U UNSEELIE COURT THEATRE

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169 OPENING NIGHT: FEBRUARY 23, 2018 u UNSEELIE COURT THEATRE UNDER THE DIRECTION OF WILL CROSSWAIT AND ANGELA MCCAIN CRITTERS AROUND THE WORLD AND THE THEATRE PRESENT Vox M chinA AN EXANDRIAN MUSICAL BOOK AND LYRICS BY THE CANTATA PANSOPHICAL INSPIRED BY THE MUSICAL HAMILTON BY LIN-MANUEL MIRANDA WITH Grog, Keyleth, Percy, Pike, Scanlan, VAx, Vex AND Raishan, Thordak, Umbrasyl, Vorugal SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN SOUND DESIGN PIT CREW PHOTOSHOP THOSE TORCH THINGS Limited HAIR AND WIG DESIGN MUSIC COORDINATION PRESS REPRESENTATIVE tALIESIN jAFFE MY LIFE A TWITTER BOT TECHNICAL SUPERVISION PRODUCTION STAGE MANAGER COMPANY MANAGER Buggy Spreadsheets Dadlan Discord CASTING ARRANGEMENTS GENERAL MANAGEMENT Will Crosswait Were made at the last minute WILL CROSSWAIT ANGELA MCCAIN MUSIC DIRECTION AND ORCHESTRATIONS BY Logic (pro, not the rapper) CHOREOGRAPHY BY OTTO VOICE DIRECTED BY WILL CROSSWAIT, Angela McCain THE WORLD PREMERE OF VOX MACHINA: AN EXANDRIAN MUSICAL WAS PRESENTED ON YOUTUBE IN FEBRUARY 2018 BY THE THEATRE ANGELA MCCAIN, ARTISTIC DIRECTOR WILL CROSSWAIT, EXECUTIVE DIRECTOR 170 Scott Danita Maitland Gilbert Joe Jesse Collins Theo Will John Crosswait MacMillan Shannon Randolph Baker 171 CAST Grog Strongjaw . Scott Maitland Keyleth of the Air Ashari . Danita Gilbert Percival Fredrickstein Von Mussel Kowalski De Rollo III . Joe Collins Pike Trickfoot . Jesse Theo Scanlan Shorthalt . Will Crosswait Vax’ildan . John MacMillan Vex’ahlia . Shannon Randolph Baker Matthew Mercer . James Coates Gilmore . Eric Peterson Allura . Angela McCain Kima . Kit Harroun Raishan . Angela McCain Thordak . Scott Maitland Vorugal . CriticalScroll Umbrasyl . VioletLegacy Kashaw . Robert Taylor Zahra . Liisa Lee Uriel . Andrew Goehring Earthbreaker Groon . Matthew A. Seibert Craven Edge . Zane Stafford Highbearer Vord . Isaiah Siegersma Osysa . Ivana Rakic. Kamaljiori . MrKamesama Kaylie . Elyse Meyers Wilhand . Jeffrey Yang Zanroar . Robin Moore Shale . Yev Pusin The Raven Queen . Seniba Shadowwind Hotis . Zack Henderson Garmelie . John Choi Saundor . Jean-Félix Hamel Victor . Spencer C. Smith Kynan . Alex Jenks Seeker Asum . Déja Augustine Larkin . Scott Maitland Juuraiel . Erica Sloan Ghurrix . Dave Douds Senokir . Corey Katona Jarett . ..

