Doug Scholz-Carlson CV
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Artistic Resume June 2016
;Christine Mack Gordon 3128 W Calhoun Bl #416 Minneapolis, Minnesota 55416-6002 612.823.1770 (home); 612.356.7375 (cell) e-mail: [email protected] Artistic Résumé Dramaturgy/Research/Production Company member, Theatre Pro Rata, summer 2014-present Dramaturg, Henry V, Theatre Pro Rata, Fall 2016; director: Matt Sciple Dramaturg, The Knight of the Burning Pestle, Theatre Pro Rata, June 2016; director: Amber Bjork Dramaturg, The Matchmater, Girl Friday Productions, summer 2015; director: Craig Johnson Dramaturg, The Illusion, Theatre Pro Rata, summer 2015; director Carin Bratlie. Dramaturg, 1984, Theatre Pro Rata, Fall 2014; director: Carin Bratlie Dramaturg, Twelfth Night, Theatre Pro Rata, Summer 2014; director: Carin Bratlie Dramaturg, Elephant’s Graveyard, Theatre Pro Rata, Winter 2014; director: Amber Bjork Dramaturg, The Good Woman of Setzuan, Theatre Pro Rata, Fall 2013; director: Carin Bratlie Dramaturg, Camino Real, Girl Friday Productions, Summer 2013; director Ben McGovern Dramaturg, Emilie, Theatre Pro Rata, Summer 2013; director Carin Bratlie Dramaturg, All’s Well That Ends Well, Theatre in the Round Players, Winter 2013; director Diane Mountford Dramaturg, The Rover, University of Minnesota, Fall 2012; director Joel Sass Dramaturg, Lovers & Executioners, Theatre Pro Rata, Fall 2012; director Carin Bratlie Research guru, 44 Plays for 44 Presidents, Theatre Pro Rata, Summer 2012; director Carin Bratlie Fun guide compiler, T-Bone N Weasel, Theatre Pro Rata, Spring 2012; director Amber Bjork Dramaturg, Cat’s Paw, Theatre -
Nemla 2017 Convention Program.Pdf
MLA Northeast Modern Language Association 48th Annual Convention March 23–26, 2017 BALTIMORE, MARYLAND Local Host: Johns Hopkins University Administrative Sponsor: SUNY University at Buffalo To the Northeast Modern Language Association Conference attendees: On behalf of my colleagues here at the Johns Hopkins University, I extend a warm welcome to you and to the Annual Convention of the Northeast Modern Language Association. The Krieger School of Arts and Sciences at the Johns Hopkins University is proud to serve as the host institution for this Toyear’s the Northeast NeMLA Modernmeeting Language because Association this event Conference emphas attendees:izes our shared commitment to the value of teaching and research in the arts and humanities in general, and in languages and literatures Onspecifically. behalf of my colleagues here at the Johns Hopkins University, I extend a warm welcome to you and to the Annual Convention of the Northeast Modern Language Association. The Krieger School of Arts and Sciences at the JohnsJHU wasHopkins instrumental University is in proud the tocreation serve as the of hostthe institutionMLA and for had this importantyear’s NeMLA representation meeting because atthis its event emphasizesinauguration our shared at Columbia commitment University to the value in of1883. teaching Hopkins and research professor in the ofarts Romance and humanities Languages in general, andAaron inMarshall languages Elliott and literatures was one specifically. of the Association’s founders, as well as its first secretary and -
Taming of the Shrew Program 2017 FINAL.Indd
THE TAMING By William Shakespeare Directed by Ian Gallanar OF THE March 17 – April 9, 2017 SHREW CHESAPEAKECHESAPEAKE SHAKESPEARESHAKESPEARE COMPANYCOMPANY Thank You High sparks of honor in thee have I seen. - Richard II Sponsors Funders Mayor Catherine E. Pugh & the City of Baltimore This production has been funded by Mayor Catherine E. Pugh and the Baltimore Office of Promotion and The Arts The William G. Baker, Jr. Memorial Fund creator of the Baker Artist Awards | www.bakerartistawards.org Media Partners and Business Partners 2 THE TAMING OF THE SHREW Laughing at 400-Year-Old Jokes A Note from the Founding Artistic Director Funny. The Taming of the Shrew is funny, and funny can con- nect to people in ways that nothing else can. People often tell me that The Taming of the Shrew is their favorite Shake- speare play – more than Hamlet, King Lear or Romeo and Ian Gallanar. Juliet. Why? Because it’s funny. That’s what connects. Photo by Tamara Hoff er. It’s quite remarkable when you think about it. What else that is more than 400 years old is still funny? It’s one of the reasons I admire William Shakespeare so much. Not only did this writer create some of the greatest poetic drama in the history of humanity, but he also can make us laugh. It’s what attracted me to the work of directing and producing Shake- speare in the fi rst place. I was (and still am) fascinated with the ability of material to reach across the centuries and cultural norms and still make us laugh. -
Romeo and Juliet Romeo and Juliet: Making Art and Memories a Note from the Founding Artistic Director
