Table of Contents
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
By Lanford Wilson Directed by Kati Oltyan
By Lanford Wilson Directed by Kati Oltyan July 1 ~ 3, 2021 Lakewood, CO Presented by special arrangement with Dramatists Play Service, Inc., New York. About the Playwright Compiled by Jan Sutton Lanford Eugene Wilson (1937-2011) was born on April 13, 1937, in Lebanon Missouri, a town that he used as the setting for several of his plays, including the one you are seeing tonight. His parents divorced when he was 5 and he was raised by his mother and her second husband, a Missouri farmer. He attended college in Missouri and San Diego but left in 1957 to live in Chicago. He experimented with writing short stories but decided that his ideas might do better as plays so he attended play-writing classes through the University of Chicago Extension Program. In 1962 he moved to New York City where his plays were widely performed in Off-Off- Broadway theaters such as La MaMa Experimental Theater and Café Cino. In 1967, he received the Drama Desk Award for Outstanding New Playwright for The Rimers of Eldritch. In 1969 he co-founded the Circle Repertory Theater, an Off-Broadway theater that was his literary home for almost 30 years. The first play of his that was successfully performed there was The Hot l Baltimore in 1973, for which he received the New York Drama Critics’ Circle Award and the Obie Award for Best New American Play. In 1975, he received his second Obie for Playwriting for The Mound Builders, also performed at Circle Rep. Talley’s Folly is part of a trilogy of plays about the Talley family, all of which explore the effects of war on a family in Missouri. -
Caffe Cino Multiple Property Listing: No Other Names/Site Number 2
NPS Form 10-900 OMB No. 1024-0018 (Oct. 1990) United States Department of the Interior National Park Service National Register of Historic Places Registration Form This form is for use in nominating or requesting determinations of eligibility for individual properties or districts. See instructions in How to Complete the National Register of Historic Places Registration Form (National Register Bulletin 16A). Complete each item by marking "x" in the appropriate box or by entering the information requested. If an item does not apply to the property being documented, enter "N/A" for "not applicable." For functions, architectural classification, materials and areas of significance, enter only categories and subcategories listed in the instructions. Place additional entries and narrative items on continuation sheets (NPS Form 10-900a). Use a typewriter, word processor, or computer, to complete all items. 1. Name of Property historic name Caffe Cino multiple property listing: no other names/site number 2. Location street & number 31 Cornelia St not for publication city or town New York vicinity state New York code NY county New York code 061 zip code 10014 3. State/Federal Agency Certification As the designated authority under the National Historic Preservation Act, as amended, I certify that this x nomination request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property x meets does not meet the National Register criteria. I recommend that this property be considered significant nationally statewide x locally. -
EIU' S '60S Reunion Proves Successful
EIU's '60s reunion proves successful Before The Big Chlll there was Fine Arts Center Playroom, was nothing wrong with that. Fifth ofJuly. brought out its good and bad Eileen Sullivan had some amusing The Big Chlll is, of course, points. It's a long, talky play which moments as Aunt Sally. MichaelS. Lawrence Kasdan's 1983 fUm, seems to drift along from one act O'Brien, as Ken, was personable, already a classic, about the reu to the next, and it takes a while to but reserved and unimpassioned, nion of seven graduates of the Uni Carl sort out the relationships. But the and did a good job of hobbling versity of Michigan at Ann Arbor dialogue, often witty, sometimes about on crutches. The playwright from the '60s who mourn their lost Lebovitz overlapping, and the collection of never fully develops Jed as a youth, ideals and passions. <In the disparate characters holds your in character, butT. James Estep did same vein was the 1981 John terest, and before the evening ends what he could with the role. Sayles film, Return of the with a bwst of violence, there are Patrick N. Clayberg was dapper as Secaucus Seven.) a number of revelations and ~ John. Fifth of July, which has just con Gwen's recording career as a lutlons. There was some tepid kissing cluded a six-performance run at country-and-western singer. Com Terry Allen directed it with skill and hugging by the gay lovers and EIU, is Lanford Wilson's Chekh~ pleting the quartet is Ken's sister and good timing. -