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Hamilton at the Paramount Seattle
SPECIAL EDITION • FEBRUARY 2018 ENCORE ARTS PROGRAMS • SPECIAL EDITION HAMILTON FEBRUARY 2018 FEBRUARY PROGRAMS • SPECIAL EDITION HAMILTON ARTS ENCORE HAMILTON February 6 – March 18, 2018 Cyan Magenta Yellow Black Inks Used: 1/10/18 12:56 PM 1/11/18 11:27 AM Changes Prev AS-IS Changes See OK OK with Needs INITIALS None Carole Guizetti — Joi Catlett Joi None Kristine/Ethan June Ashley Nelu Wijesinghe Nelu Vivian Che Barbara Longo Barbara Proofreader: Regulatory: CBM Lead: Prepress: Print Buyer: Copywriter: CBM: · · · · Visual Pres: Producer: Creative Mgr Promo: Designer: Creative Mgr Lobby: None None 100% A N N U A L UPC: Dieline: RD Print Scale: 1-9-2018 12:44 PM 12:44 1-9-2018 D e si gn Galle r PD y F Date: None © 2018 Starbucks Co ee Company. All rights reserved. All rights reserved. ee Company. SBX18-332343 © 2018 Starbucks Co x 11.125" 8.625" Tickets at stgpresents.org SKU #: Bleed: SBUX FTP Email 12/15/2017 STARBUCKS 23 None 100% OF TICKET SALES GOOF TOTHE THE PARTICIPATING MUSIC PROGRAMS HIGH SCHOOL BANDS — FRIDAY, MARCH 30 AT 7PM SBX18-332343 HJCJ Encore Ad Encore HJCJ blongo014900 SBX18-332343 HotJavaCoolJazz EncoreAd.indd HotJavaCoolJazz SBX18-332343 None RELEASED 1-9-2018 Hot Java Cool Jazz None None None x 10.875" 8.375" D i sk SCI File Cabinet O t h e r LIVE AT THE PARAMOUNT IMPORTANT NOTES: IMPORTANT Vendor: Part #: Trim: Job Number: Layout: Job Name: Promo: File Name: Proj Spec: Printed by: Project: RELEASE BEFORE: BALLARD | GARFIELD | MOUNTLAKE TERRACE | MOUNT SI | ROOSEVELT COMPANY Seattle, 98134 WA 2401 Utah Avenue South2401
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Who Tells Your Story?: Intersections of Power, Domesticity, and Sexuality Relating to Rap and Song in the Musical Hamilton
WHO TELLS YOUR STORY?: INTERSECTIONS OF POWER, DOMESTICITY, AND SEXUALITY RELATING TO RAP AND SONG IN THE MUSICAL HAMILTON By Tia Marie Harvey A THESIS Submitted to Michigan State University in partial fulfillment of the requirement for the degree Musicology—Master of Arts 2019 ABSTRACT WHO TELLS YOUR STORY?: INTERSECTIONS OF POWER, DOMESTICITY, AND SEXUALITY RELATING TO RAP AND SONG IN THE MUSICAL HAMILTON By Tia Marie Harvey In January 2015, Lin-Manuel Miranda’s Hamilton: An American Musical premiered at The Public Theater in New York City. Later that year it moved to Broadway with an engagement at the Richard Rodgers Theater, followed by productions in Chicago and London. Commercially successful and critically acclaimed, Hamilton continues to hold significant cultural relevance in 2019. As a result of this musical’s cultural significance, it has the ability to communicate positive, but also limiting, aspects of our society. In this thesis, I examine the concept of rap as a musical language of power. To do this, I assert that characters in Hamilton who have power, and particularly when expressing that power, do so through rap. In contrast, when characters don’t have power, or are entering realms of the powerless (i.e. spaces gendered female), they do so through lyrical song. In chapter 1, I set up the divide between rap and song as it primarily translates among male characters and class. Chapter 2 is focused on the domestic sphere, and in chapter 3 I discuss sexuality. In the conclusion of this thesis, I revisit the character of Eliza and explore the perceived power of her role as storyteller and the way in which the themes I discuss illuminate many missed opportunities to present an interpretation of America’s founding that is truly revolutionary.
