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At the Mission San Juan Capistrano
AT THE MISSION SAN JUAN CAPISTRANO by José Cruz González based on the comic strip “Peanuts” by Charles M. Schulz directed by Christopher Acebo book, music and lyrics by Clark Gesner additional dialogue by Michael Mayer additional music and lyrics by Andrew Lippa directed and choreographed by Kari Hayter OUTSIDE SCR 2021 • SOUTH COAST REPERTORY • 1 THE THEATRE Tony Award-winning South Coast Repertory, founded in 1964 by David Emmes and Martin Benson, is led by Artistic Director David Ivers and SPRING/SUMMER 2021 SEASON Managing Director Paula Tomei. SCR is recog- nized as one of the leading professional theatres IN THIS ISSUE Get to know, or get reacquainted with, South Coast Repertory in the United States. It is committed to theatre through the stories featured in this magazine. You’ll find information about both that illuminates the compelling personal and Outside SCR productions: American Mariachi and You’re a Good Man, Charlie social issues of our time, not only on its stages but Brown, as well as the Mission San Juan Capistrano, acting classes for all ages and a through its wide array of education and engage- host of other useful information. ment programs. 6 Letter From the Artistic Director While its productions represent a balance of clas- That Essential Ingredient of the Theatre: YOU sic and modern theatre, SCR is renowned for The Lab@SCR, its extensive new-play development program, which includes one of the nation’s larg- 7 Letter From the Managing Director est commissioning programs for emerging, mid- A Heartfelt Embrace career and established writers and composers. -
The Contributions of James F. Neill to the Development of the Modern Ameri Can Theatrical Stock Company
This dissertation has been 65—1234 microfilmed exactly as received ZUCCHERO, William Henry, 1930- THE CONTRIBUTIONS OF JAMES F. NEILL TO THE DEVELOPMENT OF THE MODERN AMERI CAN THEATRICAL STOCK COMPANY. The Ohio State University, Ph.D., 1964 Speech—Theater University Microfilms, Inc., Ann Arbor, Michigan Copyright by William Henry Zucchero 1965 THE CONTRIBUTIONS OF JAMES F. NEILL TO THE DEVELOPMENT OF THE MODERN AMERICAN THEATRICAL STOCK COMPANY DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By William Henry Zucchero, B.S., M.A. * * * * * $ The Ohio State University 1964 Approved by PLEASE NOTE: Plates are not original copy. Some are blurred and indistinct. Filmed as received. UNIVERSITY MICROFILMS, INC. PREFACE Appreciation is extended to the individuals, named below, for the aid each has given in the research, prepara tion, and execution of this study. The gathering of pertinent information on James F. Neill, his family, and his early life, was made possible through the efforts of Mrs. Eugene A. Stanley of the Georgia Historical Society, Mr. C. Robert Jones (Director, the Little Theatre of Savannah, Inc.), Miss Margaret Godley of the Savannah Public Library, Mr. Frank Rossiter (columnist, The Savannah Morning News). Mrs. Gae Decker (Savannah Chamber of Commerce), Mr. W. M. Crane (University of Georgia Alumni Association), Mr. Don Williams (member of Sigma Alpha Epsilon— Neill’s college fraternity), and Mr. Alfred Kent Mordecai of Savannah, Georgia. For basic research on the operation of the Neill company, and information on stock companies, in general, aid was provided by Mrs. -
“A Poor Player That Struts and Frets His Hour Upon the Stage…”
“A POOR PLAYER THAT STRUTS AND FRETS HIS HOUR UPON THE STAGE…” THE ENGLISH THEATRE IN TRANSITION A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Arts Christin N. Gambill May, 2016 “A POOR PLAYER THAT STRUTS AND FRETS HIS HOUR UPON THE STAGE…” THE ENGLISH THEATRE IN TRANSITION Christin N. Gambill Thesis Approved: Accepted: _______________________________ _______________________________ Advisor Dean of the College Mr. James Slowiak Dr. John Green _______________________________ _______________________________ Faculty Reader Dean of the Graduate School Mr. Adel Migid Dr. Chand Midha _______________________________ _______________________________ Faculty Reader Date Dr. Hillary Nunn _______________________________ School Director Dr. J. Thomas Dukes ii TABLE OF CONTENTS Page CHAPTER I. “THIS ROYAL THRONE THIS SCEPTERED ISLE…” THE THEATRE OF THE ENGLISH RENAISSANCE ............................................................................................... 1 II. THE COMING STORM .............................................................................................. 14 III. THE AXE FALLS ...................................................................................................... 29 IV. UNDER THEIR NOSES ............................................................................................ 42 V. THE NEW ORDER ..................................................................................................... 53 VI. FUTURE CONSIDERATIONS -
State-Theatre-Company-SA.Pdf
