, a photojournalist and a foreign correspondent trying to find happiness in a world that seems to have gone crazy. Theirs. Hysterical Blindness , Laura Cahill, Jan 1, 1999, Drama, 47 pages. SCENT OF THE ROSES is a jewel of a play...a healing play for the aftermath of apartheid's segregation policies. --Seattle Herald.replete with desperate measures, startling. Play the Scene The Ultimate Collection of Contemporary and Classic Scenes and Monologues, Michael Schulman, Eva Mekler, Dec 7, 2004, Drama, 309 pages. Spanning more than five hundred years of theater history, a comprehensive compilation of scenes and monologues for actors and theater students includes classic Shakespearean. Luna Park Short Plays and Monologues, Donald Margulies, 2002, Drama, 241 pages. A new collection by the Pulitzer Prize-winning author of Dinner with Friends.. God of Vengeance , Donald Margulies, 2003, Drama, 65 pages. Winner of the 2004 Pulitzer Prize and the 2004 Tony Award. I AM MY OWN WIFE is the most stirring new work to appear on Broadway this fall...both moving and intellectually. The sorry papers , Don Bailey, 1979, Fiction, 144 pages. -
<I>Twenty-First Century American Playwrights</I>
The Journal of American Drama and Theatre (JADT) https://jadt.commons.gc.cuny.edu Twenty-First Century American Playwrights Twenty-First Century American Playwrights. Christopher Bigsby. Cambridge: Cambridge University Press, 2018; Pp. 228. In 1982, Christopher Bigsby penned A Critical Introduction to Twentieth-Century American Drama. What was originally planned as a single volume expanded to three, with volume 2 being released in 1984 and Volume 3 in 1985. Although Bigsby, a literary analyst and novelist with more than 50 books to his credit, hails from Britain, he is drawn to American playwrights because of their “stylistic inventiveness…sexual directness…[and] characters ranged across the social spectrum in a way that for long, and for the most part, had not been true of the English theatre” (1). This admiration brought Bigsby’s research across the millennium line to give us his latest offering Twenty-First Century American Playwrights. What Bigsby provides is an in-depth survey of nine writers who entered the American theatre landscape during the past twenty years, including chapters on Annie Baker, Frances Ya-Chu Cowhig, Katori Hall, Amy Herzog, Tracy Letts, David Lindsay-Abaire, Lynn Nottage, Sarah Ruhl, and Naomi Wallace. While these playwrights vary in the manner they work and styles of creative output, what places them together in this volume “is the sense that theatre has a unique ability to engage with audiences in search of some insight into the way we live…to witness how words become manifest, how artifice can, at its best, be the midwife of truth” (5). This explanation, however vague, does little to provide a concrete rubric for why these dramatists were included over others. -
Poetic Connections in Tracy Letts's "Man from Nebraska," "August: Osage County," and "Superior Donuts."
