DOCSLIB.ORG

Little Children Dream of God

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Little Children Dream of God WEST COAST PREMIERE LITTLE CHILDREN DREAM OF GOD WRITTEN BY Jeff Augustin DIRECTED BY Andre Barron PRODUCERS Carlyle King & Taylor Gilbert ASSISTANT DIRECTOR Philip Orazio DRAMATURGE Emma Pauly SCENIC DESIGN Sarah B Brown COSTUME DESIGN Michele Young LIGHTING DESIGN Derrick McDaniel PROJECTION DESIGN Yee Eun Nam SOUND DESIGN Matt Richter CHOREOGRAPHER Rachel Tisby DIALECT COACH Sachandra Grandoit STAGE MANAGER Maurie Gonazalez PUBLICIST David Elzer ONLINE MARKETING Corryn Cummins Little Children Dream of God received its world premiere in February 2015 at the Roundabout Theatre Company, NYC. Todd Haimes, Artistic Director. This project is supported in part by grants from The City of Los Angeles Department of Cultural Affairs and the Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission. The Road Theatre Company is a subsidiary of The Other Side of the Hill Productions, Inc., a 501-C3 Non-Profit Corp. head_a1 A NOTE FROM THE ARTISTICHEAD_A2 DIRECTORS text block. Dear Road Patrons, styles vary. Whether you are first-timers or regulars, we welcome you to the Road in the continuation of our 26th season of bringing new works to Los Angeles, and often to the world. Following the immense success of our season opener, Edward Albee’s The Play About the Baby, tempered by the bittersweet pass- ing of the playwright on opening night, we now follow up on fur- ther explorations of identity, our theme this season: who we are together and who we are alone. This subject no doubt has special meaning for all of us in this election year as our very nation begins to reevaluate and define itself in all its complexities. To stimulate that conversation, we bring two plays in reper- tory: Bruce Graham’s White Guy on the Bus and Jeff Augustin’s Little Children Dream of God. White Guy attacks the subjects of race and violence in a provocative study of lives changed drastically by vio- lence and and ignorance, forcing two characters to make radical decisions that will forever change their landscape. We welcome director Stewart J. Zully to the Road with this production. The companion piece, Little Children Dream of God, faces directly another part of our challenge with identity and immigration, in the beautiful story of a pregnant mother who arrives on our shore clinging to a tire, in search of a better life for her and her baby. What becomes clear to her and to all of us is the central question of how much can you really run from your past before you are forced to deal with it, and risk change. Who we are together, and who we are alone. We welcome you to this timely and profound discussion, and we thank you as always for your wonderful support. Sincerely yours, Taylor Gilbert, Founder/Artistic Director Sam Anderson, Artistic Director AWARDS & ACCOLADES Over two decades ago a group of theatre artists came together to form The Other Side of the Hill Productions, Inc. a.k.a. The Road Theatre Company. A non-profit corporation that produces theatre under the Actors’ Equity Association 99-Seat Plan. The Road Theatre Company has amassed an impressive list of awards throughout its 25-year history: • 6 Stage Raw - Recommended/Top 10 Production • 9 Los Angeles Drama Critics’ Circle Awards • 15 Los Angeles Stage Alliance Ovation Awards • 11 L.A. Weekly Awards • 39 Back Stage West Garland Critics Citations Awards • 6 Robby Awards • 67 Valley Theatre League Artistic Director Achievement Awards • 17 “Critic’s Choice”- Los Angeles Times • 24 “Pick of the Week/Recommended/Go”- L.A. Weekly • 19 “Critic’s Pick”- Back Stage West Additionally, The Road Theatre Company has received a spe- cial commendation from Council member Tom LaBonge and the City of Los Angeles for providing 24 years of theatre excel- lence in Council District 4; the Back Stage West Landmark Award for Sustained Excellence in Theatre; the prestigious Los Angeles Drama Critics’ Circle Margaret Harford Award for Sustained Excellence in Theatre and was recently cited as “one of the Best Companies of the Decade” by LA Weekly. For a complete list of our history of