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Alumni Revue! This Issue Was Created Since It Was Decided to Publish a New Edition Every Other Year Beginning with SP 2017
AAlluummnnii RReevvuuee Ph.D. Program in Theatre The Graduate Center City University of New York Volume XIII (Updated) SP 2016 Welcome to the updated version of the thirteenth edition of our Alumni Revue! This issue was created since it was decided to publish a new edition every other year beginning with SP 2017. It once again expands our numbers and updates existing entries. Thanks to all of you who returned the forms that provided us with this information; please continue to urge your fellow alums to do the same so that the following editions will be even larger and more complete. For copies of the form, Alumni Information Questionnaire, please contact the editor of this revue, Lynette Gibson, Assistant Program Officer/Academic Program Coordinator, Ph.D. Program in Theatre, The Graduate Center, City University of New York, 365 Fifth Avenue, New York, NY 10016-4309. You may also email her at [email protected]. Thank you again for staying in touch with us. We’re always delighted to hear from you! Jean Graham-Jones Executive Officer Hello Everyone: his is the updated version of the thirteenth edition of Alumni Revue. As always, I would like to thank our alumni for taking the time to send me T their updated information. I am, as always, very grateful to the Administrative Assistants, who are responsible for ensuring the entries are correctly edited. The Cover Page was done once again by James Armstrong, maybe he should be named honorary “cover-in-chief”. The photograph shows the exterior of Shakespeare’s Globe in London, England and was taken in August 2012. -
Annual Report
18 ANNUAL REPORT 19 MISSION VISION • We will educate enterprising artists, thinkers, innovators, leaders, and globally conscious citizens who transform The Theatre School trains students communities across DePaul, Chicago, the nation, and the world. • We will support an expert, passionate faculty and staff to the highest level of professional committed to advancing the vibrancy of live theatre and performance while continually adapting to a broadening skill and artistry in an inclusive and changing profession. • We will become a model of diversity and inclusion for the University and the field. and diverse conservatory setting. • We will produce public programs and performances that challenge, entertain, and stimulate the imagination. • We will foster cross-disciplinary collaboration to further student understanding and appreciation of every aspect of theatre work. VALUES EDUCATION We advance intellectual development and ethical consciousness. We foster moral, spiritual, social, political, and artistic growth. We promote participation in civic life. RESPECT We inspire respect for self, for others, for the profession, and for humanity. We embrace the Vincentian model of service. FREEDOM We build a community founded on the principles of creativity and freedom of expression. We value initiative, innovation, exploration, and risk-taking. IMAGINATION We celebrate the primacy of imagination in our work. SPIRITUALITY We believe theatre is a place for reflection, awakening, and the development of moral awareness. Welcome to The Theatre School’s 2018-19 Annual Report. This year we auditioned and admitted students in our new Comedy Arts and Projection Design majors. We also received approval for a new BFA degree in Wig and Makeup Design & Technology, which will greet its first class in Fall 2020. -
Elena Araoz Directing Resume 2-2020
