Theatre Miscellany Collection, 1802-1938
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Environmental Racism and Environmental Justice in Boston, 1900 to 2000
The University of Maine DigitalCommons@UMaine Electronic Theses and Dissertations Fogler Library Summer 8-22-2019 "The Dream is in the Process:" Environmental Racism and Environmental Justice in Boston, 1900 to 2000 Michael J. Brennan University of Maine, [email protected] Follow this and additional works at: https://digitalcommons.library.umaine.edu/etd Recommended Citation Brennan, Michael J., ""The Dream is in the Process:" Environmental Racism and Environmental Justice in Boston, 1900 to 2000" (2019). Electronic Theses and Dissertations. 3102. https://digitalcommons.library.umaine.edu/etd/3102 This Open-Access Thesis is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of DigitalCommons@UMaine. For more information, please contact [email protected]. “THE DREAM IS IN THE PROCESS:” ENVIRONMENTAL RACISM AND ENVIRONMENTAL JUSTICE IN BOSTON, 1900 TO 2000 By Michael J. Brennan B.S. University of Maine at Farmington, 2001 A.L.M. Harvard University Extension School, 2012 A DISSERTATION Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy (American History) The Graduate School The University of Maine August 2019 Advisory Committee: Richard Judd, Professor Emeritus of History Elizabeth McKillen, Adelaide & Alan Bird Professor of History Liam Riordan, Professor of History Jacques Ferland, Associate Professor of History and Graduate Coordinator of History Program Roger J.H. King, Associate Professor of Philosophy THE DREAM IS IN THE PROCESS: ENVIRONMENTAL RACISM AND ENVIRONMENTAL JUSTICE IN BOSTON, 1900 TO 2000 By: Michael J. Brennan Dissertation Advisor: Dr. Richard Judd An Abstract of the Dissertation Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in American History (August 2019) The following work explores the evolution of a resident-directed environmental activism that challenged negative public perception to redevelop their community. -
Monday 7 January 2019 FULL CASTING ANNOUNCED for THE
Monday 7 January 2019 FULL CASTING ANNOUNCED FOR THE WEST END TRANSFER OF HOME, I’M DARLING As rehearsals begin, casting is announced for the West End transfer of the National Theatre and Theatr Clwyd’s critically acclaimed co-production of Home, I’m Darling, a new play by Laura Wade, directed by Theatre Clwyd Artistic Director Tamara Harvey, featuring Katherine Parkinson, which begins performances at the Duke of York’s Theatre on 26 January. Katherine Parkinson (The IT Crowd, Humans) reprises her acclaimed role as Judy, in Laura Wade’s fizzing comedy about one woman’s quest to be the perfect 1950’s housewife. She is joined by Sara Gregory as Alex and Richard Harrington as Johnny (for the West End run, with tour casting for the role of Johnny to be announced), reprising the roles they played at Theatr Clwyd and the National Theatre in 2018. Charlie Allen, Susan Brown (Sylvia), Ellie Burrow, Siubhan Harrison (Fran), Jane MacFarlane and Hywel Morgan (Marcus) complete the cast. Home, I’m Darling will play at the Duke of York’s Theatre until 13 April 2019, with a press night on Tuesday 5 February. The production will then tour to the Theatre Royal Bath, and The Lowry, Salford, before returning to Theatr Clwyd following a sold out run in July 2018. Home, I’m Darling is co-produced in the West End and on tour with Fiery Angel. How happily married are the happily married? Every couple needs a little fantasy to keep their marriage sparkling. But behind the gingham curtains, things start to unravel, and being a domestic goddess is not as easy as it seems. -
Magic Goes Wrong to Miraculously Extend Until August 2020
