DOCSLIB.ORG

South Bay Musical Theatre Proudly Presents by Naomi Iizuka

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
South Bay Musical Theatre Proudly Presents by Naomi Iizuka South Bay Musical Theatre proudly presents ANON(YMOUS) by Naomi Iizuka based on Homer’s The Odyssey Directed by Vinh G. Nguyen A special Readers’ Theatre presentation streamed live via Zoom on March 26, 2021 Produced through special arrangement with Playscripts, Inc. | www.playscripts.com 1 Director’s Note Welcome! n the 8th century BCE, the great Greek n the middle of our tarting from our very first rehearsal, experience as part Ipoet Homer wrote The Odyssey. It depicted Itwo-week rehearsal SAnon(ymous) has been a production like no of Anon(ymous) the post-Trojan War homecoming journey process, news of the other. The company was asked to share their exemplifies that. of the hero Odyssesus, King of Ithaca, and tragic shooting in stories of immigration and ancestry. It was Certainly, the past his many epic adventures along the way. In Atlanta that took deeply moving to hear the company members year has allowed us 2006, playwright Naomi Iizuka wrote her own the lives of six Asian relate their journey and their connection to time to further reflect, adaptation of ancient Greek myth. But instead American women hit their legacy. develop policies, of a king, her new play Anon(ymous) centered us. Like the rest of the Asian American Pacific expand relationships, and foster creative on the displacement of a lowly, nameless, Islander (AAPI) community, I was devastated, heatre is a space to build empathy and collaboration. present-day refugee and his search for the angry, and disappointed. However, I was Tcommunity, and as such, we strive for all meaning of home in America. The continuous reminded of the immense privilege and op- to feel that they belong—both in our virtual e are grateful for the ongoing support success of Iizuka’s Anon(ymous) since its portunity I have to tell programs and in person at the Saratoga Wof our donors and members because premiere is a testament to both stories, stories like Civic Theater. We are hopeful that everyone’s support from our community allows us the the enduring themes of Anon(ymous), that ability to develop diverse Homer’s classic tale celebrate, sup- stories—stories that are and the profound port, and uplift needed now more than relevance of Iizuka’s voices of mem- ever. Generating empathy, modern master- bers of the AAPI kindness, and compassion piece. and other marginal- benefits a thriving theatre ized communities. - as well as the community merica is a country of at large. Aimmigrants. And that, s assistant director Cordelia in itself, is a celebration. Our diverse ethnic ALarsen so eloquently put it: or this production, we experiences, combined with our mutual “We are not limited to just our trauma. It is Fencourage our commu- respect and empathy for one another consti- not our whole identity; we deserve to have nity to donate in support of tute a mixing bowl of cultures and art. As a our joy and our hopes and our passions the Asian American Women first-generation, Vietnamese American im- celebrated and uplifted and centered in the Artists’ Association (aawaa. migrant and having been on the creative team conversations as well!” net). Their mission is to for two previous productions of this show, advance the visibility and Anon(ymous) holds a great significance to me. hank you for supporting our show, for cel- recognition of Asian Ameri- With the help of a new, talented cast and a Tebrating the art we make, and for keeping can women in the arts. dedicated creative team, I was eager to revisit us in the conversations as we all take action to Let us continue to nurture this story to further examine The Odyssey’s create a better future. diverse voices sharing their age-old themes of self-identity, family love, stories! and homecoming (and homefinding) through In solidarity and with gratitude, the vividly-powerful script of this contempo- Vinh G. Nguyen In kindness, rary adaptation. Director Sara K. Dean Asian-American history SBMT Executive Director 2 3 Cast of Characters Synopsis of Scenes Anon(ymous) will be presented without an intermission. Anon .................................................................................................. Romelo Urbi Nemasani ..................................................................................Jennifer C. Maggio Our story takes place on a journey: ...at a Beach �������������������������������Calista, Anon Naja ....................................................................................................Julia Wright ...in a Sewing Factory ����������������Nemasani, Yuri Mackus, Sen. Laius, Helen, Sewing Ladies Ali / Ignacio ........................................................................................Aly Suleman ...at an Indian Restaurant ����������Nasareen, Anon, Ali, Ritu Ritu / Sewing Lady 1 .........................................................................Devaki Ektare ...in a Tunnel, atop a Train ����������Anon, Pascal Nasreen / Sewing Lady 2 ...................................................................Krithi Sundar ...in a Butcher Shop �������������������Zyclos, Zyclos’ Bird, Pascal, Anon Calista / Sewing Lady 3 .................................................................. Jillian A. Smith ...in a Desert, at Night ����������������Belen, Anon, Ignacio, Strygal Mackus .............................................................................. Benjamin Rafael Garcia The Chorus of Refugees and Naja are featured throughout. Senator Laius / Zyclo ..................................................................... Ray D’Ambroiso Helen Laius ..................................................................................Elizabeth Geurts The entire play takes place in one day when Anon arrives at the Indian restaurant and tells Pascal .............................................................................Sarah Masare Devulapalli his story to Nasreen, Ali, and Ruti through a series of vignettes. Through his flashbacks, we Belen..................................................................................Delaney Quinn Bantillo witness Anon’s journey as he escapes from his war-torn homeland, gets separated from his Strygal .................................................................................................. Tim Garcia mother at sea, is adopted by the Nice American Family, but runs away in search of his mom. Serza .................................................................................................Diane Thorne Meanwhile, Anon’s mother, Nemasani, also makes it to America and establishes herself working in the sewing factory for Mr. Yuri Mackus. Celebrating our 58th season! OUR MISSION FOR COMMUNITY, INCLUSIVITY, AND ACCOUNTABILITY: South Bay Musical Theatre a 501 (c)(3) non-profit organization We are a diverse group of theatre makers P.O. Box 700215, San Jose, CA 95170 408-266-4734 working to identify and re-envision the www.SouthBayMT.com theatre experience by more accurately reflecting the diverse community that we Noteworthy Entertainment serve. South Bay Musical Theatre acknowledges the unhealthy history of implicit bias in theatre, and is committed to creating content that is OUR COMPANY MISSION: South Bay Musical Theatre strives to provide representative of our community and also educates our audience. We hold high-quality entertainment by bringing together a diverse group of ourselves accountable at every level, including the board of directors, staff, participants in an inclusive, collaborative, and nurturing environment. artists, and volunteers to include, uplift, and amplify underrepresented and As we share our passion for Theatre Arts, we endeavor to leave a lasting, misrepresented voices. Respectful representation inspires and ripples out positive impression upon our community. into meaningful and necessary change. 4 5 Production Staff Join us after the show Auditions Coordinator ..............................................................................Kim Beals Anon(ymous) Box Office, House Manager, Volunteer Coordinator ...........................Diane Hughes Post-Performance Party Communications Assistant .................................................................Kama Belloni Costume Designer ............................................................................Y. Sharon Peng a special Talkback session with the cast and staff Director; Casting Director ................................................................Vinh G. Nguyen Assistant Director ........................................................................Cordelia Larsen Dramaturg ..........................................................................................Wynne Chan Facilities Director ...........................................................................Jeffrey P. Henson Graphics, Marketing, Program, Video, Web Manager ..........................Doug Hughes Producer; Tech Coordinator ..................................................................Sara K. Dean Props Designer ............................................................................ Barbara Heninger Technology Director .........................................................................Dan Singletary Sound Effects ..................................................................................FreeSound.com Stage Manager ................................................................................. Skyler Riordan Acknowledgments Sound effects courtesy of Freesound.com. Community Outreach SBMT encourages our patrons, company members, and community to stand against hate. The resources
Load more

Recommended publications
  • Anon(Ymous) By: Naomi Iizuka Directed By: Tyler Mckinney Dramaturgy By: Hannah Simon
    Anon(ymous) by: Naomi Iizuka Directed by: Tyler McKinney Dramaturgy By: Hannah Simon Inspired by Refugee Artist Alwy Fadhel TABLE OF CONTENTS Naomi Iizuka's Passport Profile......................................Page 3 There Is No Place Like Home: An Interview with the playwright.......................................................................................Page 4 About the Odyssey................................................................................................Page 6 Adventures of the Odyssey........................................................Page 7 Some things to Think About................................................Page 9 What is it like to be a child refugee?.......Page 10 One Second a Day Video...................................................................Page 11 Refugee Stories.............................................................................................................Page 12 NAME: Naomi Iizuka BORN: April 22, 1965 BIRTHPLACE: Tokyo, Japan OCCUPATION: Playwright SCHOOLING: BA from Yale, MFA in playwriting from University of California Naomi Iizuka wrote Anon(ymous) in 2007. Much like Anon, Iizuka never felt as if she had a home. She grew up not only in Japan, but also Indonesia, The Netherlands, and Washington D.C. As well, Iizuka's mother is American Latina and her father Japanese. Because of her multicultural appearance and background, Iizuka often felt displaced. A lot of Iizuka's work deals with identity and being multicultural. Her works often involve a nonlinear plot line. Meaning, the plot isn't in any sort of chronological order. This often gives her plays a sense of confusion and dysphoria. This is true for Anon(ymous). We can see the nonlinear plot structure in this play and we can see how this sort of structure affects Anon. It makes the story confusing and hard to understand, just as it feels to be displaced as a child. There's No Place Like Home An interview with the playwright by: Dominic P.