E L E N A A R A O Z www.elenaaraoz.com Allison Schwartz, Paradigm Talent Agency [email protected] [email protected] 267.253.232 212.897.6400 BROADWAY (charity event) Union Square Incident* Warren Leight The 24 Hour Plays on Broadway, American Airlines Theatre OFF-BROADWAY Original Sound* Adam Seidel Cherry Lane Theatre Fur Migdalia Cruz New York Theatre Workshop Next Door Madness of Small Worlds* Mac Wellman New York Theatre Workshop Next Door Alligator* Hilary Bettis The Sol Project and New Georges Architecture of Becoming* multiple Women’s Project at City Center (by Lauren Yee, Sarah Gancher, Kara Lee Corthron, Vicki Grise, Dipika Guha) Three on a Couch Carl Djerassi Redshift Productions at Soho Playhouse Phallacy Carl Djerassi Redshift Productions at Cherry Lane Theatre INTERNATIONAL Two Arms and a Noise* Elena Araoz Bucharest International Theatre Platform, Romania Midsummer Night’s Dream Shakespeare Prague Shakespeare Company, Czech Republic The Power* Li Tong Chen Noble Theatre Bridge, Beijing, China Unanswered, We Ride* Jaclyn Villano Edinburgh Festival Fringe, Scotland, also at 59E59, NYC SELECTED OPERA I Am A Dreamer Who Director Resonance Works, Pittsburgh (upcoming) No Longer Dreams* White Snake Productions at Paramount Theatre, Boston Let’s Celebrate* Director White Snake Productions, Boston (upcoming) Azaan* Director Oregon Symphony, Portland La traviata Director/Choreographer New York City Opera at BAM Gilman Opera House Falstaff, Act III Director Brooklyn Philharmonic at BAM Gilman Opera House Lucia di Lammermoor Director Opera North, NH Così fan tutte Director Brooklyn Philharmonic at BAM Gilman Opera House La traviata Director Cold Spring Opera, Long Island, NY Latin Lovers Director/Choreographer Glimmerglass Opera La traviata Choreographer/Associate Director with Sir Jonathan Miller Vancouver Opera St. -
Roberta Levitow Is a Stage Director, Dramaturge, Producer and Teacher Based in Southern California
ROBERTA LEVITOW [email protected] [email protected] Roberta Levitow is a stage director, dramaturge, producer and teacher based in Southern California. Direction of over 50 theatre productions including: in NYC at Playwrights Horizons, Circle Rep, The Public Theater, The Women’s Project; regionally at the Los Angeles Theater Center, Hartford Stage, Berkeley Repertory Theatre, The Alley, Geva Theatre, Portland Stage, River Arts Rep, The Asolo Theater, Actors Theatre of Louisville, Seattle Rep, Denver Center Theater Company, The Sacramento Theatre Company, Idaho Shakespeare Festival, Intiman Theater and many others. Director and dramaturge in new play development for: The Tricycle Theatre, London for Eric Wainaina’s “DJ Lwanda”; the Mark Taper Forum’s New Work Festival; Playwrights Horizons New Theatre Wing; The First Stage Series at The Public Theatre; The New Play Reading Series for The Audrey-Skirball Kenis Theatre Projects; The Los Angeles Theater Center’s New Works Project; The Bay Area Playwrights Festival; South Coast Rep’s Hispanic Playwrights Projects; Mid-West Playlabs. Playwrights include: Tony Kushner, Jose Rivera, Marlane Meyer, Migdalia Cruz, Constance Congdon, Darrah Cloud, Eric Overmyer and Anna Deavere Smith. Representative productions include: BOY GETS GIRL by Rebecca Gilman, Seattle Rep; “ART” by Yasmina Reza, Milwaukee Rep; COLLECTED STORIES by Donald Margulies, Milwaukee Rep; WAITING FOR GODOT by Samuel Beckett, Geva Theatre; THE FARAWAY NEARBY by John Murrell, Arena Stage; EVERYBODY’S RUBY by -
Kat Yen Theater Director ▪ Set Designer ▪ Producer
KAT YEN THEATER DIRECTOR ▪ SET DESIGNER ▪ PRODUCER (718) 640-6666 ▪ [email protected] www.katyen.com EDUCATION Yale School of Drama – M.F.A. in Directing (Class 2020) Mary Jean Parson Scholarship Cullman Scholarship in Directing Colgate University – B.A. in Theater, cum laude (Class of 2009) The Bronx High School of Science (Class of 2005) THEATER PROGRAMS & EMPLOYMENT LAByrinth Theater Company - Directing Instructor for Summer Intensive (2019) Stella Adler Studio of Acting – Guest Lecturer, Visiting Artist for Actor Warrior Intensive (Summer 2015-19) Second Stage Theatre – Van Lier Directing Fellow (2016-17) New Georges – Director's Jam (2016-17) Spookfish Theatre Company – Co-Artistic Director & Resident Director (2010-17) The Brick Theater – Panelist on Who Made This? Collaboration, Credit, and Intellectual Property (2017) Harvard University – Visiting Director (Fall 2015) LaGuardia Community College – Guest Artist & Lecturer (Fall 2015) The Flea Theater – Resident Director under Artistic Director Jim Simpson (2013-15) The Lark Play Development Center – Reader for Playwrights Week (2014-15) Horse Trade Theater Group – Resident Company (2013-14) Lincoln Center Director Lab (Summer 2013) SDC Foundation – Emerging Artists Symposium: Plays (Summer 2013) LAByrinth Theater Company – Ensemble Workshop (Spring 2012) Lucid Body – Alexander Technique Class w/ Karen Braga (Fall 2012 & 2016) Primary Stages ESPA – Viewpoints Class w/ Kim Wield; Site Specific Directing w/ Daniel Talbott; A Director Prepares w/ May Adrales (2012-13) NEW YORK CITY & REGIONAL THEATER PRODUCTIONS Director A Job To Do by Angela Sclafani IRT/#HealMeToo Festival Apr 2019 Director Now Is The Time by Tonya Pinkins IRT/#HealMeToo Festival Apr 2019 Director The Grandmothers by Kristine M. -
