New Yorker May 20 1985
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cTlif g'nliimltiis Dl5|inlth Fritfay, April 30, 1993 Otterbein makes ‘Big River’ better than it is By Michael Grossberg The acting is superb. So is tlie lioiiK! tube “civilized.” Dispdich Thcaicr Critic singing (guided by vocal director Riciardson and Moore’s stir THEATER REVIEW Craig Johnson), the lively pit orches ring durts (Mnddy Water, River in Big Riwr falls short of the ait- tra (conducted by music director the Ra'ni and especially Worlds istry and depOi of Into Vie WooiL% Big River, Otterbein College's stii- David DeVenney), Rob John.son’s AjKiii) rellect their grawing lioiids Sweeney Todd, Evita, A Chorm ilent production of the musical picturesque scenic design, Katie of tinst ind friendship. Line and Man of La Mancha — all adaptation of I luck Finn's adven Robbins’ rags-io-nouvean riche- The show’s underlying spiritual first-i’ank Broadway musicals that tures. Directed by John Stefano. style 19th-century costumes and ity is caiveyed with grice and long- have received first-class I’evivals at Jim............................Ron Richardson lighting designer Fred Thayer’s biu'- suffering strength by the black OUerbein College in recent yeai-s. I luck Finn.....................Corey Moore slaves ii Cmssing Over and by iH- ;• Yet, Otterbein’s rousing produc nished sunsets, hazy sunrises and King...............................Keith Weirich ice’s Duighter (’Tonya Watson) in tion of Bitj River, which opened last (h'amatic atmosjiheric effects. Duke................................ Todtl Crain night at Westeiwille’s Cowan Hall, is The cast’s soaidng baritones, the gosjel-style How Blest We Air.. Mark'Twain..............Daryl Toziipone I iwlished and professional that one plmigent tenois and lilting sopranos Hov ble.ssed indeed is Otterbein Tom Sawyer......................losh Gildrie ('iisily overlooks tlie show’s folksy, make Miller’s catchall coimti^-west- to have such a strong supporting- Pap Finn.......................Nick Koeslers fiimiiy-oiiented vulgaiizations. -
American Spiritual Program Spring 2009
American Spiritual Ensemble Sunday, February 22, 2009 • 4 p.m. Asbury United Methodist Church Comprised of some of the finest voices in the world, the internationally acclaimed ensemble offers stirring renditions of Negro spirituals, Broadway songs and other music in the African-American tradition. The concert is sponsored by Asbury United Methodist Church; the Peter and Judy Jackson Music Performance Fund; Salisbury University’s Department of Music, Office of the Dean of the Charles R. and Martha N. Fulton School of Liberal Arts and Office of Multicultural Student Services; the SU Foundation, Inc.; and is made possible, in part, by a grant from the Salisbury Wicomico Arts Council, awarded by the Maryland State Arts Council and the National Endowment for the Arts. AMERICAN SPIRITUAL ENSEMBLE EVERETT MCCORVEY , F OUNDER AND MUSIC DIRECTOR www.americanspiritualensemble.com PROGRAM Walk Together, Children ............................................................arr. William Henry Smith We Shall Walk Through the Valley in Peace ............................................arr. Moses Hogan Plenty Good Room ......................................................................arr. William Henry Smith Oh, What A Beautiful City! ........................................................................arr. Johnie Dean Mari-Yan Pringle, Jeryl Cunningham, Sopranos I Want Jesus to Walk With Me ....................arr. Eurydice Osterman/Tedrin Blair Lindsay Ricky Little, Baritone Fi-yer, Fi-yer Lord (from the operetta Fi-yer! )......................Hall -
The Inventory of the Alvin Epstein Collection #1717
The Inventory of the Alvin Epstein Collection #1717 Howard Gotlieb Archival Research Center Epstein, Alvin #1717 2/17/06 Preliminary Listing I. Professional Materials. Box 1 A. Files, re: American Repertory Theater, unless noted; may include reviews; scores; scripts; notes; correspondence; printed materials; legal materials; photographs; artwork; audio material. 1. AAlliance for the Development of Theater Arts, Inc.@ [F. 1] 2. AAmerican Repertory Theater.@ [F.1-3] 3. AAspen Musical Festival.@ [F. 4] 4. ABeckett, Samuel.@ [F. 5] 5. AContracts.@ [F. 5-6] 6. AThe Cabinet of Dr. Caligari.@ [F. 7] 7. ACaligula - Yale Repertory Theater.@ [F. 8] 8. ACarnegie Hall.@ 9. ACharlie in the House of Rue,@ includes photographs; slides. 10. AThe Cherry Orchard.@ 11. AClerambard,@ includes printed material; telegram; photographs. [F. 9] 12. AColette,@ includes printed material. [F. 10] 13. AColette Scores.@ [F. 11] 14. ACrossing Niagra,@ includes printed material; telegram. [F. 12] 15. ACrimes and Crimes.@ 16. ADear Liar.@ [F. 13] Box 2 17. ADoctor=s Dilemma.@ [F. 1] 18. ADoing Life,@ includes contract. 19. ADon Juan.@ 20. ADream of the Red Spider.@ [F. 2] 21. ADynamite Tonite,@ includes sub-files: a. AYale Repertory Theater,@ includes 2 contracts, 11/14/06. b. ANew York,@ includes contract, 2/23/67. 22. AHamlet.@ 23. AOn Ne Badine Pas Avec L=Amour (No Trifling With Love),@ includes original sketches. [F. 2-4] 24. AOpera,@ includes printed material. [F. 5] 25. ARevue Material.@ 26. ASolider=s Tale.@ [F. 6] 27. AStory Theater.@ [F. 7] 28. ASalzburg American Seminar.@ 29. ATartuffe,@ includes printed material. [F. 8] 30. ATempest,@ American Repertory Theater and Yale Repertory Epstein, Alvin (2/17/06) Theater, MS, 200 p.; includes score; photograph. -