    [Show full text]
  • Backstory Your Guide to Timeline Productions
    BACKSTORY YOUR GUIDE TO TIMELINE PRODUCTIONS MIDWEST PREMIERE BY NAOMI IIZUKA directed by Lisa Portes YESTERDAY’S STORIES. TODAY’S TOPICS. From Artistic Director PJ Powers a message in Concerning Strange And her bold theatricality Devices from the Distant will keep you guessing, Naomi Iizuka’s writing has a mystery, West, Naomi Iizuka’s sexy piecing things together and puzzle-of-a-play that we speculating about what is intrigue, yearning and sensuality that are thrilled to introduce real, what is imagined and Dear Friends, to Chicago in only its what is fabricated. is both beguiling and entrancing. second production. It had Think back. Way back to Her exploration of the its world premiere in 2010 exotic other-world. Just passed on, carefully crafted We also invite you to join in a time that now seems unknown was quite at Berkeley Repertory as they were curious to to depict a seemingly the photographic odyssey almost incomprehensible— alluring to TimeLine’s Theatre, where our literary learn about that distant accurate snapshot of a time that Naomi ignites. While nearly the last millennium. Company Members when manager Ben Thiem saw it. culture, we explore history and place. taking photos is prohibited we read this play. We too with a similar desire for during the performance Can you recall when you But do we know better now, Born in Japan, Naomi spent are continually trying to understanding. How and inside the theater, didn’t have a camera at your armed with our own crafty much of her life traveling stretch beyond what we’ve did people dress? What more mysteries and images fingertips, seemingly at all new strange devices built the world prior to putting known and tackled before, were their lifestyles, their await you in the lobby, and times, handily embedded in into app-filled smartphones? down roots in her current always trying to take you politics, their romances? we hope you’ll peruse, your cell phone? Is there really such a thing home of California.
    [Show full text]
  • Reaching New Audiences from School to Career
    Volume LV Number 1 • Winter 2014 • $8.00 INSIDE: 2014 College, University & Professional Training Program Directory Reaching New Audiences Site-Specific Theatre: The Place Is the Thing Younger Artists ‘Make Theatre Happen’ From School To Career 10 Things Emerging Artists Need to Know ... BFA Design and theatre technology | BFA Production and stage Management Design Your Future BA theatre | BFA theatre Performance and Musical theatre Act now! Photo: 2010 Production of Machinal, by Sophie Treadwell, Directed by Heather May. Contact: C OLLEGE OF L IBERAL A RTS Department of Theatre Dr. scott Phillips, chair, Department of theatre tel [email protected] 334.844.4748 www.auburnuniversitytheatre.org www.auburn.edu | Auburn University is an equal opportunity educational institution/employer. PLAY WEST PLAY TRE HEA CO T M G PA W N U Y UWG THEATRE COMPANY Exceptional Training in a Professional Environment P LAY WEST NAST Accredited Bachelor of Arts Degree in Theatre UWG THEATRE OFFERS: • Access to professional theatre artists Call 678-839-4700 or • Access to industry standard software in theatrical sound, lighting, costume, e-mail [email protected] and scenic design • Performance and design opportunities starting in freshman year for more information. • Design lab, lighting lab, sound recording studio, large scene shop, and new costume shop www.westga.edu/~theatre • Internship programs (local, national, international) • Practical experience in all facets of theatrical production • Student scripts from playwriting course are produced in regular
    [Show full text]
  • Collaborative Costume Design April Emily Andrew University of South Carolina - Columbia
    University of South Carolina Scholar Commons Theses and Dissertations 2014 Collaborative Costume Design April Emily Andrew University of South Carolina - Columbia Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Theatre and Performance Studies Commons Recommended Citation Andrew, A. E.(2014). Collaborative Costume Design. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/ 2657 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Collaborative Costume Design by April Emily Andrew Bachelor of Arts Furman University, 2010 _____________________________________________ Submitted in Partial Fulfillment of the Requirements For the Degree of Master of Fine Arts in Theatre College of Arts and Sciences University of South Carolina 2014 Accepted by: Lisa Martin-Stuart, Director of Thesis Jim Hunter, Reader Robert Richmond, Reader Lacy Ford, Vice Provost and Dean of Graduate Studies © Copyright by April Emily Andrew, 2014 All Rights Reserved ii DEDICATION For my parents and my professors. Thanks for all the love and support! iii ABSTRACT This thesis explores my portfolio of graduate work as a costume designer, covering four diverse theatrical works. 27 Wagons Full of Cotton, a self proclaimed “Mississippi Delta Comedy” by Tennessee Williams examines the themes of domestic violence, isolation, and desire in rural America. Polaroid Stories, a modern poetic play by Naomi Iizuka, blends the harsh realities facing today’s street youth with classical mythology to create a unique and theatrical world. Jeffrey Hatcher transported us back to the spectacle, scandal, and upheaval of King Charles II’s English Restoration in Compleat Female Stage Beauty, following actor Edward Kynaston, who famed diarist Samuel Pepys acclaimed the most beautiful woman on the English stage, and his fall from celebrity into obscurity.