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PDF Download Hamilton: the Revolution
HAMILTON: THE REVOLUTION PDF, EPUB, EBOOK Lin-Manuel Miranda | 288 pages | 14 Nov 2016 | Little, Brown Book Group | 9781408709238 | English | London, United Kingdom Hamilton: The Revolution PDF Book I can proudly say that I can spit off every single line of Angelica Schuyler's "Satisfied" and many, many more. His finger is in so many pies he must have stolen a couple extra hands. How am I supposed to write a review for Hamilton: The Revolution , if all I want to do is hug it to my chest and never let go? Jeremy McCarter. I adored Lin's comments and insights on the songs, but I think I actually ended up enjoying Jeremy McCarter's essays more than Lin's notes. Actually, I didn't expect it to be emotional at all. A hip hop twist Say No To This, she pleaded. The thick paper. In addition, Miranda has written more than funny, revealing footnotes for his award-winning libretto, the full text of which is published here. Throughout his life, like so many leaders of the time, he allowed or used slavery to advance his I hereby award this book ten million stars and a book hangover. The only people who are calling for one are those who support the hate and the racism in the first place. More books by Lin- Manuel Miranda. The double-sided gold badge bears enamel decorations. The Hairy Dieters: Fast Food. Everything this man does is smart, thoughtful, and complex. Treasury, Hamilton built a financial foundation for the new nation, against fierce opposition from arch rival Thomas Jefferson.
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Two Louies September 2003
OREGON MUSIC photo Chauncene Page 2 - TWO LOUIES, September 2003 TWO LOUIES, September 2003 - Page 3 photo David Ackerman Beauty Stab upstairs at Eli’s. The band lasted about a year but earned drummer Courtney Taylor a reputation as a rocker on the rise. “He always said he was going to the top,” says former Beauty Stab manager Tony DeMicoli. Taylor also worked the door at Tony’s club the Key Largo. “Courtney says the wide variety of acts at the Key had a big infl uence on his musical tastes”. This month Courtney and the Dandy Warhols set out to conquer the world with their new Capitol album “Welcome To The Monkey House” (See Jonny Hollywood page 8.) the music business. part of MusicFest NW, an expert from the AFM I wondered if any of these bands would like to (American Federation of Musicians) will be sitting regain the song rights that they signed away. At fi rst on a panel at the Roseland Grill. The panel discus- glance, there seems to be no legal way to achieve sion is titled “Sign on the Dotted Line”. The date this. Certainly, there could be a public outcry and is September 6, 2003, from 12-4 PM. As one of an attempt to shine some light on these predatory six panelists, there should be much insight offered promoters. Strangely, however, no one that entered regarding protection of your music. Secondly, I AFM ON KUFO this contest seems to be outraged. They should be. would like to invite all musicians interested in Dear Editor, The music business offers enough challenges with- improving their working environment to join me I was stunned upon learning the details of the “It’s Your Fault Band Search” contest, sponsored “I was stunned upon learning the details of the ‘It’s by Infi nity Broadcasting’s KUFO.
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Music 6581 Songs, 16.4 Days, 30.64 GB
Music 6581 songs, 16.4 days, 30.64 GB Name Time Album Artist Rockin' Into the Night 4:00 .38 Special: Anthology .38 Special Caught Up In You 4:37 .38 Special: Anthology .38 Special Hold on Loosely 4:40 Wild-Eyed Southern Boys .38 Special Voices Carry 4:21 I Love Rock & Roll (Hits Of The 80's Vol. 4) 'Til Tuesday Gossip Folks (Fatboy Slimt Radio Mix) 3:32 T686 (03-28-2003) (Elliott, Missy) Pimp 4:13 Urban 15 (Fifty Cent) Life Goes On 4:32 (w/out) 2 PAC Bye Bye Bye 3:20 No Strings Attached *NSYNC You Tell Me Your Dreams 1:54 Golden American Waltzes The 1,000 Strings Do For Love 4:41 2 PAC Changes 4:31 2 PAC How Do You Want It 4:00 2 PAC Still Ballin 2:51 Urban 14 2 Pac California Love (Long Version 6:29 2 Pac California Love 4:03 Pop, Rock & Rap 1 2 Pac & Dr Dre Pac's Life *PO Clean Edit* 3:38 Promo Only Rhythm Radio December 2006 2Pac F. T.I. & Ashanti