Press Release: Monday 20th January 2020 MAGIC GOES WRONG TO MIRACULOUSLY EXTEND UNTIL AUGUST 2020 Mischief Theatre, the Olivier award-winning company behind The Play That Goes Wrong, is flabbergasted to announce a new booking period for Magic Goes Wrong, with tickets now on sale until 30th August 2020. Created with magic legends Penn & Teller, this is the second production as part of Mischief Theatre’s residency at the Vaudeville Theatre. In the latest ‘Goes Wrong’ comedy to hit the West End, the original Mischief company play a hapless gang of magicians presenting a charity event. As the accidents spiral out of control, so does their fundraising target! The Magic Goes Wrong cast includes: Bryony Corrigan Spitzmaus Roxy Faridany Eugenia Dave Hearn The Blade Henry Lewis Mind Mangler Jonathan Sayer Mickey Henry Shields Sophisticato Nancy Zamit Bär The cast is completed by Natasha Culley, Lauren Ingram, Laurence Pears, Sydney K Smith and Liv Spencer. Magic Goes Wrong is directed by Adam Meggido, designed by Will Bowen with costume designs by Roberto Surace. Lighting design is by David Howe, with Sound Design by Paul Groothuis and Video & Projection Design by Duncan McLean. Ben Hart is the Magic Consultant. The Composer is Steve Brown, alongside Movement Director Ali James and Associate Director Hannah Sharkey. Mischief Theatre Ltd. was founded in 2008 by a group of acting graduates of LAMDA and began as an improvised comedy group. Mischief performs across the UK and internationally with original scripted and improvised work and also has a programme of workshops. Mischief Theatre’s other current 1 London productions are The Play That Goes Wrong and The Comedy About A Bank Robbery, performing at the Duchess Theatre and Criterion Theatre respectively. -
Regency Actors and the Inspiration Behind Romantic Drama
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2017 Fit for the Stage: Regency Actors and the Inspiration Behind Romantic Drama James Armstrong The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2317 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] FIT FOR THE STAGE: REGENCY ACTORS AND THE INSPIRATION BEHIND ROMANTIC DRAMA by JAMES ARMSTRONG A dissertation submitted to the Graduate Faculty in Theatre in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2017 ii © 2017 JAMES ARMSTRONG All Rights Reserved iii Fit for the Stage: Regency Actors and the Inspiration Behind Romantic Drama by James Armstrong This manuscript has been read and accepted for the Graduate Faculty in Theatre in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. May 12, 2017 ______________________________ Date Chair of Examining Committee Marvin Carlson Distinguished Professor May 12, 2017 ______________________________ Date Executive Officer Peter Eckersall Professor ______________________________ Jean Graham-Jones Professor ______________________________ Annette J. Saddik Professor Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iv Abstract Fit for the Stage: Regency Actors and the Inspiration Behind Romantic Drama by James Armstrong Adviser: Distinguished Professor Marvin Carlson In this dissertation, I argue that British verse tragedies of the Romantic era must be looked at not as "closet dramas" divorced from the stage, but as performance texts written with specific actors in mind. -
LIT 3693 Play, Performance, and Perspectives: the London Stage Elective Abroad Information Session BABSON ELECTIVES ABROAD
LIT 3693 Play, Performance, and Perspectives: The London Stage Elective Abroad Information Session BABSON ELECTIVES ABROAD Short-term, faculty-led courses ● Advanced Liberal Arts and Advanced Electives (4 credits) 1-3 weeks abroad ● No min. GPA Fall Semester • MOB: Contemporary Strategic Issues in Chile • LIT: Play & Performance in U.K. Winter Session • EPS: Institutions & Entrepreneurship in Japan • HIS: Social Responsibility in Malaysia Spring Semester • HUM: Mapping Cultural Histories in Spain Summer 1st Session • MOB: Start-up Strategy in France *2016-2017 schedule BABSON ELECTIVES ABROAD TEAM Elise Beaudin Renée Alex Meredith Director Graham Nesbeda Dziuba Electives Abroad Electives Abroad Electives Abroad Electives Abroad Program Manager Program Manager Program Assistant Winter Session 4-Credit Advanced Liberal Arts Course January 7 - 21, 2016 Professor Jon Dietrick Professor Kevin Bruyneel London, England • Shared double rooms in a modern, clean, comfortable hotel • Walking-distance to shopping & restaurants • Close to most of the theatres Past Performances: Shakespeare’s Romeo and Juliet