    [Show full text]
  • Anon(Ymous) a Virtual Study Guide
    LOUISIANA STATE UNIVERSITY PRESENTS ANON(YMOUS) A VIRTUAL STUDY GUIDE WRITTEN BY NAOMI IIZUKA DIRECTED BY SHANNON WALSH LIVE ON ZOOM APRIL 13-18, 2021 STREAMING APRIL 19-25, 2021 WHAT'S INSIDE OUR PRODUCTION – 2 US IMMIGRATION FACTS/TRIVIA – 12 DIRECTOR'S NOTES – 4 THEMES – 13 THE PLAYWRIGHT – 5 DISCUSSION QUESTIONS – 14 PLAY SYNOPSIS – 6 WRITING ACTIVITY – 15 THE CHARACTERS – 8 SOURCES & FURTHER READING – 18 STUDY GUIDE DESIGNED BY TIFFANY GILLY -FORRER LSU ANON(YMOUS) STUDY GUIDE PAGE 2 School of Theatre OUR PRODUCTION CAST Anon .................................................................................................................. Natheyon Taylor Nemasani ................................................................................................................ Taren Wilson Naja ..................................................................................................................... Arijana Collins Ritu ........................................................................................................................... Subbah Mir Nasreen .................................................................................................................. Taylor Coffey Mr. Yuri Mackus/Strygal ..................................................................................... Nicholas Russo Calista/Nice American Daughter ................................................................................ Sarah Short Senator Laius/Mr. Zyclo/Nice American Father ..........................................................
    [Show full text]
  • By Naomi Iizuka
    By Naomi Iizuka War NINg:Profanity, nudity, and adult situations Polaroid Stories by Naomi Iizuka directed by Walton Jones Scenic Design by Maggie Seymour Costume Design by Erica McClellan with special kudos to Meghan Connor Lighting Design by Meghan Gray Projection Design by Meghan Gray & Benjamin Wasser Sound Design by Price Johnston Production Dramaturg by Robyn Duyle Hair & Makeup Design by Chelsea Case Production Stage Manager: Dan Minzer Assistants to the Director: Sean Cummings, Cally Hale Assistant Scenic Designer: Taylor Webster Assistant Costume Designer: Meghan Connor Assistant Lighting Designer: Parker Stegmaier Assistant Sound Designers: Lizie Ackerman, Sean Cummings Assistant Stage Managers: Deidre Raph, Morgan Dingle Many of the projection images projected on the stage (and displayed in the lobby) are from sketchbooks the cast created as part of their preparation for their roles. Cast (in order of speaking) Philomel . Kat Springer D . Luke N. Peckinpaugh Eurydice . Christina Fontana Eurydice . Phoebe Rae Piper* Persephone, also Semele . Caty Pucci Persephone, also Semele . Danielle Dickey* Orpheus, also Tereus . Scott Sharp Narcissus . Jeff Garland Echo . Sophia M. Guerrero-Murphy Echo . Sarah Navratil* Skinhead Girl . Caitlin Melby Skinhead Boy . Nick Holland G . Amadeus Waters Toyota Tercel . Alice *(Performs on 4/15, 4/17, 4/23, and 4/25) Three of the women’s roles have been double cast, performing on different nights. This decision was made to give more women greater opportunities to perform in this play. Time: Very recent past Place: Abandoned train tunnels under New York City One 10-minute intermission Produced by special arrangement with THE DRAMATIC PUBLISHING COMPANY of Woodstock, IL Production Team Production Manager .