award-winning plays, visit RoadTheatre.org. R4 MISSION STATEMENT • Support world, American, and West Coast premieres of theatrical works which introduce socially and/or politically relevant new voices and new thoughts to the American stage. • Introduce younger audiences to the world of theatre through our main- stage productions, workshops, and free weekly reading series • Continue our outreach programs to seniors and at risk groups. • Further establish our resident company as a leader and champion of new works in Los Angeles and the nation. ARTISTIC STAFF Taylor Gilbert, Artistic Director/Founder Sam Anderson, Artistic Director Scott Alan Smith, Associate Artistic Director Katie Witkowski, Managing Director Darryl Johnson & Kevin Shipp, Technical Directors ARTISTIC BOARD Chet Grissom CORPORATE BOARD Carlyle King Ian Bryce Stuart Spence Donna Simone Johnson Cara Eisenberg Judith Vida-Spence Kevin Shipp Taylor Gilbert Ian Ryen Ann Hearn Carrie Harlow BRAVO! Special thanks to The Department of Cultural Affairs of the City of Los Angeles, Mr. Ian Bryce, Taylor Gilbert, Sam Anderson, Philip Orazio, Emma Pauly, Chet Grissom, Darryl Johnson, Carlyle King, Scott Alan Smith, Donna Simone Johnson, Ann Hearn, Maurie Gonzalez, Kevin Shipp, all those who generously purchased a theatre seat, our gracious Donors, The Road Theatre Corporate Board and those members of The Road Theatre Company who tirelessly go above and beyond the call of duty. about the ARTISTIC DIRECTORS Taylor Gilbert (Founder/ Artistic Director) Taylor recently played the Woman in Edward Albee’s The Play about the Baby at The Road. She is celebrating her 26th season as Founder and Artistic Director of The Road Theatre Company. Producing credits include more than 60 critically acclaimed productions for The Road Theatre Company. Directing credits include the award-winning In The Name of the People, Mooncalf, My Last Confession, The Chisholm Trail Went through Here and Slumber Party. As Co-Director (with Ken Sawyer): Hitler’s Head, Homefires. Awards: As a Producer, over 130 regional theatre awards, including: the Margaret Harford Award for Sustained Excellence in Theatre, the 2002 Los Angeles Stage Alliance Ovation Award (Best Production of a Small Play) for The Woman in Black and 2010 Certificate of Commendation from the City of Los Angeles for contributing 20 years of award-winning theatre to the com- munity. For complete list visit: www.RoadTheatre.org. Sam Anderson (Artistic Director) Sam is the artis- tic director of The Road Theatre Company, a position he shares with founder Taylor Gilbert. Road Theatre Acting credits include: The Other Place, The Bird and Mr.Banks (Los Angeles Drama Critics’ Circle Award – Best Actor), Napoli Millionaria(Los Angeles Stage Alliance Ovation Award – Best Actor) and Madagascar. Rogue Machine: Blackbird (Los Angeles Drama Critics’ Circle Award – Best Actor, LA Weekly Award - Best Duo Performance). Road direct- ing credits include Clete Keith’s The Different Shades of Hugh, Theresa Rebeck’s The Water’s Edge, Stacy Sims’ As White As O, and Shove by Mark Eisman (LA Weekly Directing Nomination.) Film & Television audiences know him from 35 years of performances, including his recent recurring turn as the evil Lee Paxton on Justified, Bernard on Lost, Dr. Kaysen on E.R. (SAG Award, Best Ensenble), Holland Manners on Angel and the films Water for Elephants, Forrest Gump, La Bamba, Frankie Go Boom, Breaking the Girls and the recently release horror thriller from Fox, Devil’s Due. Upcoming Sam stars in Modern Love and the A&E pilot, Damien due in 2016. Sam holds an MA in American Lit/ Creative Writing, as well as his theatre degrees. He teaches a professional acting class combining scene study, improv, monologues and audition tech- nique. He is also a graduate of The Grantsmanship Institute and studied Horticulture at Descanso Gardens. He is most proud of his 23-year old twin theatre graduates, Elizabeth and Ben. theCAST Sula.......................................................Jaquita Ta’le Carolyn.................................................Blaire Chandler* Joel.......................................................Hari Williams