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Driving Miss Daisy Flame.Indd
Women’s Health CLINIC FEBRUARY 2014 SEASON | YEAR A NEWSLETTER DEDICATED TO GROUPS, ORGANIZATIONS AND FRIENDS OF THE FIRESIDE THEATRE A Hilarious, Heartwarming Must-See FOR OVER THREE DECADES THE FIRESIDE HAS BEEN KNOWN FOR PRODUCING BIG, BRIGHT MUSICAL COMEDIES AND SPECTACULAR MUSICAL REVUES. MUSICAL THEATRE HAS BEEN MY SPECIALTY AND MY PASSION SINCE I SAW MY FIRST BROADWAY MUSICAL AT AGE 6. I TAKE GREAT PRIDE WHENEVER SOMEONE MARVELS AT HOW WE CAN TAKE A BIG BROADWAY MUSICAL AND PUT IT ON OUR SMALL ARENA STAGE WITHOUT LOSING ANY OF ITS WONDER. MUSICALS HAVE BEEN, WITHOUT A DOUBT, THE MAIN DISH ON THE FIRESIDE’S THEATRICAL MENU SINCE WE FIRST OPENED. Then why is it that one of the most I am very excited about directing our popular shows in Fireside history (as well production of this unforgettable play this as in theatrical history) is a three person spring. I have directed DRIVING MISS play about an elderly white woman, her DAISY twice before – once here and aging African American chauffer, and once in a theatre in Ohio and I can her beleaguered middle aged son told honestly say that of all the wonderful simply without a song or a dance in sight. shows I have directed in my 45+ years Is it because we see ourselves and our as a professional director that no other loved ones in this heart-warming tale? Is play has touched my heart more deeply “ Millions of people rank this it because it is hilariously funny without than DAISY. And I am not alone. -
A Strange Loop
A Strange Loop / Who we are Our vision We believe in theater as the most human and immediate medium to tell the stories of our time, and affirm the primacy and centrality of the playwright to the form. Our writers We support each playwright’s full creative development and nurture their unique voice, resulting in a heterogeneous mix of as many styles as there are artists. Our productions We share the stories of today by the writers of tomorrow. These intrepid, diverse artists develop plays and musicals that are relevant, intelligent, and boundary-pushing. Our plays reflect the world around us through stories that can only be told on stage. Our audience Much like our work, the 60,000 people who join us each year are curious and adventurous. Playwrights is committed to engaging and developing audiences to sustain the future of American theater. That’s why we offer affordably priced tickets to every performance to young people and others, and provide engaging content — both onsite and online — to delight and inspire new play lovers in NYC, around the country, and throughout the world. Our process We meet the individual needs of each writer in order to develop their work further. Our New Works Lab produces readings and workshops to cultivate our artists’ new projects. Through our robust commissioning program and open script submission policy, we identify and cultivate the most exciting American talent and help bring their unique vision to life. Our downtown programs …reflect and deepen our mission in numerous ways, including the innovative curriculum at our Theater School, mutually beneficial collaborations with our Resident Companies, and welcoming myriad arts and education not-for-profits that operate their programs in our studios. -
The Intermediate Or Disembodied State
WILLIAM G.T. SHEDD DOGMATIC THEOLOGY Volume Two ESCHATOLOGY Chapter I THE INTERMEDIATE OR DISEMBODIED STATE Eschatology (εσχατων λογος) is that division in Dogmatics which treats of the Intermediate or Disembodied State, Christ's Second Advent, the Resurrection, the Final Judgment, Heaven, and Hell. Revelation does not give minute details upon these subjects, yet the principal features are strongly drawn, and salient. The doctrine of the Intermediate State has had considerable variety of construction, owing to the mixing of mythological elements with the biblical. The representations of Christ in the parable of Dives and Lazarus have furnished the basis of the doctrine. The most general statement is, that the penitent, represented by Lazarus, is happy, and the impenitent, represented by Dives, is miserable. The doctrine taught in Scripture that the body is not raised until the day of judgment, implies that the condition of all men between death and resurrection is a disembodied one. This doctrine has greatly misconceived, and the misconception has introduced grave errors into eschatology. Inasmuch as the body, though not necessary to personal consciousness, is yet necessary in order to the entire completeness of the person, it came to be supposed in the Patristic church, that the intermediate state is a dubious and unfixed state; that the resurrection adds very considerably both to the holiness and happiness of the redeemed, and to the sinfulness and misery of the lost. This made the intermediate, or disembodied state, to be imperfectly -
Southern Comfort