    [Show full text]
  • Shook CV Grinnellrev
    JENNIFER E. SHOOK (JEN) 866 ST ANNE DRIVE · IOWA CITY, IA 52245 · (773) 330-3075 · [email protected] http://www.jenshook.com/ EDUCATION: PhD Literary & Cultural Studies, The University of Iowa 2016 Dissertation: “Unending Trails: The Making of Oklahoma- as-Indian-Territory in Performance, Print, and Digital Archives.” Director Matthew P. Brown Graduate Certificate, Book History/Book Arts, University of Iowa 2014 MA Interdisciplinary Humanities, The University of Chicago 2005 BA English, Religion, Women’s Studies (High Honors), Swarthmore College 1997 Certificate in Irish Film/Literature, National University of Ireland, Galway 1995 RESEARCH AREAS: Native American literature/performance, digital humanities, interdisciplinary public humanities, dramaturgy, 18th-21stc U.S. literature, performance studies, book history, memorial/cultural memory studies, critical race studies, poetry CURRENT POSITION: Mellon Postdoctoral Fellow with Digital Bridges for Humanistic Inquiry/ Visiting Assistant Professor in English, Grinnell College, Grinnell, IA 2016-18 HONORS: Presidential Graduate Research Fellow, University of Iowa 2010-16 W.R. Irwin Teaching Award, University of Iowa 2013 PAGE (Publicly Active Graduate Engagement) Fellow, Imagining America 2012 Obermann Graduate Engagement Fellow , University of Iowa 2012 Phi Beta Kappa 1997 Finalist for Rhodes Scholar 1997 PUBLICATIONS: Peer-reviewed: "Unghosting Bones: Resistant Play(s) vs the legacy of Carlisle Indian Industrial School” under review at SAIL (Studies in American Indian Literature) under
    [Show full text]
  • CIC Annual Report
    COMMITTEE ON INSTITUTIONAL COOPERATION 2014-2015 ANNUAL REPORT The Power of the Collective “I’m so fortunate to be working within the CIC, where faculty are encouraged to engage with each other and to utilize, in very real terms, the most comprehensive infrastructure in American higher education. I honestly believe this project could not have had this much ‘buy in’ from faculty and success anywhere other than within the CIC.” –Dr. Ann Clements, Associate Professor and Graduate Program Chair of Music Education, Pennsylvania State University Network of Trust What a marvelous sight to see a flock of diverse communities as the Chief starlings flung across the canvas of the Information Officers, who deployed the open sky. This mass of birds—a fiber network providing very high murmuration—moves synchronously, bandwidth for the campuses. Or making it difficult for the human the University Librarians, who have observer to pinpoint when and how pioneered large-scale digital information the flock turns or changes course. acquisition and management. Or The effect is graceful and startling. faculty partnering with the athletic Similarly, it’s hard to pinpoint the departments to improve health moment when a group of researchers outcomes for student athletes through and scholars turn from independence to the groundbreaking Big Ten/CIC-Ivy collaboration. But the results of that League Traumatic Brain Injury initiative. turn are unmistakable. Barriers fall away, Together, our universities continue to solutions to challenges are found, and refine what is arguably the most ideas spark across a network with effective means for collaboration in astonishing speed. At the CIC, we have American higher education.
    [Show full text]
  • Hollins University Theatre Main Stage
    “… a remarkable, powerful piece of theatre.” - Seattle Weekly Written by Elizabeth Heffron Hollins M.F.A. Playwright’s Lab ’14 Directed by Ernie Zulia November 1-9, 2013 Hollins University Theatre Main Stage Produced through special arrangement with the playwright and Original Works Publishing The Kennedy Center American College Theater Festival™ 45, part of the Rubenstein Arts Access Program, is generously funded by David and Alice Rubenstein. Additional support is provided by the U.S. Department of Education, the Dr. Gerald and Paula McNichols Foundation, the Honorable Stuart Bernstein and Wilma E. Bernstein, and the National Committee for the Performing Arts. This production, Mitzi’s Abortion: A Saint’s Guide to Late-Term Politics & Medicine in America, is entered in the Kennedy Center American College Theater Festival (KCACTF). The aims of this national theater education program are to identify and promote quality in college-level theater production. To this end, each production entered is eligible for a response by a regional KCACTF representative, and selected students and faculty are invited to participate in KCACTF programs involving scholarships, internships, grants and awards for actors, directors, dramaturges, playwrights, designers, stage managers, and critics at both the regional and national levels. Productions entered on the participating level are eligible for invitation to the KCACTF regional festival. Those productions invited to the regional festival will be considered for national awards of distinguished achievement, to be presented at the KCACTF national festival at the John F. Kennedy Center for the Performing Arts in Washington, D.C. in the spring of 2014. Last year more than 1,300 productions were entered in the KCACTF involving more than 200,000 students nationwide.