SUBMISSION 20-YEAR STATE INFRASTRUCTURE STRATEGY To: Infrastructure SA Level 15, Wakefield House 30 Wakefield Street Adelaide SA 5000 Attn: Mr Jeremy Conway, Chief Executive Ms Sabina Schaare, Manager, Stakeholder Engagement & Communications From: Jodi Glass Executive Director State Theatre Company of South Australia Subject: New Theatre Infrastructure – New Home for State Theatre Company of South Australia EXECUTIVE SUMMARY A. State Theatre Company of South Australia (the ComPany) is aligning with strategic partners to support the development of a new home for the Company. B. This new home will: a. give the Company the necessary platform to fulfil its strategic purpose: to become Australia’s pre-eminent storyteller, through the presentation of world-class, South Australian-produced and performed theatre; b. become the central hub for a number of professional Adelaide-based theatre companies and theatre-makers, creating a vibrant new multi-faceted theatre precinct – something Adelaide lacks but which many of the great cultural cities of the world enjoy; c. house and foster a new generation of independent artists, S2M performing arts organisations and creative entrepreneurs who will develop innovative new businesses that will spark and lead new economic opportunities, create jobs – enabling local creative businesses to go global while enriching South Australia culturally and economically. ANALYSIS About the Company 1. The Company is South Australia’s leading theatre company, classified by the State and Commonwealth Government’s as one of Australia’s 28 Major Performing Arts (MPA) companies (alongside Sydney Theatre Company, Melbourne Theatre Company, Queensland Theatre Company, Black Swan State Theatre Company, Belvoir, Malthouse and Bell Shakespeare). The Company is one of only three South Australian MPA companies, the others being State Opera South Australia and Adelaide Symphony Orchestra. -
Seaborn Broughton & Walford Foundation Newsletter
Seaborn Broughton & Walford Foundation Newsletter 925 Botany Rd Rosebery NSW 2018 Phone - 9955 5444 Email – [email protected] For bookings please call Carol Martin -on 9955 5444 Monday to Thursday - 10am - 4pm Volume Number Issue Number Date 22 1 16th January 2014 Chairman’s Letter (incorporating Nan’s Letter Space) Dear Friends Congratulations to playwright Reg Cribb who won On behalf of the Board and Staff of the SBW Foundation the $20,000 award for his play Buried Country. may I wish you, your family and friends a Happy New This joyous, irreverent, theatrical and musical Year. May your 2014 be brimful of good health and journey is based on the story of Jimmy Little and theatrical delights. other indigenous country and Western pioneers such as Bobby Mcleod and boxer Lionel Rose who fought FESTIVAL OF SYDNEY: January is a vibrant month in to be accepted on their own terms. Reg has a the Sydney performing arts calendar. The Sydney Festival background as an actor and musician. His plays have has burst onto the scene with a dazzling choice of been performed nationally and internationally have engaging and provocative productions, events, free won many awards including the Rodney Seaborn performances and installations. I have been impressed by Playwrights Award in 2010. We were most gratified the enthusiasm of Festival Director Lieven Bertels and his to hear Reg’s acceptance speech: ‘The Rodney team who have organized an eclectic array of Seaborn Award is going to allow me to craft and entertainment, with a Festival Village in Hyde Park and a hone Buried Country into the stageworthy piece it schedule catering for all ages and tastes. -
Press Information
Press Information New Writing at the Finborough Theatre Season November 2011 to January 2012 Papatango Theatre Company in partnership with the Finborough Theatre present four world premieres The Papatango Playwriting Festival 2011 Foxfinder by Dawn King Through The Night by Matt Morrison Rigor Mortis by Carol Vine Crush by Rob Young Papatango have teamed up with one of London's leading new writing venues, the Finborough Theatre to present the winning entries in the 2011 Papatango Playwriting Competition 2011, featuring this year's winning play Foxfinder by Dawn King which will play for a four week limited season from 29 November (Press Night: Thursday, 1 December 2011 at 8.30pm) and three runners up who will each receive a one week run – Through The Night by Matt Morrison (Press Night: Wednesday, 7 December 2011 at 6.30pm), Rigor Mortis by Carol Vine (Press Night: Wednesday, 14 December 2011 at 6.30pm) and Crush by Rob Young (Press Night: Tuesday, 20 December 2011 at 6.30pm). Papatango was founded by Matt Roberts, George Turvey and Sam Donovan in 2007. The company's mission is to find the best and brightest new talent in the UK with an absolute commitment to bring their work to the stage. Since then, Papatango have produced eight pieces of new writing in such venues as the Tristan Bates Theatre, the Old Red Lion Theatre and the Pleasance London. 2009 saw the launch of their first Papatango New Writing Competition, which each year has gone from strength to strength. Winners of previous competitions have won much acclaim from the press and profession including – for Angel by Matt Grinter at the Pleasance London – “Riveting performances….powerfully directed” (Jeremy Kingston, The Times critic), and “A great piece of theatre” (Steven Berkoff) and, for Potentials by Dominic Mitchell at the Tristan Bates Theatre, which was awarded four stars byWhatsOnStage, “Potentials was beautifully observed, conceived and the performances strong, witty and true. -