The Fellows Gazette Volume 57 Published by the College of Fellows of the American Theatre Fall 2011 Two New Fellows! in the Spotlight: Jed Davis
The Fellows Gazette Volume 57 Published by the College of Fellows of the American Theatre Fall 2011 Two New Fellows! In the Spotlight: Jed Davis From the vantage point of his 90th birthday, Jed Davis maintains there was no time when he was not actively involved in theatre. Although no Beverley Byers-Pevitts Robert Benedetti professional theatre graced his small hometown of The College of Fellows of the American Theatre Stillwater, MN, that didn’t deter Jed. He merely welcomes two new Fellows who will be inducted into rallied his friends, penned a script (which usually the College at our annual meeting in April 2012. bore a close resemblance to some recent movie), built the stage, settings, and audience seating in an Nominated by Fellow Gil Lazier, Dr. Byers-Pevitts adjacent barn, rehearsed and then performed the was the founding president of the Association for show for obliging neighbors. No formal permissions Theatre in Higher Education. Prior to founding were sought; the necessary resources and spaces ATHE, she had been a major force in the American were simply commandeered. The neighborhood Theatre Association. She is an editor and author, a response was encouragingly positive. published and produced playwright, and a distinguished theatre educator. Admittedly, Jed was not the only performer in his family. His brother played the banjo and his father Most recently, she served as President and was both a banjo player and a popular end man in Professor of Theatre at Park University. Previously, locally produced minstrel shows. Jed, a student of she served as Provost and Vice President and tap dancing, once performed a soft shoe routine in a Interim President at Texas Women’s University, minstrel performance flanked by his father and Dean of Humanities and Fine Arts at the University brother playing their banjos. -
Bruce Mccarty 3555 Oxford Avenue No. 6A Riverdale, New York 10463 917.447.4758
Bruce McCarty 3555 Oxford Avenue No. 6A Riverdale, New York 10463 917.447.4758 Teaching Experience William Esper Studio Meisner Technique Teacher 2008 - Present Private Coaching for Stage, Film and Television New York, Los Angeles 1992- Present American Academy of Dramatic Arts, New York Visiting Teacher/Director 2007 - 2008 Circle Repertory Company, New York New Play Development 1992 - 1996 Related Experience Actor, New York, Los Angeles (See Attached Bio) 1991-Present Stage, Film, Television, Commercials Member of the Circle Repertory Company, New York John Barrymore Award Nominee/Leading Actor Obie Award Best Ensemble/Balm In Gilead 1st Annual Young Playwrights' Festival 1991 Produced by Circle Repertory Co. with The Dramatists Guild Worked with Playwrights ages 8 -18 Director, New York, Los Angeles 1992-Present SheshYak by Laith Nakli 2015 RattleStick Playwright’s Theater, NYC Parts I've Played, Dana Reeve one-woman show Co-wrote and Directed Feinstein's at the Regency 2005 The Rivers and Ravines, American Academy of Dramatic Arts 2001 Major Zero, Circle Repertory 1995 Teeny Tiny Potatoes 1993 Developed and Directed HBO Comedy Showcase, Los Angeles Public Theater Latino Lab, New York Meat & Potatoes Company, New York Sex on the Beach, Circle Repertory 1992 Assistant Director, New York 1990 Fifth of July, Broadway Corporate Development Assisted in development and Hosted roll-out show for Bristol-Myers Squib, Atlanta, GA 2005 Phoenix, AZ 2008 Orlando, FL 2010 Training William Esper: 2-year Program 1993 - 95 William Esper Studio, New York Harold Guskin: Private Intensive Study 1995 New York Circle Rep Company & Lab 1980 -1996 Working with Professional Artists such as Jeff Daniels, Peter Hedges, William Hurt, Timothy Hutton, John Malkovich, Joe Mantello, Marshall W. -