University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 2011 How to Get from Here to There: Poetic Connections in Tracy Letts's "Man from Nebraska," "August: Osage County," and "Superior Donuts." Deborah Ann Kochman University of South Florida, [email protected] Follow this and additional works at: https://scholarcommons.usf.edu/etd Part of the American Literature Commons, and the Theatre and Performance Studies Commons Scholar Commons Citation Kochman, Deborah Ann, "How to Get from Here to There: Poetic Connections in Tracy Letts's "Man from Nebraska," "August: Osage County," and "Superior Donuts."" (2011). Graduate Theses and Dissertations. https://scholarcommons.usf.edu/etd/3187 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. How to Get from Here to There: Poetic Connections in Tracy Letts‘s Man from Nebraska, August: Osage County, and Superior Donuts by Deborah Ann Kochman A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts Department of English College of Arts and Sciences University of South Florida Major Professor: Sara Munson Deats, Ph.D. Lagretta Lenker, Ph.D. Susan Mooney, Ph.D. Date of approval: November 3, 2011 Five key words: Drama, Narrative, Poetry, Middle-aged men, American Dream Copyright © 2011 Deborah A. Kochman Dedication I dedicate this thesis to my children, Kristina and Michael, in apology for teaching too much narrative and not enough poetry. -
By Donald Margulies David Emmes
- 48th Season • 460th Production JULIANNE ARGYROS STAGE / MARch 11 - APRIL 1, 2012 Marc Masterson Paula Tomei ARTISTIC DIRECTOR MANAGING DIRECTOR David Emmes & Martin Benson FOUNDING ARTISTIC DIRECTORS presents Sight Unseen by Donald Margulies Cameron Anderson Fred Kinney Geoff Korf SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN Cricket S. Myers Jackie S. Hill Kathryn Davies* SOUND DESIGN PRODUCTION MANAGER STAGE MANAGER Directed by David Emmes Pam and Jim Muzzy honorary Producers Commissioned and originally produced by South Coast Repertory on September 20, 1991. Originally produced in New York City by the Manhattan Theatre Club on January 7, 1992. SIGHT UNSEEN is presented by special arrangement with Dramatists Play Service, Inc., New York. Sight Unseen • South CoaSt RepeRtoRy • P1 CAST OF CHARACTERS (In order of appearance) Jonathan ............................................................................................ Gregory Sims* Nick ................................................................................................. Andrew Borba* Patricia .................................................................................................. Nancy Bell* Grete ............................................................................................... Erin Anderson* SETTING ACT I: Scene 1. A cold farmhouse in Norfolk, England. 1991. Scene 2. An art gallery in London. Four days later. Scene 3. The farmhouse. An hour before the start of Scene 1. Scene 4. A bedroom in Brooklyn. Fifteen years earlier. ACT II: Scene 5. -
DAVID CAPARELLIOTIS Caparelliotis Casting /212-575-1987 [email protected]
DAVID CAPARELLIOTIS Caparelliotis Casting /212-575-1987 [email protected] CASTING DIRECTOR (selected) Holler If Ya Hear Me (Todd Kreidler) Palace Theatre/Broadway dir. Kenny Leon (upcoming) Casa Valentina (Harvey Fierstein) Freidman Theatre/ Broadway dir. Joe Mantello (upcoming) Commons of Pensacola (Amanda Peet) Manhattan Theater Club dir. Lynne Meadow The Snow Geese (Sharr White) Freidman Theatre/ Broadway dir. Daniel Sullivan All New People (Zach Braff) Second Stage Theatre dir. Peter DuBois Water By The Spoonful (Quiara Hudes) Second Stage Theatre dir. Davis McCallum My Name Is Rachel Corrie Minetta Lane/Off-Broadway dir. Alan Rickman Complicit (Joe Sutton) Old Vic/London dir. Kevin Spacey Orphans (Lyle Kessler) Schoenfeld Theatre/ Broadway dir. Daniel Sullivan Lonely I’m Not (Paul Weitz) Second Stage Theatre dir. Trip Cullman Tales of the City: the musical American Conservatory Theatre dir: Jason Moore Romantic Poetry (John P. Shanley) MTC/Off-Broadway dir: John P. Shanley Trip to Bountiful (Horton Foote) Sondheim Theatre/ Broadway dir. Michael Wilson Dead Accounts (Theresa Rebeck) Music Box Theatre/ Broadway dir. Jack O’Brien Fences (August Wilson) Cort Theatre/Broadway dir. Kenny Leon Sweet Bird of Youth (T. Williams) Goodman Theatre/ Chicago dir. David Cromer The Other Place (Sharr White) Freidman Theatre/ Broadway dir. Joe Mantello Seminar (Theresa Rebeck) Golden Theatre/ Broadway dir. Sam Gold Grace (Craig Wright) Court Theatre/ Broadway dir. Dexter Bullard Bengal Tiger … (Rajiv Josef) Richard Rodgers/ Broadway dir. Moises Kaufman Stick Fly (Lydia Diamond) Cort Theatre/ Broadway dir. Kenny Leon The Columnist (David Auburn) Freidman Theatre/Broadway dir. Daniel Sullivan The Royal Family (Ferber) Freidman Theatre/ Broadway dir.