Reading the Old Left in the Ewan Maccoll and Joan Littlewood's
Reading the Old Left in the Ewan MacColl and Joan Littlewood’s Theatre Workshop and Beyond: in Joan Littlewood’s post-theatrical engagements in the 1960s. Fatine Bahar Karlidag A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2017 Reading Committee: Stefka Mihaylova, Chair Odai Johnson Scott Magelssen Barry Witham Program Authorized to Offer Degree: Drama ©Copyright 2017 Fatine Bahar Karlidag 2 University of Washington Abstract Reading the Old Left in the Ewan MacColl and Joan Littlewood’s Theatre Workshop and Beyond: in Joan Littlewood’s post-theatrical engagements in the 1960s. Fatine Bahar Karlidag Chair of the Supervisory Committee: Dr. Stefka Mihaylova School of Drama Based on archival research, recent Joan Littlewood centenary events and contemporary scholarship on the Theatre Workshop of Joan Littlewood and Ewan MacColl, this dissertation proposes to take sides with the radical class politics of the Old Left, or Communism, to read the legacy of MacColl-Littlewood collaboration in theatre, and its continuing impacts on Littlewood’s post-theatrical work in the 1960s’ New Left. This is to demystify the ‘genius’ aura bestowed upon Joan Littlewood; to re-instate Ewan MacColl’s contribution to the legacy of this ground-breaking theatre famously known as that which revolutionized the West End; to retrofit Theatre Workshop as a sample ensemble of the larger frame of the radical left-wing interwar theatres while acknowledging the independent evolution of their work into 1950s, and to further complicate the thematically and textually oriented analytical narratives’ efforts to analyze Theatre Workshop productions. -
Read the Make a Move E-Journal
Mise en Abyme International Journal of Comparative Literature and Arts Vol. VII, Issue 1 January-June 2020 Special Monographic Issue – Make a Move (Published in April 2020) General Editors Armando Rotondi – Institute of the Arts Barcelona Elisa Sartor – University of Verona Issue Editor Armando Rotondi – Institute of the Arts Barcelona Editorial Office Elena Dal Maso – University of Venice Ca’ Foscari (Italy); Giulia Ferro Milone – University of Verona (Italy); Renzo Miotti – University of Verona (Italy); Anita Paolicchi – University of Pisa (Italy); Valentina Temussi – Institute of the Arts Barcelona / Liverpool John Moores University (Spain/UK); Freya Treutmann – Institute of the Arts Barcelona (Spain); Alessandro Valenzisi – University of Strathclyde (UK); Ida Libera Valicenti – University of Bucharest (Romania) Advisory Board Beatrice Alfonzetti – University of Rome “La Sapienza” (Italy); Raffaella Bertazzoli – University of Verona (Italy); Alessandra De Martino Cappuccio – University of Warwick (UK); Joseph Farrell – University of Strathclyde (UK); Srecko Jurisic – University of Split (Croatia); Gaetana Marrone – Princeton University (USA); José María Micó – Pompeu Fabra University (Spain); Mariantonietta Picone – University of Naples “Federico II” (Italy); Elena Pîrvu – University of Craiova (Romania); Pasquale Sabbatino – University of Naples “Federico II” (Italy); Antonio Saccone – University of Naples “Federico II” (Italy); Álvaro Salvador – University of Granada (Spain); Roxana Utale – University of Bucharest (Romania) Mise -
Shakespeare in Elysium: Romanian Afterlives the Annals of Ovidius University Constanța: Philology Series Vol. XXVII, 1/2016
Shakespeare in Elysium: Romanian Afterlives The Annals of Ovidius University Constanța: Philology Series Vol. XXVII, 1/2016 HAMLET FROM THE BLOC: 1990 AND 2010 Nicoleta Cinpoeş University of Worcester, UK ABSTRACT The Romanian Bulandra Theatre’s Hamlet visit to London, in 1990, was a much awaited event—by the critics, the diaspora and the wider British public. It finally talked to the world about the long history of communist repression, fear and dissidence and about the recent bloody overthrow of the infamous Ceauşescus only months after the fall of the Berlin Wall. As lead actor Ion Caramitru declared when talking about the production’s run in mid-1980s Romania, “we were doing more than staging a production of Hamlet, we were preserving the conscience of our people” (The Standard, 9 August 1990). While perceived to have lost its immediacy at home, only while touring abroad could this production, which opened in 1985 (after three years of battling with the censors), perform its scripted task: “to hold the mirror up to [present] nature” (3.2.20)1 anew. In London in 1990, this “new Prince from the Bloc” did not portray “a mangled introvert but a vigorous, passionately committed” Hamlet; more importantly, he was a dissident in post-Revolution Romania: been and gone vice- president, Ion Caramitru/Hamlet and this production in 1990 were warning about the “new dictatorship” in a “terrible vision of the future”—as Caramitru put it in his interview with Robert Twedwr Moss (The Standard, 9 August 1990). This production’s vision, its lasting impact, its link with the London National Theatre and its former director Richard Eyre, all informed the production of Hamlet directed by Nicholas Hytner for the London NT in 2010. -