American Spiritual Program Fall 2009
Saturday, September 26, 2009 • 7:30 p.m. Asbury United Methodist Church • 1401 Camden Avenue, Salisbury Comprised of some of the finest voices in the world, the internationally acclaimed ensemble offers stirring renditions of Negro spirituals, Broadway songs and other music influenced by the spiritual. This concert is sponsored by The Peter and Judy Jackson Music Performance Fund;SU President Janet Dudley-Eshbach; Provost and Senior Vice President of Academic Affairs Diane Allen; Dean Maarten Pereboom, Charles R. and Martha N. Fulton School of Liberal Arts; Dean Dennis Pataniczek, Samuel W. and Marilyn C. Seidel School of Education and Professional Studies; the SU Foundation, Inc.; and the Salisbury Wicomico Arts Council. THE AMERICAN SPIRITUAL ENSEMBLE EVERETT MCCORVEY , F OUNDER AND MUSIC DIRECTOR www.americanspiritualensemble.com PROGRAM THE SPIRITUAL Walk Together, Children ..........................................................................................arr. William Henry Smith Jacob’s Ladder ..........................................................................................................arr. Harry Robert Wilson Angelique Clay, Soprano Soloist Plenty Good Room ..................................................................................................arr. William Henry Smith Go Down, Moses ............................................................................................................arr. Harry T. Burleigh Frederick Jackson, Bass-Baritone Is There Anybody Here? ....................................................................................................arr. -
Disney's Beauty and the Beast
2009-2010 ON STAGE • TPAC PRES YING ENTS PLA • N W OW NO • PL G AY N IN YI G A • L P N W O O W N P L • A G Y N I I N Y G A L • P N O W W O N P L • A G Y I N N I Y G A • L P N O W W O N P L • A Y I C N A G P T • T T A P A Y A C W F D A A M O I L R Y B F R I A E T L S D I R T T R / I P A C • H N O • W G N P I L Y A A Y L I P N G W • O N N O • W G N P I L Y A A Y L I P N G W • O N WWW.TPAC.ORG ¢ 615-782-4040 POWERING YOUR ext stage i life At First Tennessee, we love the arts as much as you do. That’s why we support them. And why we make it easier for you to be there for every great performance by providing convenient hours and online banking. Not to mention multiple ATMs and locations that make it easy to find us on the way to the show. For all the other financial ways we help power your dreams, stop by or visit ftb.com. Banking products and services provided by First Tennessee Bank National Association. Member FDIC. -
Boxoffice Barometer (March 6, 1961)
MARCH 6, 1961 IN TWO SECTIONS SECTION TWO Metro-Goldwyn-Mayer presents William Wyler’s production of “BEN-HUR” starring CHARLTON HESTON • JACK HAWKINS • Haya Harareet • Stephen Boyd • Hugh Griffith • Martha Scott • with Cathy O’Donnell • Sam Jaffe • Screen Play by Karl Tunberg • Music by Miklos Rozsa • Produced by Sam Zimbalist. M-G-M . EVEN GREATER IN Continuing its success story with current and coming attractions like these! ...and this is only the beginning! "GO NAKED IN THE WORLD” c ( 'KSX'i "THE Metro-Goldwyn-Mayer presents GINA LOLLOBRIGIDA • ANTHONY FRANCIOSA • ERNEST BORGNINE in An Areola Production “GO SPINSTER” • • — Metrocolor) NAKED IN THE WORLD” with Luana Patten Will Kuluva Philip Ober ( CinemaScope John Kellogg • Nancy R. Pollock • Tracey Roberts • Screen Play by Ranald Metro-Goldwyn-Mayer pre- MacDougall • Based on the Book by Tom T. Chamales • Directed by sents SHIRLEY MacLAINE Ranald MacDougall • Produced by Aaron Rosenberg. LAURENCE HARVEY JACK HAWKINS in A Julian Blaustein Production “SPINSTER" with Nobu McCarthy • Screen Play by Ben Maddow • Based on the Novel by Sylvia Ashton- Warner • Directed by Charles Walters. Metro-Goldwyn-Mayer presents David O. Selznick's Production of Margaret Mitchell’s Story of the Old South "GONE WITH THE WIND” starring CLARK GABLE • VIVIEN LEIGH • LESLIE HOWARD • OLIVIA deHAVILLAND • A Selznick International Picture • Screen Play by Sidney Howard • Music by Max Steiner Directed by Victor Fleming Technicolor ’) "GORGO ( Metro-Goldwyn-Mayer presents “GORGO” star- ring Bill Travers • William Sylvester • Vincent "THE SECRET PARTNER” Winter • Bruce Seton • Joseph O'Conor • Martin Metro-Goldwyn-Mayer presents STEWART GRANGER Benson • Barry Keegan • Dervis Ward • Christopher HAYA HARAREET in “THE SECRET PARTNER” with Rhodes • Screen Play by John Loring and Daniel Bernard Lee • Screen Play by David Pursall and Jack Seddon Hyatt • Directed by Eugene Lourie • Executive Directed by Basil Dearden • Produced by Michael Relph. -