2 Romeo and Juliet Romeo and Juliet: Making Art and Memories A Note from the Founding Artistic Director This is Chesapeake Shakespeare Company’s 50th production. That’s a lot of plays. Most of the plays we’ve produced have been written by Shakespeare (35), and we have performed some of these Shakespeare plays more than once. These productions have run the gamut of style and intent. From the medieval palette of our Hamlet and Henry V to the modern-dress of our Twelfth Night and The Merry Wives of Windsor, our Shakespeare productions have tried to capture what is universal about these works. We’ve visited the 19th and 20th centuries most frequently, and set some productions in fan- tastic worlds that don’t relate to specific times in history. We’ve also produced works by other great playwrights, including Moliere, Lope de Vega, Thornton Wilder, Anton Chekhov and Oscar Wilde, and adapted works by Aristophanes, Jane Austen and Charles Dickens. Our plays have wrestled with our shared agonies and highlighted life’s absurdities. The productions have been about war, love, ambition, deception, sex and politics. They’ve been side-splittingly funny and devastatingly heartbreaking. They’ve been grand and in- timate, light and dense. Imperfect? You bet. We’ve always firmly believed in taking artistic risks. We are always asking “what makes Shakespeare and other classic theater great?” I’ve been proud of all of our work, but I must say I’ve been especially proud of our work that tries new things -- that succeeds and fails with brave attempts to connect audiences to these great plays. -
JULIUS CAESAR Thank You High Sparks of Honor in Thee Have I Seen
CAESAR By William Shakespeare Directed by Michael Tolaydo Sept. 29, 2017 – Oct. 29, 2017 Presented by JULIUS CHESAPEAKE SHAKESPEARE COMPANY Thank You High sparks of honor in thee have I seen. - Richard II Season 2017-2018 is presented by Additional Sponsors and Funders Include This production has been funded by Mayor Catherine E. Pugh and the Baltimore Office of Promotion and The Arts The Citizens of Mayor Catherine E. Pugh Baltimore County & the City of Baltimore The William G. Baker, Jr. Memorial Fund creator of the Baker Artist Awards | www.bakerartistawards.org Community Partners and Media Partners 2 JULIUS CAESAR Meet our Directors A Note from the Founding Artistic Director It’s one of my distinct pleasures to welcome directors to CSC in order to expand and strengthen our collaboration. This year, we welcome two guest directors and three company members as directors. You can read my interview with the extraordinary Isabelle Anderson in these pages; she will Ian Gallanar. direct The Winter’s Tale. I also look forward to Gerrad Alex Taylor’s A Midsummer Night’s Dream next summer and Ron Heneghan’s Romeo and Juliet student matinee series in the spring. I’m anxious for you to meet the director of our production of Julius Caesar, Michael Tolaydo. If you’re a fan of Shakespeare in the Baltimore-DC region, you probably already know him, as he is a frequent actor and director for The Folger Shakespeare Theater and has been often seen on the stages of Roundhouse, Studio Theater, Baltimore Center Stage and many other companies. -
A Winter's Tale
THE WINTER'S TALE By William Shakespeare Directed by Isabelle Anderson March 9 - April 7, 2018 CHESAPEAKE SHAKESPEARE COMPANY Season 2017-2018 Presented by Thank You High sparks of honor in thee have I seen. - Richard II Season 2017-2018 is presented by Additional Sponsors and Funders Include This production has been funded by Mayor Catherine E. Pugh and Mayor Catherine E. Pugh & the City of Baltimore the Baltimore Office of Promotion and The Arts The Citizens of Baltimore County The William G. Baker, Jr. Memorial Fund creator of the Baker Artist Awards | www.bakerartistawards.org Community Partners and Media Partners 2 THE WINTER'S TALE The Benefits of Having a Resident Company of Artists A Note from the Founding Artistic Director In so much of American professional theater, productions are built independently. While there may be a permanent staff , the actors, designers, directors and all are brought together for a brief Ian Gallanar time, just to produce a play and then move on to the next gig at the next town at the next theater. In other words: a great deal of trouble is made to assemble a group of artists for four to eight weeks, and then they disperse. We do it diff erently at the Chesapeake Shakespeare Company. A Little Conversation We believe in long-term relationships with our artists. We think About Art: that the best collaborations are made among artists who know In this illuminating series of and trust each other. Because of the nature of our work, it lively conversations, Founding feels necessary. Classical theater requires the same skill set as Artistic Director Ian Gallanar exchanges ideas with CSC’s contemporary theater, but also requires more specifi c skills, leading artists. -