Program & Bios
THE GATHERING Program & Bios MAY 8-11, 2019 GEORGETOWN UNIVERSITY DAVIS PERFORMING ARTS CENTER The Gathering Program Working Draft- Subject to Revision Wednesday May 8th Why We Are Here 1pm-2pm Welcome Refreshments/ Check-in and Registration, Gathering Tent, Harbin Courtyard (Arrive at Georgetown University Main Gates at 37th & O Street NW and you will be directed) 2pm-3:45pm Welcome, Davis Performing Arts Center, Gonda Theatre Derek Goldman, Co-Director, The Laboratory for Global Performance and Politics, Georgetown University Ramadan Prayer Ali Mahdi Nouri, UNESCO Ambassador & Secretary General ITI, International Theater Institute & Albuggaa Theatre Company Ritual of Land Acknowledgment Emily Johnson, Artistic Director, Emily Johnson/Catalyst Kelsey Lawson, Director, Native American Student Council, Georgetown University Jason Tamiru, Producer, Malthouse Theatre, Melbourne, Australia Our Republic of Imagination Amb. Cynthia Schneider, Co-Director, The Laboratory for Global Performance and Politics (Intro.) Azar Nafisi, best-selling author (Reading Lolita in Tehran); Centennial Fellow, School of Foreign Service, Georgetown University Here I Am/Here We Are: Georgetown, Student Activism, the Legacy of Slavery, and Performance Kendell Long, Georgetown Student, Students for GU272 Advocacy Group Melísande Short-Colomb, Georgetown Student, Laboratory for Global Performance and Politics On Performing Care James Thompson, Professor, Practitioner, Writer, University of Manchester ! 1! Hopeful Encounters – Part 1 Lab Fellows Demo Faisal Abu Alhayjaa, -
Sydney Theatre Report 2015
SYDNEY THEATRE REPORT 2015 Steven Hopley [email protected] Released January 2016 TABLE OF CONTENTS INTRODUCTION 3 Transparency ........................................ 4 Geographical area ........................................ 4 Profile terms ........................................ 5 THEATRE PROFILES 8 New theatres ........................................ 69 Other notables venues ........................................ 71 SUMMARY 73 Use ........................................ 74 Government area ........................................ 75 Status ........................................ 76 Size ........................................ 77 Hire rates ........................................ 77 Access & red tape ........................................ 79 Recommendations ........................................ 81 2 INTRODUCTION There very nearly wasn't a Globe Theatre and, if this had been the case, most of the plays of William Shakespeare would now be lost. When the owner of the land on which their playhouse, The Theatre, was located tried to seize ownership of the building, Shakespeare's theatre company, the Lord Chamberlain's Men, was forced to take the drastic action of dismantling their building in the dead of night and reassembling it outside the boundaries of the city council area. They had already lost their second venue, Blackfriars, because wealthy local residents complained about the noise and traffic it would create; so if they had lost the building materials from the structure of The Theatre as well, the result would almost certainly have spelt the end of the company for which Shakespeare wrote most of his greatest works. And without the renown of his later works, even some of his earlier ones might have slipped into obscurity and been lost to us, like so many other plays from the period. The closure of two performance spaces in the Tap Gallery at Darlinghurst recently was a disaster for the independent theatre sector, but this is the mere tip of the iceberg. -
Company B Annual Report 2005
2005 COMPANY B ANNUAL REPORT C ON T EN T S Company Staff 2005 .................................................................................. 2 Core Values & Principles and mission ..................................................... 3 Chair’s Report ......................................................................................... 4 Artistic Director’s Report ..................................................................... 6 acting General Manager’s Report .......................................................... 8 Season 2005 ................................................................................................ 10 Touring 2005 .............................................................................................. 17 B Sharp 2005 .............................................................................................. 20 Additional Activities ............................................................................... 22 Key Performance Indicators ................................................................... 26 Financial Report ..................................................................................... 28 Directors’ Report ................................................................................. 28 Directors’ Declaration ........................................................................ 30 income statement ................................................................................. 31 Statement of Changes in Equity .........................................................