Ahmanson Theatre
AHMANSON THEATRE 1967-68 PREMIERE SEASON 1968-69 SEASON “More Stately Mansions” “Captain Brassbound’s Conversion” by Eugene O’Neill; by George Bernard Shaw; Starring Ingrid Bergman, Arthur Hill Starring Greer Garson, and Colleen Dewhurst; Darren McGavin, Jim Backus, Paul Directed by José Quintero. Ford, John Williams, George Rose (American Premiere). and Tony Tanner; September 12 - October 21, 1967. Directed by Joseph Anthony. “The Happy Time” September 24 - November 9, 1968. Book by N. Richard Nash; “Love Match” Based on the play by Samuel A. Book by Christian Hamilton; Taylor and the book by Robert L. Music by David Shire; Fontaine; Music by John Kander; Lyrics by Richard Maltby Jr.; Lyrics by Fred Ebb; Starring Patricia Routledge, Starring Robert Goulet and Michael Allinson and Hal Linden; David Wayne; Directed and choreographed by Directed and choreographed by Danny Daniels. Gower Champion. (World Premiere). (World Premiere). November 19, 1968 - January 4, 1969. November 13 - December 23, 1967. The Royal Shakespeare Company in The Royal Shakespeare Company in “Dr. Faustus” “As You Like It” by Christopher Marlowe; by William Shakespeare; Directed by Clifford Williams. Directed by David Jones. “Much Ado About Nothing” “The Taming of the Shrew” by William Shakespeare; by William Shakespeare; Directed by Trevor Nunn. Directed by Trevor Nunn. January 14 - March 1, 1969. January 2 - February 10, 1968. “Rosencrantz and Guildenstern Are Dead” “Catch My Soul” by Tom Stoppard; Words by William Shakespeare; Starring Brian Murray and Music by Ray Pohlman; George Backman; Starring William Marshall, Jerry Lee Directed by Derek Goldby. Lewis and Julienne Marie; March 11 - April 26, 1969. -
All Aware of Course That the Annual Report of the Oscar Long Ago Attained an Extraor Academy of Motion Picture Dinary Stature
Academy of Motion Picture Arts and Sciences and Academy Foundation Annual Report 83/84 From the President ' m delighted to present to you We' re all aware of course that the Annual Report of the Oscar long ago attained an extraor Academy of Motion Picture dinary stature. One of the most pleas I Arts and Sciences and the urable aspects of this first year as Academy Foundation. As you will see your president has been the chance in the pages that follow, 1983-84 was I've had to see firsthand just how a year of continuing achievement. broad and how deep is the worldwide Note particularly the accomplish respect for our symbol and the insti ments of our Players Directory, our tution he represents. This summer I Visiting Artists program, our Semi accepted an invitation from the U.S. nars, Exhibitions, Lectures and Information Agency to represent Salutes. Statistics continue to show the Academy in a visit to five East that students, scholars, researchers, European nations. writers, critics, and filmmakers are Everywhere I went-in Belgrade, making use of our magnificent Budapest, East Berlin, Prague, Sofia, Margaret Herrick Library in ever Zagreb, and at Czechoslovakia's dis increasing numbers. As a matter of tinguished Karlovy Vary Festival- fact, finding space in which our con I met filmmakers who spoke warmly stantly-expanding archives can be and with obvious sincerity about what made both safe and accessible has the Academy meant to artists in their been a continuing and pressing countries. I was made aware in a concern. variety of ways by a great many peo We've found short-term solutions ple that our nominations history, to that problem this year; in next particularly in the Foreign Language year's report I'll detail our plans for and Animation categories, has won the establishment of the "Academy us a reputation for integrity that is Cinema Center," a project of large unmatched in the world of film. -
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. -
Population and Sexuality: the Hollywood Connection