By William Shakespeare Directed by Ian Gallanar September 16 – October 9, 2016 the Perils of Isolation a Note from the Founding Artistic Director
By William Shakespeare Directed by Ian Gallanar September 16 – October 9, 2016 The Perils of Isolation A Note from the Founding Artistic Director This play, Othello, is different from the 25 other Shakespeare plays we have produced since 2002. Unlike his plays that are set in tightly woven communities, Ian Gallanar. Photo by Theatre Othello depends so much more on isolation – physical Consultants Collaborative Inc. isolation as well as isolation of thought. The action moves from the metropolis of Venice to the island of Cyprus, where we spend most of our time in the play. On Cyprus is a castle, a fortress where Othello is himself isolated—he has no family other than his new wife. He has no fellow countrymen. There is only his army to protect him in his isolation. After Othello, Iago, Desdemona, Emilia, and Roderigo have arrived in Cyprus, they have nothing to do but prey upon one another. Isolation enables many of the play’s most important effects: Iago frequently speaks in soliloquies; Othello stands apart while Iago talks with Cassio in Act IV, scene I; Roderigo seems attached to no one in the play except Iago. And, most prominently, Othello is visibly isolated from the other characters by his physical stature and the color of his skin. Iago, an expert at manipulating emotion and environment, knows exactly how to use this isolation to his benefit. The characters fall because they are isolated, the play seems to say. That is unique among Shakespeare’s plays, and it is the source of the sadness that exists in the community of the play. -
A Christmas Carol Program 2017 FINAL.Indd
A CHRISTMAS CAROL CHESAPEAKE By Ian Gallanar, adapted from SHAKESPEARE Charles Dickens' holiday classic COMPANY Presented by Dec. 4-23, 2017 Thank You High sparks of honor in thee have I seen. - Richard II Season 2017-2018 is presented by Additional Sponsors and Funders Include This production has been funded by Mayor Catherine E. Pugh and Mayor Catherine E. Pugh & the City of Baltimore the Baltimore Office of Promotion and The Arts The Citizens of Baltimore County The William G. Baker, Jr. Memorial Fund creator of the Baker Artist Awards | www.bakerartistawards.org Community Partners and Media Partners 2 A CHRISTMAS CAROL What I Love About Theater, A Christmas Carol, and You A Note from the Founding Artistic Director Thanks to my parents, Joe and Lou Ann Gallanar, I was raised enjoying the arts. I don’t say “with appreciation for the arts,” because it was never about appreciation. They always made Ian Gallanar. sure that I thought of art as fun. I grew up thinking art museums were fun, concerts were fun, theater was fun. Later in life, I learned to find ballet, jazz, and abstract expressionism as fun - and even opera. That’s right, I think opera is fun! It’s all so much fun. What I especially love about the theater is that it uses so many dif- ferent art forms, and mashes them together to make a different art form. It’s especially collaborative: visual artists and musicians and actors and technicians and designers all come together in theater to create works of art. A Christmas Carol is one of my favorite collaborations. -
Macbeth Program 2016 FINAL.Indd
CHESAPEAKECHESAPEAKE SHAKESPEARESHAKESPEARE COMPANYCOMPANY April 15 – May 15, 2016 MACBETHBy William Shakespeare Directed by Paul Mason Barnes Sublime, Complex Macbeth A Note from the Founding Artistic Director I often say that at the Chesapeake Shakespeare Company, we produce Shakespeare’s plays not because Shakespeare wrote them, but because they’re the best plays ever writ- Ian Gallanar. Photo by Theatre ten. And, of the great Shakespeare plays, Macbeth might be Consultants Collaborative Inc. the greatest (well, some days I might argue for King Lear). I think Macbeth comes very close to being a perfect play. It is certainly the most effi cient of Shakespeare’s plays. I wish we could do it all the time. Great art reveals something about humanity — about ourselves — that is surprising, unique, and, often, unsettling. Each great work of art does this diff erently. Macbeth, for me, is like a Jackson Pollock painting: rhythmic, intense, and revealing. I am astonished with the rhythmic trick Shakespeare pulls off with his “tomorrow and tomorrow and tomorrow” speech. In this scene near the end of the play, we are in the midst of a great crescendo. Good and evil angels are fi ghting over the world in an enormously frantic battle. Just as we get to the point of extravagant, frantic confl ict, we stop. Just like that. Everything shuts down and we pause to contemplate the absurdity of life. It’s a gorgeous piece of playwriting. It’s as complicated and sublime a rhythmic trick as the fi rst notes of Ode to Joy in Beethoven’s Ninth Symphony or John Coltrane’s saxophone in A Love Supreme.