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Cactus Flower
·KENT~D plaqers· PRESENT Cactus Flower WESTCHESTER PLAYHOUSE 8301 Hindry Avenue, Los Angeles DO Join us in the foyer after act one for coffee, courtesy of Kentwood CACTUS FLOWER Players. by Abe Burrows REMEMBER Based on a Play by Pierre Barillet and Jean Pierre Gredy Your favorite organization, or your friends, with a Theatre Party. En- Produced by Richard Graham tertaining and rewarding. Call Elizabeth Thornburgh, 671-5617, for details. Directed by DAVID MARLOW ABOUT OUR MAILING LIST •. • CAST Would you like to receive notices of our productions, casting and any (in Order of Appearance) special events? Sign the guest book in the lobbv and we'll be happy Toni Simmons '''''' '' __ __._.._._ _ Anna Bellini to place you on our mailing list. Igor Sullivan _ _ , _ _ _.__ ._.._ _.._.. Andy Seigel Stephanie Dickinson _ _........... Jeannette Kaufman COMING ATTRACTIONS . • • Mrs. Dixon Durant ,.._.. __..,_..,.._ _.. ..__.. .__.._.. Jan Marcom A CASE OF LIBEL, a play in three acts by Harry Denker, based on the Dr. Julian Winston _ ' Charles Shelton book "My Life in Court" by Louis Nizer, directed by Monty Ash, will Harvey Greenfield _ _'..' __.. __ Vern Edwards be our next show and will play from November 13 through Decem- k ~ ber 19, 1970. f, Senor Arturo Sanchez ' _.._.... ,_.. ,__,__. .._ __._ Richard Mundo I Botticelli's Springtime _.._..~' ._.. .... __.. .. .... Penny Orloff .I., J There Will Be One 15-Minute Intermission (.0 MPARI:S Produced by Special Arrangement with Samuel French, Inc. -
The Wooster Voice (Wooster, OH), 1974-04-26
The College of Wooster Open Works The oV ice: 1971-1980 "The oV ice" Student Newspaper Collection 4-26-1974 The oW oster Voice (Wooster, OH), 1974-04-26 Wooster Voice Editors Follow this and additional works at: https://openworks.wooster.edu/voice1971-1980 Recommended Citation Editors, Wooster Voice, "The oosW ter Voice (Wooster, OH), 1974-04-26" (1974). The Voice: 1971-1980. 90. https://openworks.wooster.edu/voice1971-1980/90 This Book is brought to you for free and open access by the "The oV ice" Student Newspaper Collection at Open Works, a service of The oC llege of Wooster Libraries. It has been accepted for inclusion in The oV ice: 1971-1980 by an authorized administrator of Open Works. For more information, please contact [email protected]. I csi-..- r 7V7 . tm ill Wayne County3 Virtu can ba fun. I J: Richard T. Gore I PUBLISHED BY THE STUDENTS OF THE COLLEGE OF WOOSTER .VOLUME LXXXIX Wooster, Ohio, Friday, April 26, 1974 Number 21 ' 1 Douglass to go co-ed c ; with humanities program '. By BUI Henley performers In the arts and for Current Events Committee and "persons who have, a strong In- others. ' Douglass Hall, used primarily terest In a philosophical, theo The proposal notes that "we ' n as a freshman men's dorm since logical, historical or aesthetic feel it would be wrong to limit Its construction In 1929, will be-- approach to humane and artis- participation in our program, - come a co--ed humanities tic problems". to people of only one sex." Dr. , 9 program house next year. -
Shakespeare in Love
FEB Shakespeare 26 MAR in Love 29 Based on the screenplay by Marc Norman & Tom Stoppard Adapted for the stage by Lee Hall Music by Alex Bechtel Directed by Matt Pfeiffer Welcome to Shakespeare in Love. Every year, many of you cry out to us “Dear God, no more Shakespeare!” While others plead “I loved your Winter’s Tale, your Richard III. Please put on Midsummer. I beg you for a Twelfth Night.” With Shakespeare In Love, the Purists and the Never Barders may unite to curse us with a plague on both our houses, but if they — and you — are someone who loves love, well then . Here is a love letter to romantic love, to the theatre, and to the