at the Roundhouse Feydeau’s A Flea in Her Ear at the Old Vic Beauty and the Beast at the Cottlesloe National Theatre Oscar Wilde’s An Ideal Husband at the Vaudeville Theatre Greig and McIntyre’s Midsummer at the Tricycle Theatre Graham Greene’s The Potting Shed at the Finborough Theatre Stewart’s Men Should Weep at the Lyttleton National Theatre War Horse at the New London Theatre • Educational Tours of London and Key Theatres • Performance Workshops with Professional Companies • Visits to Museums, Exhibits and other Sites of Cultural or Theatrical Interest Mornings in the Classroom • Seminar • Discussion • Presentations Most Afternoons at Workshops or Tours Evenings at the Theatre Weekends you’re largely on your own to explore. -
Christopher York SERENA MANTEGHI Build a Rocket Was Christopher’S Debut Serena Manteghi Is an Established Play
Stephen Joseph Theatre and Tara Finney Productions present Running time: 75 minutes (no interval) | Age guidance: 14+ (Contains some strong language and adult themes) Tell us what you thought: @thesjt | @tara_finney | #BuildARocket Christopher York SERENA MANTEGHI Build a Rocket was Christopher’s debut Serena Manteghi is an established play. After winning HighTide’s First theatre practitioner and performer, Commissions Award, the text was working extensively in new writing, developed in conjunction with HighTide, devising and physical storytelling. She is Women at RADA and the SJT. It debuted the recipient of the following awards; at the SJT in 2018, and subsequently BankSA ‘Best Theatre’ Award for won The Holden Street Award at The Eurydice Edinburgh Festival, the Adelaide Fringe Best Theatre Weekly , The Sunday Mail’s ‘Best Female Award and was named as The Sunday Mail’s Best Female Solo Performance’ for Build A Rocket, ‘Honourable Mention’ Solo Show. by Critics Circle Award for Build A Rocket and she was shortlisted for the Norman Beaton Fellowship Award in Christopher’s adaptation of The Pit and the Pendulum also 2016. premiered in 2018, set in the modern day Middle East, it scrutinised the attire laws that oppress women in those Her theatre credits include; Hamlet (Shakespeare’s Rose areas. It opened in Oxford’s Bodleian Libraries’ historical Theatre), Salty Irina (Ovalhouse), Eurydice (Holden Street Convocation House before transferring to The Omnibus in Theatres, Adelaide), Build A Rocket (Stephen Joseph Theatre/ London. Various), The Terrible Infants (Wiltons Music Hall), The Rise and His new play 212 is an Arts Council England’s supported Fall of Little Voice (Stephen Joseph Theatre), Echoes (Brits Off project. -
Andrew Lloyd Webber's Olivier Award
ANDREW LLOYD WEBBER’S OLIVIER AWARD-WINNING S C H O O L O F R O C K - T H E M U S I C A L WELCOMES NEW ADULT CAST WWW.SCHOOLOFROCKTHEMUSICAL.COM Today, 23 October 2017, rehearsals begin for the new West End cast of Andrew Lloyd Webber’s Olivier award-winning production of School of Rock - The Musical. Stephen Leask, having played the role of alternate Dewey since May this year, will now lead the cast as Dewey Finn from 15 November 2017, as the show enters its second year in the West End. Joining Leask at the New London Theatre will be Alan Pearson as Ned Schneebly, Michelle Francis as Patty Di Marco, currently a member of the ensemble, and Craig Gallivan as the alternate Dewey Finn. Florence Andrews will continue as Rosalie Mullins alongside the three teams of thirteen kids who make up Dewey’s band. The ‘grown up’ cast is completed by ensemble members Nick Butcher, Cassandra McCowan, Jessica Louise Parkinson, Andy Rees, Cameron Sharp, Jake Sharp, James Smoker, Wendy Somerville, Andrew Spillett, Hannah Stratton and Alex Tomkins with swings, Paul Kemble, Laura Medforth, Billy Mitchell, Tasha Sheridan and Joshua St. Clair. To vote for School of Rock - The Musical which has been nominated for the 2017 Evening Standard Radio 2 Audience Award for Best Musical visit bbc.co.uk/radio 2. Voting closes on 29 October 2017 at 11.59pm and the winner will be announced at the Evening Standard Awards on 3 December 2017. On 6 November 2017 School of Rock - The Musical will host this year’s BBC Radio 2’s BBC Children in Need Gala. -