Serenading Louie
The American Century Theater presents Audience Guide Written and compiled by Jack Marshall July 23–August 21, 2010 Theatre II, Gunston Arts Center March 26-April 1 7 Theatre II, Gunston Arts Center Theater you can afford to see— plays you can’t afford to miss! About The American Century Theater The American Century Theater was founded in 1994. We are a professional company dedicated to presenting great, important, but overlooked American plays of the twentieth century . what Henry Luce called ―the American Century.‖ The company‘s mission is one of rediscovery, enlightenment, and perspective, not nostalgia or preservation. Americans must not lose the extraordinary vision and wisdom of past playwrights, nor can we afford to surrender our moorings to our shared cultural heritage. Our mission is also driven by a conviction that communities need theater, and theater needs audiences. To those ends, this company is committed to producing plays that challenge and move all Americans, of all ages, origins and points of view. In particular, we strive to create theatrical experiences that entire families can watch, enjoy, and discuss long afterward. These audience guides are part of our effort to enhance the appreciation of these works, so rich in history, content, and grist for debate. The American Century Theater is a 501(c)(3) professional nonprofit theater company dedicated to producing significant 20th Century American plays and musicals at risk of being forgotten. The American Century Theater is supported in part by Arlington County through the Cultural Affairs Division of the Department of Parks, Recreation, and Cultural Resources and the Arlington Commission for the Arts. -
LGBTQ PERFORMING ARTS in NYC June 22, 1868 Singer Edwin Kelly and Female Impersonator Francis Role of Hedda Gabler to Start Her Broadway Acting Career
CURTAINS UP! New York City Council L G B T Q PERFORMING ARTS IN NYC 2020 CALENDAR Cover: Adina Verson and Katrina Lenk performing in Indecent, Original Broadway Company. Photograph by Carol Rosegg. t is my pleasure to introduce this calendar from the LaGuardia and Wagner Archives documenting the rich history of the local LGBTQ community’s role in the performing arts. This vibrant and welcoming community is one of the main reasons that I was drawn to New York City as a young gay man. I When one thinks of the magical allure of New York City throughout the nation and around the world, the performing arts immediately come to mind. These arts have shaped the city’s culture and, in turn, the nation’s. Performing arts typically include the dramas, comedies, and musicals of Broadway, Off- Broadway, and Off-Off Broadway theatre, as well as opera, cabaret, orchestral music, classical dance, and more. This calendar is truly unique in that it reaches beyond this standard definition by exploring the role of performing arts as political and cultural protest. From the Latinx L’Unicorns of Staten Island, to the Brooklyn-based Ballez, to the Bronx Academy of Arts and Dance (BAAD!), the calendar features performing arts from all five boroughs. Dancers from all five Queens-based CUNY schools are also depicted performing in the annual Queens Pride Parade in Jackson Heights over the last two years. Manhattan, of course, is represented by the dramas and musicals of Broadway and the queer cabaret performed downtown. Yet, the LGBTQ community’s history with New York’s performing arts also reveals a story of prejudice and outright prohibition. -
Lanford Wilson Marshall W. Mason