SHAKESPEARE DALLAS THEATRE and ACTING CAMP Now Enrolling Grades 2 - 12
PRESENTS HAMLET PROJECT June 3 - 13, 2021 at 8:15pm Samuell-Grand Amphitheatre Dallas, Texas shakespearedallas.org | 2 PRESENTS HAMLET PROJECT With Original Monologues by Migdalia Cruz and Erik Ehn June 3 - 13, 2021 Samuell-Grand Amphitheatre 1500 Tenison Parkway Dallas, TX 75223 shakespearedallas.org | 3 Welcome to the People’s Theatre. Love. Family. Ambition. Betrayal. At Shakespeare Dallas we’ve been bringing timeless themes like these to life for almost 50 years. As North Texas’ leading professional theatre company performing the works of William Shakespeare, we believe that Shakespeare is for everyone. That means providing fun and accessible indoor and outdoor theatre, integrated school programs and cultural enrichment for people of all ages and backgrounds. For many, interacting with Shakespeare Dallas is a tradition that has crossed generations and delighted guests since our founding. Our Mission Using Shakespeare’s works as a cornerstone, Shakespeare Dallas serves the Southwest region with fun and accessible indoor and outdoor theatre, integrated school programs, and cultural enrichment for people of all ages and backgrounds. Shakespeare Dallas Staff Executive & Artistic Director .............................................................. Raphael Parry Associate Artistic Director ....................................................................Jenni Stewart Director of Community Engagement ..................................................Marie Facini Production Manager ..........................................................................Adrian -
July 23-25 2015 2 a Note from Lisa Portes
A commons by and for people who make performance. #LTCCarnaval July 23-25 2015 2 A NOTE FROM Lisa Portes I cut my teeth at the Hispanic Playwrights Project (HPP) at South Coast Rep. Founded by José Cruz González in the early 1980s, this annual festival of new Latina/o plays served as a nexus for the Latina/o theatremaking community and a hotbed of talent for those artistic directors and literary managers looking for new Latina/o work. Later, Juliette Carrillo became Artistic Director and with her keen sense of language and theatricality brought in some of the most exciting writers in the country—not simply the most exciting Latina/o writers, but the most exciting writers period. Karen Zacarías was the first playwright with whom I had the honor of working. Over the next five years at HPP I met and fell in love with the work of Luis Alfaro, Cusi Cram, José Rivera, Nilo Cruz, Anne García-Romero, Elaine Romero, Rogelio Martinez, Caridad Svich, Alejandro Morales, and many more. Add to that illustrious list the Latina/o directors, actors, and dramaturgs that came together under the California sun, the number of works The Latina/o featured, the conversations had over how many drinks, the sheer vibrancy created by the Theatre Commons gathering of all of these theatremakers invested in new Latina/o work and you’d have a operates as a collaborative sense of the tremendous momentum created by HPP. initiative with HowlRound, a commons by and for people In 2003 South Coast Rep decided to end the program. -
On Latino Representation in Theatre