“Revenge in Shakespeare's Plays”
“REVENGE IN SHAKESPEARE’S PLAYS” “OTHELLO” – LECTURE/CLASS WRITTEN: 1603-1604…. although some critics place the date somewhat earlier in 1601- 1602 mainly on the basis of some “echoes” of the play in the 1603 “bad” quarto of “Hamlet”. AGE: 39-40 Years Old (B.1564-D.1616) CHRONO: Four years after “Hamlet”; first in the consecutive series of tragedies followed by “King Lear”, “Macbeth” then “Antony and Cleopatra”. GENRE: “The Great Tragedies” SOURCES: An Italian tale in the collection “Gli Hecatommithi” (1565) of Giovanni Battista Giraldi (writing under the name Cinthio) from which Shakespeare also drew for the plot of “Measure for Measure”. John Pory’s 1600 translation of John Leo’s “A Geographical History of Africa”; Philemon Holland’s 1601 translation of Pliny’s “History of the World”; and Lewis Lewkenor’s 1599 “The Commonwealth and Government of Venice” mainly translated from a Latin text by Cardinal Contarini. STRUCTURE: “More a domestic tragedy than ‘Hamlet’, ‘Lear’ or ‘Macbeth’ concentrating on the destruction of Othello’s marriage and his murder of his wife rather than on affairs of state and the deaths of kings”. SUCCESS: The tragedy met with high success both at its initial Globe staging and well beyond mainly because of its exotic setting (Venice then Cypress), the “foregrounding of issues of race, gender and sexuality”, and the powerhouse performance of Richard Burbage, the most famous actor in Shakespeare’s company. HIGHLIGHT: Performed at the Banqueting House at Whitehall before King James I on 1 November 1604. AFTER: The play has been performed steadily since 1604; for a production in 1660 the actress Margaret Hughes as Desdemona “could have been the first professional actress on the English stage”. -
Billboard, Vol. XVII, No. 10, March 11, 1905
^PRICE, 10 CENTS FORTY PAGES THEATRES^ CIRCUSES FAIRS ~ MUSICIANS TBeertriceJ Weekly Volume XVII. No. 10. CINCINNATI NEW YORK- CIIIC A G O March 11,1905. * COL. FRED. P. CUMMINS Sole Owner and Manager of the Cum- mins' Wild West 4 Ttie Billboard women on the American stage; Mr. Charles J. Wilson, recent basso with Edward Harrlgan; BESSIE VVYNN Miss Dorothy Gray, leading soprano of The Strollers; little Agnes and Reginald Blair, two DRAMATIC MINSTREL! of tlie mo-it versatile and talented of children VAUDEVILLE BURLESQUE artists. Miss Kleanor Blair, Mr. Eugene Keith. Miss Fanny I'routy and Mr. Arthur Lorraine. MUSIC OPERA Tills Is a list of people who have made good in either the legitimate or vaudeville, and com- mand a salary that places them above the Cousin Billy is not the greatest of average artist. The finale of the act Is a big Clyde Fitch's plays tint it serves to draw a radium dance that Is In Itself a big feature very gratifying amount of business to the card. Eight ghosts, with radlunilzed costumes Criterion. The principal Interest 1* In Francis and hollow pumpkins for beads, execute a Itcan- WlU-on's work, his first in straight comedy. tiful dance and chorus. There Is an excellent quartet which is an important feature of the Things Theatrical in the Metropolis, The Duchess of Dantzlc at Daly's act. Dave Nowlln Introduces his celebrated and Bits of General Interest lias more than fulfilled the prophesies founded barnyard Imitations during the course of the Discussed on the Rialto. on Its remarkably successful opening. -
And Performance
and Performance THE REPERTORY SYSTEM PLAYS A successful play would typically run for eight to twelve performances over a period of four to Playing companies in six months the 1590s presented a different play each AUDIENCES day, selecting from a The demand from repertoire of usually London audiences twenty to forty plays ACTING for new plays forced COMPANIES companies to add a new play every two weeks Two most significant (and rival) acting companies: the Admiral’s Men and the Lord Chamberlain’s Men Typical types of plays included: tragedies (Othello, Romeo and Juliet), comedies (Twelfth Night), and histories (Henry VIs All classes of society and Richards) visited public theatre PLAYWRIGHTS ACTORS Richard Burbage, 