When I'm Gone 4:20 Away from the Sun 3 Doors Down Here Without You 3:58 Away from the Sun 3 Doors Down Bailen (Reggaeton) 3:41 Tropical Latin September 2002 3-2 Get Funky No More 3:48 Top 40 v. 24 3LW Feelin' You 3:35 Promo Only Rhythm Radio July 2006 3LW f./Jermaine Dupri El Baile Melao (Fast Cumbia) 3:23 Promo Only - Tropical Latin - December … 4 En 1 Until You Loved Me (Valentin Remix) 3:56 Promo Only: Rhythm Radio - 2005/06 4 Strings Until You Love Me 3:08 Rhythm Radio 2005-01 4 Strings Ain't Too Proud to Beg 2:36 M2 4 Tops Disco Inferno (Clean Version) 3:38 Disco Inferno - Single 50 Cent Window Shopper (PO Clean Edit) 3:11 Promo Only Rhythm Radio December 2005 50 Cent Window Shopper
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Degree Project Level: Dalarna University, Bachelor’S the Portrayal of the Irish English Accent in Critical Role
Degree Project Level: Dalarna University, bachelor’s The Portrayal of the Irish English Accent in Critical Role From Mollymauk to Lucien, from Taliesin Jaffe to Matthew Mercer Author: Jacob Pettersson Supervisor: Jonathan White Examiner: Julie Skogs Subject/main field of study: English Linguistics Course code: EN2035 Credits: 15hp Date of examination: At Dalarna University it is possible to publish the student thesis in full text in DiVA. The publishing is open access, which means the work will be freely accessible to read and download on the internet. This will significantly increase the dissemination and visibility of the student thesis. Open access is becoming the standard route for spreading scientific and academic information on the internet. Dalarna University recommends that both researchers as well as students publish their work open access. I give my/we give our consent for full text publishing (freely accessible on the internet, open access): Yes ☑ No ☐ Dalarna University – SE-791 88 Falun – Phone +4623-77 80 00 Abstract The study aims to investigate the differences between Taliesin Jaffe and Matthew Mercer’s portrayals of a standard Irish English accent in Critical Role in their respective performances of the character Mollymauk/Lucien. Using previous studies on Irish English pronunciation, the presence of each established feature was investigated to find how authentically the actors succeed to produce the accent. The main features investigated were the rhoticity, plosivization of /θ/ and /ð/, lenition of /t/ and /d/, yod-dropping, diphthongs, and some monophthongs. Using transcripts to locate the instances of said features, the audio of the footage was studied to discover whether the phonemes were produced in accordance with the proposed realizations within Irish English.
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At Play Spring-Summer 06.Indd
rating Seventy Y representing the american theatre by eleb ears publishing and licensing the works C of new and established playwrights 70th Anniversary Issue D ram 06 ati – 20 sts Play Service, Inc. 1936 Issue 12, Spring/Summer 2006 AN INTERVIEW WITH Austin Pendleton Director of Professional Rights Robert Lewis Vaughan and Director of Publications Michael Q. Fellmeth talk with Austin Pendleton about his New York hit, Orson’s Shadow, and his life as a consummate man of the theatre. ROBERT. Orson’s Shadow had an amazing run here in New York at The Barrow Street Theatre following Tracy Letts’ fantastic Bug (also represented by DPS). Tracy was in your play, in the role of Kenneth Tynan. Two hits in a row — two actor/playwrights in a row — one theatre. What do you have to say about that? AUSTIN. There’s more to it than that. Tracy Letts caused this to happen. He told our producers (Scott Morfee, Chip Meyrelles, Tom Wirtshafter) about Orson’s Shadow. He put together a reading with the Chicago cast, directed by the Chicago director, in Chicago, for Scott, Chip and Tom to come and see and hear … Continued on page 3 NEWPLAYS Serving the American Theatre Since 1936: A Brief History of Dramatists Play Service, Inc. Rob Ackerman DISCONNECT. Goaded by the women they love “The Dramatists Play Service came into being at exactly the right moment and haunted by memories they can no longer for the contemporary playwright and the American theatre at large.” suppress, two men at a dinner party confront the —Audrey Wood, renowned agent to Tennessee Williams lies of their lives.