rebellious, transgressive, mysterious, and glorious madness of both. Whether you keep Shakespeare close to your heart or far from it, we invite you to celebrate what he loved most: the stage, its players, poetry . and a dog. Zak Berkman, Producing Director Lend me your ears Matt Pfeiffer, Director I’ve been really blessed to spend most of my career working on the plays of William Shakespeare. I believe his plays are foundational to Western culture. Love him or hate him, his infuence is an essential part of our understanding of stories and storytelling. And I’ve had the privilege for the last six years of fostering a specifc approach to his plays. I found that attempting to be in conversation with the principals of the theatre practices of Shakespeare’s time was a good starting place—not so much aesthetically, but logistically. -
The 200 Plays That Every Theatre Major Should Read
The 200 Plays That Every Theatre Major Should Read Aeschylus The Persians (472 BC) McCullers A Member of the Wedding The Orestia (458 BC) (1946) Prometheus Bound (456 BC) Miller Death of a Salesman (1949) Sophocles Antigone (442 BC) The Crucible (1953) Oedipus Rex (426 BC) A View From the Bridge (1955) Oedipus at Colonus (406 BC) The Price (1968) Euripdes Medea (431 BC) Ionesco The Bald Soprano (1950) Electra (417 BC) Rhinoceros (1960) The Trojan Women (415 BC) Inge Picnic (1953) The Bacchae (408 BC) Bus Stop (1955) Aristophanes The Birds (414 BC) Beckett Waiting for Godot (1953) Lysistrata (412 BC) Endgame (1957) The Frogs (405 BC) Osborne Look Back in Anger (1956) Plautus The Twin Menaechmi (195 BC) Frings Look Homeward Angel (1957) Terence The Brothers (160 BC) Pinter The Birthday Party (1958) Anonymous The Wakefield Creation The Homecoming (1965) (1350-1450) Hansberry A Raisin in the Sun (1959) Anonymous The Second Shepherd’s Play Weiss Marat/Sade (1959) (1350- 1450) Albee Zoo Story (1960 ) Anonymous Everyman (1500) Who’s Afraid of Virginia Woolf Machiavelli The Mandrake (1520) (1962) Udall Ralph Roister Doister Three Tall Women (1994) (1550-1553) Bolt A Man for All Seasons (1960) Stevenson Gammer Gurton’s Needle Orton What the Butler Saw (1969) (1552-1563) Marcus The Killing of Sister George Kyd The Spanish Tragedy (1586) (1965) Shakespeare Entire Collection of Plays Simon The Odd Couple (1965) Marlowe Dr. Faustus (1588) Brighton Beach Memoirs (1984 Jonson Volpone (1606) Biloxi Blues (1985) The Alchemist (1610) Broadway Bound (1986) -
Member Association AFTRA / AEA / SAG Hassan El-Amin Height
Member Association A.F.T.R.A. / A.E.A. / SAG Hassan El-Amin Height: 6’ Weight: 212lb Theatres Roles Directors Resident Ensemble Players August: Osage County Bill Fordham Jackson Gay Murder on the Orient Express Samuel Ratchett Sanford Robbins The Crucible Thomas Putnam Ben Barnes Lettice and Lovage Mr. Bardolph Steve Tague Woman in Mind Andy Jackson Gay Minor Fantastical Kingdom Bernard Mark Lamos Inherit the Wind Rev. Brown Sanford Robbins Fences Troy Maxson Cameron Knight The MountainTop Martin Luther King Jr. Walter Dallas From the Author Of Dax Jade King Carroll A Flea in her Ear Dr. Finache Mark Lamos Twelfth Night Antonio Maria Aitken God of Carnage Michael Novak Kate Buckley Clybourne Park Albert/Kevin Lee E. Ernst The Bells Jim Theresa Rebeck The Elephant Man Dr. Carr Gomm Sanford Robbins Dallas Theatre Center Christmas Carol Jacob Marley Joe Ferrell In the Beginning God / Ensemble Kevin Moriarty It’s a Bird, It’s a Plane, It’s Superman! Perry White Kevin Moriarty Death of a Salesman Uncle Ben Amanda Dehnert Henry IV Northumberland Kevin Moriarty God of Carnage Michael Joe Ferrell King Lear Earl of Kent Kevin Moriarty The Odd Couple Roy Kevin Moriarty Fly (2013) Pirate Jeffery Seller A Raisin in the Sun Bobo Tre Garrett Clybourne Park Albert/Kevin Joel Ferrell Sherlock Holmes King of Bohemia Kevin Moriarty Les Misérables Priest Liesl Tommy Driving Miss Daisy Hoke Colburn Joel Ferrell The Kennedy Center August Wilson 20TH Century Fences Gabriel Kenny Leon Two Trains Running Hambone Isreal Hicks Jitney Booster Gordon Davidson The -