WITH (IN SPEAKING ORDER) JUDD HIRSCH - TRISH HAWKINS - ELIZABETH STURGES HENRIETTA BAGLEY - CONCHATA FERRELL - BURKE PEARSON LISA EMERY - ZANE LASKY - KEN KLIBAN - STEPHANIE GORDON BRIAN TARANTINA - JONATHAN HOGAN - CLARIS NELSON A PLAY BY LANFORD WILSON A PRODUCTION OF THE CIRCLE THEATRE COMPANY DIRECTED BY MARSHALL W. MASON PRODUCED BY GLEN ROVEN AND JEFFREY SWEET Roven Records A Note From Marshall W. Mason, The Circle Repertory Company production of The HOT L BALTIMORE was an extraordinary achievement. First produced by Lanford Wilson's the Circle Repertory Company in February 1973, Lanford Wilson wrote The HOT L BALTIMORE it for the members of the Circle Rep Acting Company. You will hear most of Directed by Marshall W. Mason the original cast here, re-creating their performances for a new audience: Judd Hirsh, Conchata Ferrell, Trish Hawkins, Burke Pearson, Henrietta Bagley, CAST Zane Lasky, Stephanie Gordon and Jonathan Hogan. The other actors on this in order of speaking recording are all members of Circle Rep, taking on their roles for the first time: Lisa Emery, Elizabeth Sturges, Brian Tarantina, Ken Kliban and Claris Nelson. Bill Lewis................................JUDD HIRSCH There are many remarkable things about HOT L. It was produced for a The Girl.............................TRISH HAWKINS commercial run Off-Broadway that ran a record 1,166 performances. It was Millie.........................ELIZABETH STURGES produced by the legendary Group Theater manager Kermit Bloomgarden. It Mrs. Bellotti.............HENRIETTA BAGLEY was Lanford Wilson's first big hit, and won him the New York Drama Critics' April Green.............CONCHATA FERRELL Circle Award and an Obie Award for Best American Play. -
Lanford Wilson's Mirroring of the Contemporary US Ria
Journal of American Studies of Turkey 13 (2001) : 33-45 "All the world's a stage…": Lanford Wilson's Mirroring of the Contemporary U.S. Ria Snellinx Along with Sam Shepard and David Mamet, Lanford Wilson is one of the most renowned contemporary American playwrights. With over forty plays to his name he is also one of the most prolific. His plays are widely performed Off and Off-off Broadway and in regional and university theatres. His works have been honoured with numerous awards: Obie and Tonies, a Pulitzer Prize for Drama, New York Drama Critic’s Circles, a Drama-logue, a Vernon Rice, a Brandeis University Creative Arts, the Institute of Arts and Letters award and a Guggenheim Fellowship. Even though the author is not so popular in Europe -- the reason for that being perhaps that he is so typically American -- he is well worth studying, the more so that his plays are interesting from a sociological point of view. Indeed, his works are so strongly rooted in American civilisation and heritage that they may contribute to a better awareness of what life in the post-war United States is like. It is, after all, one of the theatre’s traditional functions to mirror the society it lives in, and Wilson gives a clear, often critical reflection, of present day America. Wilson's plays are like slices of real life. The characters that he draws are people of flesh and blood, who speak (Snellinx and Van de Walle) and "act" like people of flesh and blood, they are not artificial creatures who can only survive on the stage. -
Talleys-Folly-Study-Guide.Pdf
1 SO JUST WHAT IS A FOLLY, ANYWAY? The word “Folly” has a couple of different meanings, both of which can apply to this particular play. After all, It is evident that Sally Talley's family sees her relationship with Matt Freidman as a folly, particularly in the “lack of good sense” meaning of the term. One might also see Matt's seemingly hopeless overtures to Sally as a similar form of folly. However, another terms that certainly applies to this play is that which applies to the ornate boathouse in which the action takes place. In the architectural sense of the word, a “folly” is defined as “a costly ornamental building with no practical purpose, especially a tower or mock- Gothic ruin built in a large garden or park.” Essentially, something that has no inherent use or right to be built in the first place. A particular element of traditional follies is that they are built primarily for decoration. However, the appearance of the structure is decidedly non- decorative. As an example, you might find a functioning mill built in a garden that has nothing to mill, with no intention of grist ever being provided. Or the structure might be so incredibly extravigant that it seems completely unrelated to the garden as a whole. The tradition extends back to 18th century gardening in England and France, when mock Roman Temples or Ruins would be constructed as a nod to the classical virtues. However, as the British and French Empires Temple of Philosophy at Ermenonville expanded, Chinese, Egyptian, and Tatar structures also became more common.