FROM THE NATIONAL ALLIANCE FOR MUSICAL THEAtre’s PresideNT Welcome to our 24th Annual Festival of New Musicals! The Festival is one of the highlights of the NAMT year, bringing together 600+ industry professionals for two days of intense focus on new musical theatre works and the remarkably talented writing teams who create them. This year we are particularly excited not only about the quality, but also about the diversity—in theme, style, period, place and people—represented across the eight shows that were selected from over 150 submissions. We’re visiting 17th-century England and early 20th century New York. We’re spending some time in the world of fairy tales—but not in ways you ever have before. We’re visiting Indiana and Georgia and the world of reality TV. Regardless of setting or stage of development, every one of these shows brings something new—something thought-provoking, funny, poignant or uplifting—to the musical theatre field. This Festival is about helping these shows and writers find their futures. Beyond the Festival, NAMT is active year-round in supporting members in their efforts to develop new works. This year’s Songwriters Showcase features excerpts from just a few of the many shows under development (many with collaboration across multiple members!) to salute the amazing, extraordinarily dedicated, innovative work our members do. A final and heartfelt thank you: our sponsors and donors make this Festival, and all of NAMT’s work, possible. We tremendously appreciate your support! Many thanks, too, to the Festival Committee, NAMT staff and all of you, our audience. -
UMI Films the Original Text Directly from the Copy Submitted
INFORMATION TO USERS The most advanced technology has been used to photo graph and reproduce this manuscript from the microfilm master. UMI films the original text directly from the copy submitted. Thus, some dissertation copies are in typewriter face, while others may be from a computer printer. 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 copyrighted material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are re produced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each oversize page is available as one exposure on a standard 35 mm slide or as a 17" x 23" black and white photographic print for an additional charge. Photographs included in the original manuscript have been reproduced xerographically in this copy. 35 mm slides or 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. ■A ccessing U the World's M Information since I 1938 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA permission of the copyright owner. Further reproduction prohibited without permission Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Order Number 8827903 Breaking down the neurotic-psychotic artifice: The subversive function of myth in Goethe, Nietzsche, Rilke and Walter Benjam in Lundgren, Neale Powell, Ph.D. -
G O O D Speed M U Sic a Ls
GOODSPEED MUSICALS TEACHER’S INSTRUCTIONAL GUIDE The Max Showalter Centerfor Education inMusical Theatre THE MOST HAPPY FELLA Goodspeed Opera House Sept 20 - Dec 1, 2013 _________ BOOK, MUSIC AND LYRICS BY FRANK LOESSER LIGHTING DESIGN BY JOHN LASITER COSTUME DESIGN BY Teacher’s Instructional Guide THOMAS LeGALLY TABLE OF CONTENTS SCENIC DESIGN BY MICHAEL SCHWEIKARDT How to Use the Guides........................................................................................3 ABOUT THE SHOW: CHOREOGRAPHED BY PARKER ESSE Show Synopsis............................................................................................4 Character Summary....................…….………….………………..………...5 DIRECTED BY ROB RUGGIERO Meet the Writer........................................……...………………………..…..6 Behind the Scenes: Costume Design......................................................7 PRODUCED FOR GOODSPEED MUSICALS BY Behind the Scenes: Set Design.................................................................8 MICHAEL P. PRICE BACKGROUND AND THEMATIC MATERIAL: Frank Loesser........................................………...………………………..…..9 Article: “Some Loesser Thoughts on The Most Happy Fella”.......…….10 Immigration to California........................................................................11 Grape Farming in California....................................................................12 LESSONS: Middle School Language Arts...............................................................13 Middle School History..............................................................................16 -
Nathan and Julie Gunn and Friends an Evening On
PHOTO BY SHARKEY PHOTOGRAPHY SHARKEY BY PHOTO NATHAN AND JULIE GUNN AND FRIENDS AN EVENING ON BROADWAY Saturday, October 6, 2018, at 7:30pm Foellinger Great Hall PROGRAM NATHAN AND JULIE GUNN AND FRIENDS AN EVENING ON BROADWAY FEATURING PRODUCTION CREDITS Molly Abrams Sarah Wigley, dramatic coordinator Lara Semetko-Brooks Elliot Emadian, choreography Colleen Bruton Michael Williams, lighting Elliot Emadian Alec LaBau, audio Olivia Gronenthal Madelyn Gunn, production assistant Ryan Bryce Johnson Adeline Snagel, stage manager Nole Jones Savanna Rung, assistant stage manager Gabrielle LaBare J.W. Morrissette Logan Piker Andrew Turner Rachel Weinfeld ORCHESTRA Zachary Osinski, flute Emma Olson, oboe J. David Harris, clarinet Robert Brooks, saxophone Ronald Romm, trumpet Robert Sears, trumpet Michael Beltran, trombone Trevor Thompson, violin Amanda Ramey, violin Jacqueline Scavetta, viola Jordan Gunn, cello Lawrence Gray, bass Mary Duplantier, harp Ricardo Flores, percussion Julie Jordan Gunn, piano 2 Kurt Weill, music Street Scene (1946) Langston Hughes, lyrics Ice Cream Sextet Elmer Rice, book Ryan Bryce Johnson, Molly Abrams, Nole Jones, Gabrielle LaBare, Elliot Emadian, Andrew Turner Wouldn’t You Like to Be on Broadway? Lara Semetko-Brooks, Nathan Gunn What Good Would the Moon Be? Lara Semetko-Brooks, J.W. Morrissette Moon Faced, Starry Eyed Logan Piker, Elliot Emadian Frank Loesser, music and lyrics Guys and Dolls (1950) Jo Swerling and Abe Burrows, book Fugue for Tin Horns Nathan Gunn, Andrew Turner, Nole Jones Adelaide’s Lament Colleen Bruton Sit Down, You’re Rocking the Boat Nole Jones, Andrew Turner, Ryan Bryce Johnson, Elliot Emadian, Logan Piker Richard Rodgers, music Carousel (1945) Oscar Hammerstein II, book and lyrics Bench Scene Rachel Weinfeld, Nathan Gunn Carrie/Mr. -