Woody & Linda Brownlee 190 @ Jupiter Office
The Garland Summer Musicals in partnership with RICHLAND COLLEGE proudly presents Woody & Linda Brownlee 190 @ Jupiter Office Granville Arts Center Garland, Texas Office Location: June 17-26, 2011 3621 Shire Blvd. Ste. 100 Richardson, Texas 75082 Presented through special grants from GARLAND CULTURAL ARTS COMMISSION, INC. 214-808-1008 Cell Linda GARLAND SUMMER MUSICALS GUILD 972-989-9550 Cell Woody GARLAND POWER & LIGHT [email protected] ALICE & GORDON STONE [email protected] ECOLAB, INC. www.brownleeteam.ebby.com MICROPAC INDUSTRIES Garland Summer Musicals Presents Andrew Lloyd Webber’s Broadway Blockbuster CATS! July 22, 23, 29, 30 at 8pm July 24, 31 at 2:30pm Tickets: $27 - Adults; $25 - Seniors/Students; $22 - Youth Special discounts for season tickets, corporate sales and groups GRANVILLE ARTS CENTER - 300 N. Fifth Street, Garland, Texas 75040 Call the Box Office at 972-205-2790 The Garland Summer Musicals Guild presents Dallas' most famous entertainment group The Levee Singers Saturday, September 24, 2011 Plaza Theatre 521 W. State Street—Garland, TX The Levee Singers are celebrating their 50th anniversary this year and are busier and better than ever! Come join the GSM Guild as they present this spectacular fun-filled evening with the Levee Singers. For tickets call 972-205-2790. THE GARLAND SUMMER MUSICALS SPECIAL THANKS Presents MEREDITH WILLSON’S GARLAND SUMMER MUSICALS GUILD “The Music Man” SACHSE HIGH SCHOOL—Joe Murdock and Libby Nelson Starring THE SACHSE HIGH SCHOOL TECHNICAL CLASS STAN GRANER JACQUELYN LENGFELDER NAAMAN FOREST HIGH SCHOOL BAND—Larry Schnitzer Featuring NORTH GARLAND HIGH SCHOOL—Mikey Abrams & Nancy Gibson JAMES WILLIAMS MELISSA TUCKER J.J. -
FALLEN MASTERS by MAURIE ALIOFF by Exorcist—Mania, the Wicker Man Tanked at the Box Office
The Cinar story began with a horror movie. Soon after meeting for the first time in New Orleans in the early 1970s, company founders Micheline Charest and Ron Weinberg happened to see the now legendary British picture, The Wicker Man. Impressed by the film's strange power, the two movie lovers also saw an opportunity in it. Written by Anthony Shaffer (Sleuth, Frenzy), and directed by one—shot wonder Robin Hardy, The Wicker Man cooks up a delirious alternate reality that feels like it was made under the influence of a witch's spell. The story focuses on a police investigator (Edward Woodward), who travels to a remote Scottish island where he discovers that the local people, among them an aris- tocrat played by Christopher Lee, are devo- tees of a neo—pagan cult. The oddly named Sergeant Howie, a strictly orthodox Christian who intends to remain a virgin until his wedding night, is horrified by the island's un—Christian hedonism. Released in England on a double bill with Nicolas Roeg's Don't Look Now, and swamped FALLEN MASTERS BY MAURIE ALIOFF by Exorcist—mania, The Wicker Man tanked at the box office. Charest and Weinberg picked up the rights from Warner Bros., stashed a print in their car trunk and travelled the midnight—movie circuit. The Quebecoise (Charest) and the New Yorker (Weinberg) helped turn a unique film into a cult item and for their efforts netted about $250,000. Ironically, the couple's even- tual rise and fall, from hugely successful producers and distributors of wholesome children's shows to industry outcasts accused of fraud, originated with a story about moral righteousness destroyed by amoral devotion to the material world. -
Overture to Candide Leonard Bernstein Did You Know?