    [Show full text]
  • By Naomi Iizuka Directed by Lisa Portes
    by Naomi Iizuka directed by Lisa Portes STUDY GUIDE Prepared by Alexis Jade Links, Dramaturg This Study Guide for Concerning Strange Devices from the Distant West was prepared by Alexis Jade Links and edited by Lara Goetsch for TimeLine Theatre, its patrons and educational outreach. Please request permission to use these materials for any subsequent production. © TimeLine Theatre 2013 — STUDY GUIDE — Table of Contents The Playwright: Naomi Iizuka .......................................................................... 3 Naomi Iizuka’s Plays ......................................................................................... 4 Concerning Strange Devices Production History............................................... 4 The Triptych ....................................................................................................... 5 About Naomi Iizuka’s Work .............................................................................. 5 The Interview: Playwright Naomi Iizuka ......................................................... 5 Commodore Perry Opens Japan ........................................................................ 8 The Creation of Japan ....................................................................................... 8 On Travel in Japan ............................................................................................ 9 “Strange Devices of the Far West” .................................................................. 10 The Strange Devices .......................................................................................
    [Show full text]
  • Playwright Naomi Iizuka Explores the Human Experience with an Eye for the Visual Category/Issue: Arts & Entertainment, Volume 33 No
    Playwright Naomi Iizuka explores the human experience with an eye for the visual Category/Issue: Arts & Entertainment, Volume 33 No. 20 _BY ROXANNE RAY_Examiner Contributor Seattle continues to be a nurturing ground for playwright Naomi Iizuka. Throughout the past dozen years, Iizuka has seen her plays produced by a variety of local theatre companies, including “Tattoo Girl” by Annex Theatre in 1994, “SKIN” by Printer’s Devil Theatre in 1998, and “Language of Angels” by Theater Schmeater in 2001. Now, Seattle’s Cornish College of the Arts is preparing to produce Iizuka’s “Aloha, Say the Pretty Girls,” a play in which friends and strangers encounter unfamiliar people and lands in the course of their travels.__Born in 1965 in Tokyo, Japan to an American mother of Spanish descent and a Japanese father, Iizuka grew up in the Netherlands, Indonesia and later Maryland. Her multiethnic background and global travel experience manifest themselves in her plays, in which she often utilizes the elements of a “journey” to dramatically structure her narratives. “Aloha, Say the Pretty Girls” combines the structure of a journey, for multiple characters, with what Cornish Theatre Department Chair Richard E.T. White describes as “fundamentally an affirmation of our ability to find connection and a sense of home in a fractured and rapidly transforming world.” The upcoming Cornish production of Iizuka’s 1999 play hearkens back to a major thread in Iizuka’s writing: an interest in the visual aspects of our world. One of the primary reasons for which “Aloha, Say the Pretty Girls” was selected by Cornish College is, according to White, its challenge for Cornish student designers.
    [Show full text]
  • The Fellows Gazette Volume 83 Published by the College of Fellows of the American Theatre Summer/Fall 2020
    The Fellows Gazette Volume 83 Published by the College of Fellows of the American Theatre Summer/Fall 2020 Because we were unable to gather in a shared space and witness the “orderly transition” from one deanship to the next it seems important to make this formal, though much delayed, announcement., While she has already hit the ground running with a burst of productivity, It is my distinct pleasure to present the Dean of the College of Fellows of the American Theatre, Gail Humphries. Gail has already served the College with distinction in many ways, most specifically in the areas of advocacy, marketing, and profile raising, and I look forward to all that will transpire under her leadership. Since we cannot applaud her in person, I ask that you pause for a moment where you are and send your appreciation and good thoughts to Gail and thank her for the leadership she is willing to provide in her new position. I also want to offer my thanks to you for allowing me to serve and to the board, who have provided their collective wisdom and experience in the manner the College has grown to expect. We most recently convened our annual meeting via Zoom, vetting new Fellows and attending to the College’s business, persevering despite the disruption to our other activities. My last acts as Dean were to induct the Class of 2020 in absentia and extend invitations to the Class of 2021. Both groups will be introduced at our next gathering, and you can find citations for this year’s class below.
    [Show full text]