Ruth Prawer Jhabvala's Adapted Screenplays
Absorbing the Worlds of Others: Ruth Prawer Jhabvala’s Adapted Screenplays By Laura Fryer Submitted in fulfilment of the requirements of a PhD degree at De Montfort University, Leicester. Funded by Midlands 3 Cities and the Arts and Humanities Research Council. June 2020 i Abstract Despite being a prolific and well-decorated adapter and screenwriter, the screenplays of Ruth Prawer Jhabvala are largely overlooked in adaptation studies. This is likely, in part, because her life and career are characterised by the paradox of being an outsider on the inside: whether that be as a European writing in and about India, as a novelist in film or as a woman in industry. The aims of this thesis are threefold: to explore the reasons behind her neglect in criticism, to uncover her contributions to the film adaptations she worked on and to draw together the fields of screenwriting and adaptation studies. Surveying both existing academic studies in film history, screenwriting and adaptation in Chapter 1 -- as well as publicity materials in Chapter 2 -- reveals that screenwriting in general is on the periphery of considerations of film authorship. In Chapter 2, I employ Sandra Gilbert’s and Susan Gubar’s notions of ‘the madwoman in the attic’ and ‘the angel in the house’ to portrayals of screenwriters, arguing that Jhabvala purposely cultivates an impression of herself as the latter -- a submissive screenwriter, of no threat to patriarchal or directorial power -- to protect herself from any negative attention as the former. However, the archival materials examined in Chapter 3 which include screenplay drafts, reveal her to have made significant contributions to problem-solving, characterisation and tone. -
Guys and Dolls Short
media contact: erica lewis-finein brightbutterfly pr brightbutterfly[at]hotmail.com BERKELEY PLAYHOUSE CONTINUES FIFTH SEASON WITH “GUYS AND DOLLS” March 21-April 28, 2013 Music and Lyrics by Frank Loesser Book by Jo Swerling and Abe Burrows Based on “The Idyll of Miss Sarah Brown” and “Blood Pressure” by Damon Runyon Berkeley, CA (February 11, 2013) – Berkeley Playhouse continues its fifth season with the Tony Award- winning GUYS AND DOLLS. Jon Tracy (Berkeley Playhouse, Aurora Theatre Company, Shotgun Players, San Francisco Playhouse, Magic Theatre) helms this musical from the Golden Age of Broadway, featuring a cast of 22, and choreography by Chris Black (Berkeley Playhouse, Aurora Theatre Company). GUYS AND DOLLS plays March 21 through April 28 (Press opening: March 23) at the Julia Morgan Theatre in Berkeley. For tickets ($17-60) and more information, the public may visit berkeleyplayhouse.org or call 510-845-8542x351. This oddball romantic comedy, about which Newsweek declared, “This is why Broadway was born!,” finds gambler Nathan Detroit desperate for money to pay for his floating crap game. To seed his opportunity, he bets fellow gambler Sky Masterson a thousand dollars that Sky will not be able to make the next girl he sees, Save a Soul Mission do-gooder Sarah Brown, fall in love with him. While Sky eventually convinces Sarah to be his girl, Nathan fights his own battles with Adelaide, his fiancé of 14 years. Often called “the perfect musical,” GUYS AND DOLLS features such bright and brassy songs as “A Bushel and a Peck” “Luck Be a Lady,” and “Adelaide's Lament.” GUYS AND DOLLS premiered on Broadway in 1950; directed by renowned playwright and director George S. -
Metropolitan Tabernacle Pulpit Vol. 05
Sermon #225 The New Park Street Pulpit 1 SATAN’S BANQUET NO. 225 A SERMON DELIVERED On SABBATH MORNING, NOVEMBER 28, 1858, BY THE REV. C. H. SPURGEON, AT THE MUSIC HALL, ROYAL SURREY GARDENS. “The governor of the feast called the bridegroom, and said unto him, every man at the beginning does set forth good wine; and when men have well drunk, then that which is worse: but you have kept the good wine until now.” John 2:9, 10. THE governor of the feast said more than he intended to say, or ra- ther, there is more truth in what he said than he himself imagined! This is the established rule all the world over—“The good wine first and when men have well drunk, then that which is worse.” It is the rule with men and have not hundreds of disappointed hearts bewailed it? Friendship first—the oily tongue, the words softer than butter and afterwards the drawn sword! Ahithophel first presents the lordly dish of love and kind- ness to David; then afterwards that which is worse, for he forsakes his master and becomes the counselor of his rebel son. Judas presents first of all the dish of fair speech and of kindness; the Savior partook thereof, he walked to the house of God in company with Him and took sweet counsel with Him. But afterwards, there came the dregs of the wine—“He that eats bread with Me has lifted up his heel against Me.” Judas, the thief, betrayed his Master, bringing forth afterwards “that which is worse.” You have found it so with many whom you thought your friends. -
Programs and Promotional Materials!