nothing good about them, like violence, Did You Know? shipwrecks, or the Spanish Inquisition. • Less than two months before Candide’s In its initial Broadway run, in 1956–57, Broadway opening, Bernstein was named Candide played for 73 performances — Co-Principal Conductor of the New York hardly a stunning success — and Bernstein Philharmonic, alongside Dimitri Mitropoulos. would go on to alter the piece, again and • The Overture was heard in the Philharmon- again, for later revivals. Through all of ic’s historic 2008 performance in North Ko- the show’s transformations, the rollicking rea, when it was played without a conduc- Overture remained essentially untouched. tor, a tradition first adopted in tribute to Bernstein after his death. Born in Brooklyn, Aaron Copland polished his composing technique in France but and neighborly friendship. This expanse has returned home to establish what became found more success than the opera overall, recognized as a profoundly American sound, and it is often performed in a choral setting a musical language rich in folk inflections the composer prepared, with multiple voices and wide-open harmonies that proved irre- rendering each line. sistible to imitators. Copland’s Rodeo was also a stage work — His 1953 opera The Tender Land is a fine a ballet choreographed by Agnes de Mille, example of the lyrical aspect of Copland’s who said: Americana. Set in the 1930s, it tells the tale of Laurie, a teenager who is about to graduate It is not an epic, or the story of pioneer con- from high school and yearns for experiences quest. -
Maria Conchita Alonso, Jami Gertz, Jenny O'hara, Harriet
MARIA CONCHITA ALONSO, JAMI GERTZ, JENNY O’HARA, HARRIET SANSOM HARRIS AND CHRISTINE LAHTI JOIN CAST OF LOVE, LOSS AND WHAT I WORE Fifth Cast will Perform Nora Ephron and Delia Ephron’s Fashion-Focused Hit Through September 26 LOS ANGELES, August 25, 2010 — Nora Ephron and Delia Ephron’s Love, Loss, and What I Wore attracts a whole new cast of actresses as it continues its Los Angeles run in the Audrey Skirball Kenis Theater at the Geffen Playhouse through the month of September. The new cast includes Jenny O’Hara, who is known for her Broadway roles in The Odd Couple and Promises, Promises and was most recently seen on the big screen in M. Night Shyamalan’s Devil, as the narrator Gingy; Oscar and Emmy Award winner Christine Lahti, best known in the theater world for her collaboration with Wendy Wasserstein in The Heidi Chronicles; Broadway vet Harriet Sansom Harris, who won a Tony Award for her role in Thoroughly Modern Millie; Jami Gertz, who is well-recognized for her film work in Twister and The Lost Boys as well as a recent stint on HBO’s Entourage; and Maria Conchita Alonso best known for television work on Desperate Housewives. Love, Loss and What I Wore, an intimate collection of stories covering some of life’s most poignant moments and their corresponding wardrobe, is directed by Jenny Sullivan. The evening of vignettes, which is based on the best-selling book of the same name by Ilene Beckerman as well as personal reminiscences from the Ephrons and their friends, features a rotating cast of five actresses who share tales to which every woman can relate. -
Navigating Brechtian Tradition and Satirical Comedy Through Hope's Eyes in Urinetown: the Musical Katherine B
Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2016 "Can We Do A Happy Musical Next Time?": Navigating Brechtian Tradition and Satirical Comedy Through Hope's Eyes in Urinetown: The Musical Katherine B. Marcus Reker Scripps College Recommended Citation Marcus Reker, Katherine B., ""Can We Do A Happy Musical Next Time?": Navigating Brechtian Tradition and Satirical Comedy Through Hope's Eyes in Urinetown: The usicalM " (2016). Scripps Senior Theses. Paper 876. http://scholarship.claremont.edu/scripps_theses/876 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. “CAN WE DO A HAPPY MUSICAL NEXT TIME?”: NAVIGATING BRECHTIAN TRADITION AND SATIRICAL COMEDY THROUGH HOPE’S EYES IN URINETOWN: THE MUSICAL BY KATHERINE MARCUS REKER “Nothing is more revolting than when an actor pretends not to notice that he has left the level of plain speech and started to sing.” – Bertolt Brecht SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR OF ARTS GIOVANNI ORTEGA ARTHUR HOROWITZ THOMAS LEABHART RONNIE BROSTERMAN APRIL 22, 2016 II ACKNOWLEDGEMENTS This thesis would not be possible without the support of the entire Faculty, Staff, and Community of the Pomona College Department of Theatre and Dance. Thank you to Art, Sherry, Betty, Janet, Gio, Tom, Carolyn, and Joyce for teaching and supporting me throughout this process and my time at Scripps College. Thank you, Art, for convincing me to minor and eventually major in this beautiful subject after taking my first theatre class with you my second year here. -