1568-1619 A member of the Lord Chamberlain’s Men from 1594, a close collaborator with Shakespeare, and a frequent player in his plays William Ben Shakespeare Jonson William Kemp, 1585-1603 A prominent comic actor in Shakespeare’s company in 1590s Robert Armin, 1563-1615 A writer and comic actor in Christopher John Shakespeare’s company who Marlowe Fletcher most notably portrayed the wise fools TH 17 CENTURY1642-1660 1660 Interregnum, Restoration period, when period when theatre going became a public theatres fashionable and social were closed experience POPULAR TYPES OF PLAYS HEROIC DRAMA PATHETIC TRAGEDY RESTORATION COMEDY (The Conquest of Granada (The Orphan (The Country Wife by John Dryden) by Thomas Otway) by William Wycherly) INNOVATION Special effects on stage became increasingly technical with the introduction of scenery -
Ira Fredrick Aldridge
Celebrating Black History Month Ira Fredrick Aldridge (1807 — 1867) Ira Aldridge overcame racial prejudice and language barriers to become the most famous black actor of the 19th century – but he had to leave the U.S. to do it. Ira Frederick Aldridge was born in New York City on July 24, 1807. His family was free at a time when slavery was still legal in New York State. His father wanted Ira to follow him into a career as a preacher. After attending the progressive African Free School, where he discovered classical literature and won a prize for public speaking, Ira briefl y studied religion at Union College in Schenectady. His real desire was to become an actor. Against his father’s wishes, Ira joined the African Company, a pioneer black theatrical troupe. The company performed Shakespeare plays with all-black casts along with contemporary works. The actors, including Ira, were attacked by rival performers and Library of Congress, Prints and racists who hated the idea of blacks playing classical Photographs Division [reproduction roles. Ira soon decided that his opportunities as an number LC-USZ62-39869] actor were limited in the U.S. In 1824, Ira Aldridge worked his way across the Atlantic as a ship’s steward. He hoped to improve his craft in England, the home of Shakespeare. He made his English debut in 1825. Some English critics thought him unfi t for the stage while others recognized a developing talent. Aldridge soon found regular work playing dark-skinned ethnic characters in touring companies throughout the United Kingdom. -
Regency Era (1714-1780) (1780-1837)
Use this interactive guide to explore some of these eras with your students. Georgian era Regency era (1714-1780) (1780-1837) Jacobean era (1603-1642) Restoration era (1660-1714) Victorian era (1837-1901) Elizabethan era (1550-1603) Telling the story of the movers and shakers, the buildings, the playwrights, Modern era the plays and the audiences that make Edwardian era (1918-1955) (1901-1918) British theatre what it is today. Order your copy of The Time-Traveller’s Guide to British Theatre at: www.bloomsbury.com Elizabethan era (1550-1603) Heigh ho! Welcome to the reign of our gracious lady Queen Elizabeth I, a time when the first outdoor theatres are built in London and when William Shakespeare writes his plays. Let’s take a closer look. 1559 1576 1593 1601 Elizabeth The Theatre opens Christopher Hamlet premieres Tudor crowned The first public theatre Marlowe killed Hamlet, the young prince of Born 1533, Elizabeth is the since Roman times opens in Before Shakespeare comes ‘Kit’ Denmark, appears for the first second daughter of Henry Shoreditch, among open fields Marlowe. Young, handsome, time on the stage of the Globe VIII. She reigns for a record outside the City of London Cambridge-educated, he’s the theatre, which opened in 1599. 45 years, dying in 1603. She walls. In the middle of nowhere, most talented and notorious It is William Shakespeare’s is a popular monarch, with it’s a successful open-air playwright of the 1580s. His most famous play, a revenge nicknames such as Good wooden venue run by James reputation is summed up drama, and he is a share-holder Queen Bess, Gloriana and Burbage, an actor-manager in three words: atheist, gay and actor at this venue.