Company artistic Director Peter Marston Sullivan Executive Director Peter Blair mission & Vision BoHo Theatre’s mission is to create theatre artistic advisor that incorporates the arts as a whole — Art Stephen M. Genovese for art’s sake. Our vision is to challenge convention through literary originality and Executive advisor eclectic expression while fostering an ever- Thomas J. Samorian evolving artistic environment in which people are inspired to learn, think, dream, and feel. assoc. artistic Director To teach others and ourselves how to expand, Peter Robel create, and present art through theatre while reveling not only in the process, but also in the journey. managing Director Ryan Guhde Board media Director IV Stephen M. Genovese, president; Charles Riffenburg Thomas J. Samorian, vice-president; Kaela Altman; Steve Goodman; Casting Coordinator Robert Kimmeth; Richard Maxen; Stephanie Sullivan Bob Turner; Jean Zuiker Casting assistant Rebecca Mauldin artistic affiliates Anthony Apodaca, Brenda Didier, Board/Company Secretary Patrick Ham, Theresa Ham, Mary Kate Robel Jon Steinhagen, A. Scott Williams, and John Zuiker new Works manager Ariel Trocino Company members Anna Hammonds Sean Thomas BoHo THeaTre is a not-for-profit 501 (c) 3 organization. our events and productions are made possible by your generous donations and patronage. Please visit our website at www.bohotheatre.com or speak with our house manager to learn about more ways to contribute time, money, and talent to helping support art in Chicago. any monetary donations are -
ASF 2015 Study Materials for by Alfred Uhry
ASF 2015 Study Materials for Welcome to 1947 1972 1876 Driving Miss Daisy by Alfred Uhry Director John Manfredi Study Materials written by Susan Willis Set Design John Manfredi ASF Dramaturg Costume Design Elizabeth Novak [email protected] Lighting Design Tom Rodman Contact ASF: 1.800.841-4273, www.asf.net ASF/ 1 Driving Miss Daisy by Alfred Uhry Welcome—Let's Take A Drive Together Alfred Uhry is almost as good a chauffeur as Hoke Coleburn. He transports us not only through the span of 25 years in the lives of three characters but also through the transformation of an entire era in the South. He negotiates Characters these changes with smooth, effortless turns, with Daisy Werthan, a widow aged pungent, realistic dialogue, and with detailed 72 to 97 during play character development. To be subject to Uhry’s Boolie Werthan, her son, aged dramatic drive is pure pleasure. 40 to 65 during play Driving Miss Daisy is a memory play, almost Hoke Coleburn, Miss Daisy's a scrapbook of moments. In it Uhry depicts a chauffeur, aged 60 to 85 world he knows well, the world of Atlanta and during play the Reform Jewish community he grew up in, Uhry on the Play and the South the world that shaped him and which he has “I thought somebody should tell what the Setting: Atlanta, Georgia, evoked in shaping this play. Uhry not only creates South was really like,” Alfred Uhry claims as he between 1948 and 1973, memorable onstage characters, but intriguing describes his impetus for writing the play: and on Alabama highways offstage characters as well, for who does not I was tired of all these stereotypes—that white to Mobile enjoy imagining Boolie’s wife Florine or Idella people were running around being openly with her fabled coffee? hostile and rude toward black people, and The strength of Uhry's story, as he realizes, that black people were standing there with is what he calls its truth.