The Pajama Game at the 5Th Avenue Theatre Encore Arts Seattle
THE NATION’S LEADING MUSICAL THEATER FEB 10-MAR 5, 2017 FEBRUARY 2017 My wealth. My priorities. My partner. You’ve spent your life accumulating wealth. And, no doubt, that wealth now takes many forms, sits in many places, and is managed by many advisors. Unfortunately, that kind of fragmentation creates gaps that can hold your wealth back from its full potential. The Private Bank can help. The Private Bank uses a proprietary approach called the LIFE Wealth Cycle SM to ind those gaps—and help you achieve what is important to you. To learn more, contact: Carolyn Stewart Vice President, Private Wealth Advisor 2065874788 [email protected] or visit unionbank.com/theprivatebank Wills, trusts, foundations, and wealth planning strategies have legal, tax, accounting, and other implications. Clients should consult a legal or tax advisor. ©2016 MUFG Union Bank, N.A. All rights reserved. Member FDIC. Union Bank is a registered trademark and brand name of MUFG Union Bank, N.A. EAP full-page template.indd 1 9/6/16 11:17 AM February 2017 Volume 14, No. 4 cinema Paul Heppner Publisher Susan Peterson Design & Production Director Ana Alvira, Robin Kessler, Shaun Swick, Stevie VanBronkhorst Production Artists and Graphic Design Mike Hathaway Sales Director Brieanna Bright, Joey Chapman, Ann Manning, Rob Scott Seattle Area Account Executives Marilyn Kallins, Terri Reed San Francisco/Bay Area Account Executives Jonathan Shipley Ad Services Coordinator Carol Yip Sales Coordinator Sara Keats Jonathan Shipley Online Editors NT LIVE: HEDDA GABLER STARRING RUTH WILSON (“LUTHER,” “THE AFFAIR”) THU, MAR. 9 • 11AM & 6:30PM • SIFF CINEMA UPTOWN Leah Baltus Editor-in-Chief FOR TICKETS VISIT SIFF.NET/HEDDAGABLER Paul Heppner Publisher Dan Paulus Art Director Gemma Wilson, Jonathan Zwickel Senior Editors Amanda Manitach Visual Arts Editor Barry Johnson Associate Digital Editor Make retirement Paul Heppner delicious. -
Classics 3: Program Notes Overture to Candide Leonard Bernstein Born in Lawrence, Massachusetts, August 25, 1918
Classics 3: Program Notes Overture to Candide Leonard Bernstein Born in Lawrence, Massachusetts, August 25, 1918; died in New York, October 14, 1990 After collaborating on The Lark, a play with incidental music about Joan of Arc, Leonard Bernstein and Lillian Hellman turned their attention in 1954 to Voltaire’s novella Candide. They thought it the perfect vehicle to make an artistic statement against political intolerance in American society, just as Voltaire had done in eighteenth-century France. After bringing in poet Richard Wilbur to write the lyrics, they worked intermittently on Candide for two years. Enormous amounts of money were spent on the production, which opened in Boston on October 29, 1956. Though many critics called it brilliant, the production failed financially; after moving to New York in December, it was shut down after just seventy-three performances. Everyone had someone to blame, but many thought it failed because of audience confusion about its hybrid nature—was it an opera, operetta, or a musical? Leonard Bernstein: celebrating his The story revolves around the illegitimate Candide, who centennial loves and is loved in return by Cunegonde, daughter of nobility. They are plagued by myriad disasters, which lead them from Westphalia to Lisbon, Paris, Cadiz, Buenos Aires, Eldorado, Surinam, and finally Venice, where they are united at last. Bernstein’s often witty, sometimes tender music has been considered the work’s greatest asset, both in the initial failed production and in later successful versions. The Overture, possibly Bernstein’s most frequently performed piece, perfectly captures the mockery and satire as well as the occasional introspective moment of Voltaire’s masterful creation.