SPECIAL COMBINED ISSUE-VOL. XI INDEX Volume XI Number 5/6 May-July 1983 ISSN:0091-3995 Sex Information and Education Council of the U.S. POPULATION AND SEXUALITY: THE HOLLYWOOD CONNECTION Norman Fleishman Director, the TV Project The Center for Population Options Los Angeles, California [/n recent volumes, the SIECUS Report has discussed the ways challenging opportunity then; it still is, 10 years later, and as far in which sex education is provided through parents, teachers, as I know-as a full-time occupation-it is unique anywhere in therapists, medical schools, church and community groups, the world. There are scads of lobbyists in political circles, youth agencies, disability organizations, gay/lesbian groups, spending hundreds of millions of dollars annually. In enter- and many others. This issue highlights a powerful source ofsex tainment, there is just me. education that has only recently become the object of re- Looking back at the IO years of my work as an “outsider,” search and scrutiny-the medium of tetevison. Concernedsex- an educator-lobbyist in Hollywood, two experiences stand uality professionals are now coming up with important ques- out. Both are related to the person who pioneered in the tions: What can be done to ensure that the millions of viewers blending of controversial social issues with entertainment TV- are exposed to accurate information and positive attitudes Norman Lear. The first centered around the making of an epi- concerning all aspects of sexuality? How can trained and sode of A// in the Family. Michael (“Meathead”) and Gloria knowledgeable experts in the field exert a positive influence work through their fears and doubts, have richly textured on television program content? Who will lobby for increased searchings and quarrels (some of them, of course, hilarious), coverage of important sexual health issues? and conclude with Michael’s going to a hip (“Let’s boogie!“) Obviously, one issue of a journal cannot begin to answer physician for a nearly on-camera vasectomy. -
Matters of Health
looked at some of the reasons for not for providers/staff; development of proto- sharing the information. The findings sug- cols for the care of young transgender matters of health gest that bisexual men often anticipate patients, as well as roadmaps for families; strong judgmental reactions from their part- asking and recording of chosen name/ ners and families. Many report staying quiet pronoun; increased number of HIPAA Waiver in Orlando Shooting about their past in order to avoid rejection multidisciplinary gender clinics; providing In an interesting twist to the situation in Orlando, the White House approved a HIPAA and problems in their current heterosexual cross-sex hormones at an age that permits waiver. Just what does that mean? HIPAA stand for the Health Insurance Portability and relationships. Participants believed that peer-congruent development; and desig- Accountability Act. It protects the privacy of health information and if you have called a their family, friends, and female partners nating a navigator for transgender patients hospital to find out information about someone and only been told that the person is there held stigmatizing attitudes toward homo- in clinics. and that’s all they can tell you, you experienced the protections it provides. It restricts the sexuality; and had prior experience with sharing of medical information only to those the patient approves. But in the case of the negative reactions to disclosure. “Our find- Online Tools to Find PrEP victims in Orlando, most could not give that permission. The -
Ancient Tragedy, Echoed by a Chorus of Veterans - the New York Times
The Lunatic Is on the Air: A Stoppard Radio Play for Pink Floyd's 'Dark Side of the Moon' - NYTimes.com MARCH 28, 2013, 8:51 AM The Lunatic Is on the Air: A Stoppard Radio Play for Pink Floyd’s ‘Dark Side of the Moon’ By DAVE ITZKOFF The 40th anniversary of the release of “The Dark Side of the Moon,” that best-selling Pink Floyd album, technically occurred earlier this month. But in the case of a seminal prog-rock record that deals with the nature of time (and the slowing-down thereof), we’ll forgive Tom Stoppard if his unique effort to celebrate this milestone doesn’t actually arrive until the summer. Mr. Stoppard, the celebrated playwright of “Rosencrantz and Guildenstern Are Dead” and “The Coast of Utopia” and a screenwriter of “Shakespeare in Love,” among many other works, has written a new play for British radio that will mark the 40 years since “The Dark Side of the Moon” was released in March 1973, The Guardian reported. But this latest dramatic work is no simple narrative of how Roger Waters, David Gilmour and company spent several months at Abbey Road recording songs like “Money,” “Time” and “Breathe.” This one’s … a little weird. Describing Mr. Stoppard’s radio play, called “Dark Side,” at its Web site, the BBC called it “a fantastical and psychedelic story based on themes from the seminal album” that incorporates “music from the album and a gripping story that takes listeners on a journey through their imaginations.” (So keep your black-light posters handy, apparently.) Mr.