Salem State University Digital Commons at Salem State University Honors Theses Student Scholarship 2018-01-01 On Latino Representation In Theatre Jazmine Mateo Salem State University Follow this and additional works at: https://digitalcommons.salemstate.edu/honors_theses Part of the Latina/o Studies Commons, Other Theatre and Performance Studies Commons, and the Theatre History Commons Recommended Citation Mateo, Jazmine, "On Latino Representation In Theatre" (2018). Honors Theses. 181. https://digitalcommons.salemstate.edu/honors_theses/181 This Thesis is brought to you for free and open access by the Student Scholarship at Digital Commons at Salem State University. It has been accepted for inclusion in Honors Theses by an authorized administrator of Digital Commons at Salem State University. ON LATINO REPRESENTATION IN THEATRE Honors Thesis Presented in Partial Fulfillment of the Requirements For the Degree of Bachelor of Arts In the College of Arts and Sciences at Salem State University By Jazmine Mateo Professor William Cunningham Faculty Advisor Theatre and Speech Communication Department *** Commonwealth Honors Program Salem State University 2018 ii Abstract Theatre is becoming more inclusive, more diverse, and I am intending on this paper to shed light on it, so others may see this too. Growing up I didn’t see much Latino representation in Broadway theatre, so naturally the feeling I got when I was first presented with In the Heights by Lin Manuel Miranda at my high school was incredible. Seeing people on stage that looked like me and had stories like mine for the first time in my life was inspiring. It left me wondering, wanting, and curious to see what else was out there. -
Frida-Program-Final.Pdf
June 22, 24, 26 & 27, 2021 Jordan Schnitzer CARE Summerstage at OMSI museum campus DIGITAL PROGRAM / PORTLAND OPERA PREMIERE: JUNE 22, 2021 22, JUNE PREMIERE: OPERA PORTLAND / PROGRAM DIGITAL DIGITAL PROGRAM / PORTLAND OPERA PREMIERE: JUNE 22, 2021 22, JUNE PREMIERE: OPERA PORTLAND / PROGRAM DIGITAL The opera & company: FRIDA Composed by Robert Xavier Rodríguez Libretto by Hilary Blecher, Migdalia Cruz In Two Acts June 22, 24, 26, 27 PORTLANDOPERA.ORG Conductor Andrés Cladera * Stage Director & Production Designer Andreas Mitisek Lighting Designer Carl Faber Sound Designer Brian Mohr Assistant Conductor Nicholas Fox Principal Accompanist Sequoia Production Stage Manager Jon Wangsgard Assistant Director Eric Lyness * The Cast (in order of vocal appearance) Calaveras/Cristina Kahlo/Mrs. Ford Aline Bahamondez Calaveras/Lupe Marin/Mrs. Rockefeller/Natalia Trotsky Rachel Hauge * Calaveras/Alejandro/Mr. Ford/Barker/Leon Trotsky Joseph Michael Muir Calaveras/Guillermo Kahlo/Mr. Rockefeller/E.G. Robinson Adrian Rosales-Casillas * Frida Kahlo Catalina Cuervo * Diego Rivera Bernardo Bermudez * Performed in English and Spanish with projected text Premiere: American Music Theater Festival, Philadelphia, 1991 Portland Opera Premiere: June 22, 2021 * Portland Opera Debut Costumes and props created by Portland Opera Projected English and Spanish surtitles written and produced by Florida Grand Opera. Spanish titles created by Dreambay Enterprises for Florida Grand Opera Stage structure provided by Stages Northwest, Inc. Sound system provided by Carlson Audio Systems 1 FRIDA• Video screens and cameras provided by Really Big Video By arrangement with G. Schirmer, INC., publisher and copyright owner. There will be no intermission. Total running time is approximately 95 minutes. Recording equipment, cameras and personal phones are prohibited. -
Latina/Latino Theatre and Performance in the 1990S
Out of the Fringe? Out of the Closet Latina/Latino Theatre and Performance in the 1990s María Teresa Marrero When I first sent this article to TDR my hopes of being published were tempered by my understanding of the type of performance (and not text) orientation of this journal. I sent in what was equivalent to a type of introduction to an anthology LA playwright Caridad Svich and I were coediting, Out of the Fringe: Contemporary Latina/ Latino Theatre and Performance (Theatre Communications Group, 2000). When Richard Schechner wrote back, accepting the article because he felt that a number of the works and playwrights discussed were unknown to the TDR readership, I was thrilled. Not only because of the evident publication “brownie point,” but because the notion that TDR would accept a half-baked article on the promise of a better one, and because Schechner thought the works and playwrights themselves deserved the exposure, I thought: “Cool. All along the only one who’s been preventing me from breaking out of the wonderful Latino and Latin American publications and into a broader, English-lan- guage spectrum has been ME. Chicken! ¡Cobarde!” Yes, I know. Historically TDR has dedicated quite a bit of space to Latina/o works. But hey, I thought, those articles were written by (with all due respect, but not kneeling) the “sacred cows” of contempo- rary cross-cultural theatre and performance. I’m NOT a holy cow. And I don’t even live in NYC, SF, or L A, I live in Cowtown (Fort Worth) Texas. What do I know? Anyone out there saying, “Yeah, sister, I hear ya”? Good. -