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Act Ii Original Broadway Cast Recording
ACT II ORIGINAL BROADWAY CAST RECORDING ACT II Disc 2 1. WHAT’D I MISS 2. CABINET BATTLE #1 3. TAKE A BREAK 4. SAY NO TO THIS 5. THE ROOM WHERE IT HAPPENS 6. SCHUYLER DEFEATED 7. CABINET BATTLE #2 8. WASHINGTON ON YOUR SIDE 9. ONE LAST TIME 10. I KNOW HIM 11. THE ADAMS ADMINISTRATION 12. WE KNOW 13. HURRICANE 14. THE REYNOLDS PAMPHLET 15. BURN 16. BLOW US ALL AWAY 17. STAY ALIVE (REPRISE) 18. IT’S QUIET UPTOWN 19. THE ELECTION OF 1800 20. YOUR OBEDIENT SERVANT 21. BEST OF WIVES AND BEST OF WOMEN 22. THE WORLD WAS WIDE ENOUGH 23. WHO LIVES, WHO DIES, WHO TELLS YOUR STORY ENSEMBLE Ready to face ACT II Aaa-ooo! whatever’s awaiting JEFFERSON me in N.Y.C. Me in N.Y.C. 1. WHAT’D I MISS I helped Lafayette draft a declaration, JEFFERSON then I said, ‘I gotta go. But who’s waitin’ for me when I step in the COMPANY I gotta be in Monticello.’ Now the work at place? Seventeen. Se- se- seventeen... home begins… My friend James Madison, red in the face. Se- se- seventeen... ENSEMBLE JEFFERSON BURR Aaa-ooo! He grabs my arm and 1789. I respond, ENSEMBLE How does the bastard orphan, JEFFERSON “What’s goin’ on?” Aaa-ooo! immigrant decorated war vet So what’d I miss? unite the colonies through more debt? What’d I miss? MADISON Fight the other founding fathers til he has Virginia, my home sweet home, I wanna give Thomas, we are engaged in a battle for our to forfeit? you a kiss.
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Ill-Equipped: U.S
Ill-Equipped: U.S. Prisons and Offenders with Mental Illness Human Rights Watch ____________________________________________________ New York Washington London Brussels Copyright © 2003 by Human Rights Watch. All rights reserved. Printed in the United States of America ISBN: 1564322904 Cover photo: Copyright © 1999 Andrew Lichtenstein Caption: Stiles Unit, Beaumont, Texas, 1999. Cover design by Rafael Jimenez Addresses for Human Rights Watch 350 Fifth Avenue, 34th Floor, New York, NY 10118-3299 Tel: (212) 290-4700, Fax: (212) 736-1300, E-mail: [email protected] 1630 Connecticut Avenue, N.W., Suite 500, Washington, DC 20009 Tel: (202) 612-4321, Fax: (202) 612-4333, E-mail: [email protected] 2nd Floor, 2-12 Pentonville Road London N1 9HF, UK Tel: (44 20) 7713 1995, Fax: (44 20) 7713 1800, E-mail: [email protected] 15 Rue Van Campenhout, 1000 Brussels, Belgium Tel: (32 2) 732-2009, Fax: (32 2) 732-0471, E-mail: [email protected] Web Site Address: http://www.hrw.org Listserv address: To receive Human Rights Watch news releases by email, subscribe to the HRW news listserv of your choice by visiting http://hrw.org/act/subscribe-mlists/subscribe.htm Human Rights Watch is dedicated to protecting the human rights of people around the world. We stand with victims and activists to prevent discrimination, to uphold political freedom, to protect people from inhumane conduct in wartime, and to bring offenders to justice. We investigate and expose human rights violations and hold abusers accountable. We challenge governments and those who hold power to end abusive practices and respect international human rights law.
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Joey Landwehr
.....,. aN31~=I J.S38 ~OJ.~V J.V3~E) lnOS J.V3~E) J.~V3H J.V3~E) )tNI=I 3~N3~MVl ·~a OJ. a3J.voioso SIMPLY DANNY Created by Joey Landwehr Table of Contents Con~~t ~taterrlent ()~ TRUE COLOR~ ()6 ~IMPLY DANNY 28 Process ~5 Post Evaluation 55 Research 58 Bibliogra~hy 9() Advertising 95 Production Proqram 99 Production Photographs 1()2 Reviews 1()~ .l.... October 07, 1996 Concept Statement TRUE COLORS (working title) is a biographical story of part of the life of a young man who is stricken with the disease AIDS. This young man, Danny Keel, has one last dream, to die in the theatre. The theatre is where he has always found his hopes and dreams, his friends and family, and most importantly the love of his life. This is partially a memory play and partially a present-time lounge act. For his final bow he must tell his story, instead of using other people's words. The audience is made up partially of friends and family and partially strangers. Danny simply wants to bring some happiness into people's lives while giving them some thing to think about at the same time. This also allows him to bring some closure to his life by getting some things off his chest that have been haunting him for years. In many ways, just as Torn Wingfield, not to mention Tennessee Williams, does in THE GLASS MENAGERIE. He speaks about the loss of his mother when he was young, the meeting and then loss of his lover as he got older.