Latinx Lives, Matters, and Imaginaries: Theorizing Race in the 21St Century
The 3rd Biennial U.S. Latina/o Literary Theory and Criticism Conference Latinx Lives, Matters, and Imaginaries: Theorizing Race in the 21st Century John Jay College of Criminal Justice at the City University of New York April 13-15, 2017 Thursday, April 13, 2017 Opening Event 5:00 p.m. – Introductory Remarks, Richard Pérez & Belinda Linn Rincón 5:15-6:00 p.m. – Keynote Address, Claudia Milian, Associate Professor of Spanish and Latin American Studies, Duke University 6:00-7:30 p.m. – Opening Reception Friday, April 14, 2017 Session 1: 9:00-10:15 a.m. Room: Room: Room: Room: 1. Race, Masculinity, and the Coloniality of 2. Re/imagining Race: Borders, Gender, 3. Documenting Crisis: Myths, 4. Affective Burdens: Meloncholia, History in Puerto Rican Literature and Eugenics Immigrants and the Intervention of Shame, and Stereotypes Literature “And always Puerto Ricans”: Urban “La Leyenda Negra: Racial Imaginaries ““When the Anglo Came Into New Archipelagoes and the Coloniality of of Haiti and the US/Mexico Border” “‘Refugees of a World on Fire’: The Turn Mexico as a Foreigner”: Reies López Middle-class, White, Gay Male Desire in Katherine Steelman, University of to the Undocumented in Women of Color Tijerina and the Racial Melancholia of 1970s New York” California, San Diego Feminisms” the Indohispano” Enmanuel Martínez, Rutgers University Esmeralda Arrizón-Palomera, Cornell Nicholas M. Duron, New York “Writing While Brown: Ana Castillo, University University “Identity Starts at Home: Developing Sandra Cisneros, and Lucha Corpi” Counterhegemonic Afro-Latino Masculinity Leigh Johnson, Marymount College "Chupacabras: They Myth of the Bad “Embodied Shaming of/in Diaspora: in Piri Thomas’s Down These Mean Streets” Immigrant" Response and (Re)Negotiation of Shame in Regina Marie Mills, University of Texas at “Remapping Eugenics and Mestizaje in Silvia Rodríguez Vega, University of Migdalia Cruz’s Yellow Eyes” Austin River of Angels (2014)” California, Los Angeles L. -
Migdalia Cruz
Violent Inscriptions: Writing the Body and Making Community in Four Plays by Migdalia Cruz Tiffany Ana López Theatre Journal, Volume 52, Number 1, March 2000, pp. 51-66 (Article) Published by Johns Hopkins University Press DOI: https://doi.org/10.1353/tj.2000.0017 For additional information about this article https://muse.jhu.edu/article/34691 [ Access provided at 23 Jul 2020 18:47 GMT from University of Puerto Rico, Rio Piedras ] VIOLENT INSCRIPTIONS /51 Violent Inscriptions: Writing the Body and Making Community in Four Plays by Migdalia Cruz Tiffany Ana López You can take the girl out of the South Bronx—but you would have to cut my heart out to make me forget. —Migdalia Cruz1 Migdalia Cruz is a Nuyorican playwright from the South Bronx who studied under the mentorship of Maria Irene Fornes at the International Arts Relations (INTAR) Hispanic Playwright’s Lab in New York City during the early to mid-1980s. The author of more than thirty plays, Cruz is one of the few among the current generation of Latina dramatists able to secure a series of grants and fellowships enabling her to work as a full-time professional playwright. Her plays have been commissioned nationwide by such established production houses as The Brooklyn Academy of Music, Playwright’s Horizons, Cornerstone Theatre Company, INTAR, the W.O.W. Cafe, Theater for a New Audience, Arena Stage, and The Working Theater. A 1991 finalist for the Susan Smith Blackburn Prize, Cruz has also received critical recognition as an NEA and McKnight Playwrighting Fellow and a TCG/PEW National Artist in Residence.