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NMI R the INTERNATIONAL NEWSWEEKLY of MUSIC, VIDEO, and HOME ENTERTAINMENT JULY 10, 1999
$5.95 (U.S.), $6.95 (CAN.), £4.95 (U.K.), Y2,500 (JAPAN) 11.1..11...1..1,11.1...1..11..1..111 I Iln.11 908 #BXNCCVR 3-DIGIT BLBD 690 A06 B0059 #90807GEE374EM002# 001 032500 2 MONTY GREENLY 3740 ELM AVE # A LONG BEACH CA 90807 -3402 Elmo/ NMI r THE INTERNATIONAL NEWSWEEKLY OF MUSIC, VIDEO, AND HOME ENTERTAINMENT JULY 10, 1999 Z 2 GEORGE Top Court Ruling As Used -CD Biz O Vid Biz In Transition Spurs Concerns Grows, Chains IAMOND Internet, DVD, Chains Among factors Reshaping Landscape Over Copyright BY SETH GOLDSTEIN of those rental fixtures in the U.S., Get In On Act Ills first SALSA production and EILEEN FITZPATRICK the neighborhood stores. "I hate to BY BILL HOLLAND NEW YORK -Independent video say it, but I believe" the small indies BY ED CHRISTMAN WASHINGTON, D.C. -The retailers used to control video retail- are an endangered species, says con- NEW YORK -With the used- containsENNANCED CE with June 23 U.S. Supreme Court rul- ing. No longer. sultant Richard Kelly CD business apparently on an video and interview ing that gives states immunity The growth of of Cambridge Associ- upswing at independent stores, from private lawsuits seeking chains like Blockbuster ates in Stamford, Conn. more U.S. chains are beginning His first single damages for patent and trade- and Hollywood Enter- Rentrak, the rev- to add the prod- mark violations tainment, the emer- enue-sharing specialist uct category to "QUE 111 VAS" NEWS does not yet gence of the Internet that regularly collects their stores.
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Pdf, 377.40 KB
00:00:00 Music Transition “Crown Ones” off the album Stepfather by People Under The Stairs 00:00:05 Oliver Host Hello, I’m Oliver Wang. We will be joined by Morgan Rhodes, my co-host, in the second half. She is stuck in traffic right now. But anyways, you are listening to Heat Rocks. We’re in the middle of our Music and Popcorn mini-series, where we invite a guest to join us to talk about a cinematic-slash-musical heat rock; and today we are rolling to Trip’s Pool Hall to play some Street Fighter and revisit Ernest Dickerson’s debut film from 1992, Juice. 00:00:29 Music Music “‘Nuff Respect” off the album Juice by Big Daddy Kane. Fast-paced, frenetic hip hop. Enter the dragon... [Music fades out as Oliver speaks] 00:00:48 Oliver Host Juice opens on a Harlem morning, with an introduction to GQ, Raheem, Bishop, and Steel, four teens who spend most of their days ditching high school and jumping fences to get away from the cops. What we think begins as an ensemble piece coming of age story takes a darker turn as Bishop, played by Tupac in his first starring role, descends into madness. It’s perhaps fitting that this psychological thriller would be directed by Ernest Dickerson, who had cut his teeth as a cinematographer for not just Spike Lee’s early films, but also the 1980s Tales from the Darkside horror anthology series and then later helmed horror comedies such as Demon Knight and Bones, when he wasn’t putting in lauded television work, directing episodes of The Wire, The Walking Dead, and Dexter.
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