Manuel..................................................Jonathan Nichols* Vishal...................................................Jonathan Bangs Madison............................................... Latarsha Rose* Toussaint and Man..............................Sedale Threatt Jr. UNDERSTUDIES Sula.......................................................Amaka Izuchi Joel.......................................................Amani Atkinson Madison............................................... Cherish Monique Duke* Toussaint and Man..............................Ronin Lee * Member of Actors’ Equity Association Time: Present Day Place: Overtown, in Miami, FL. Also various locations in the greater Miami area, West Palm Beach, and the Atlantic Ocean. Intermission: There will be one ten minute intermission. about the PLAYWRIGHT & DIRECTOR Jeff Augustin (Playwright) Jeff Augustin’s play The Last Tiger in Haiti premiered in a co-production at La Jolla Playhouse and Berkeley Rep. Jeff’s plays have also been produced at the Roundabout Theater Company, Little Children Dream of God and Actors Theatre of Louisville, Cry Old Kingdom, Humana 2013; That High Lonesome Sound, Humana Apprentice Anthology 2015. His work has been developed at the Eugene O’Neill Playwrights Conference, The Ground Floor at Berkeley Rep, American
Load more

Recommended publications
  • National Endowment for the Arts Annual Report 1982
    Nat]onal Endowment for the Arts National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1982. Respectfully, F. S. M. Hodsoll Chairman The President The White House Washington, D.C. March 1983 Contents Chairman’s Statement 3 The Agency and Its Functions 6 The National Council on the Arts 7 Programs 8 Dance 10 Design Arts 30 Expansion Arts 46 Folk Arts 70 Inter-Arts 82 International 96 Literature 98 Media Arts: Film/Radio/Television 114 Museum 132 Music 160 Opera-Musical Theater 200 Theater 210 Visual Arts 230 Policy, Planning and Research 252 Challenge Grants 254 Endowment Fellows 259 Research 261 Special Constituencies 262 Office for Partnership 264 Artists in Education 266 State Programs 272 Financial Summary 277 History of Authorizations and Appropriations 278 The descriptions of the 5,090 grants listed in this matching grants, advocacy, and information. In 1982 Annual Report represent a rich variety of terms of public funding, we are complemented at artistic creativity taking place throughout the the state and local levels by state and local arts country. These grants testify to the central impor­ agencies. tance of the arts in American life and to the TheEndowment’s1982budgetwas$143million. fundamental fact that the arts ate alive and, in State appropriations from 50 states and six special many cases, flourishing, jurisdictions aggregated $120 million--an 8.9 per­ The diversity of artistic activity in America is cent gain over state appropriations for FY 81.
    [Show full text]
  • News from the Department: 2005–09
    Volume 7, Number 1 Spring 2009 Theatre News at Middlebury: Seventh Sequel! Doug Sprigg News from the Department: 2005–09 In 2007, the Department bade reluctant farewell to Doug Sprigg, Isabel R. Mettler ’39 Professor Emeritus of Theatre, who retired after 33 years, many of them spent as Chair of the Theatre Program. In October 2008, Doug gave a lecture entitled ‘Holding the Mirror Up to Nature: The Dialectic of a Divided Consciousness in the Performance of Shakespeare and Chekhov’ as part of his professorship, and was celebrated with a dinner at the President’s home. Doug’s influence lives on in his students and in the memory of his many productions. On March 8, 2008, the Center for the Arts was rededicated as the Mahaney MIDDLEBURY Center for the Arts, in honor of supporter Kevin Mahaney, alum and parent. THEATRE REUNION! Despite a ferocious ice storm, the evening attracted many student and community members. Theatre presented an evening of scenes, entitled Curtain WEDNESDAY, MAY 27 Up!, hosted by Alex Draper ’88, with alums including Greg Naughton ’90, NEW YORK CITY at ANGUS McINDOE Matt Saldivar ’92, Christian Parker ’93, Nina Silver ’93, Aidan Sullivan ’95, 8:00 p.m. Megan Byrne ’96.5, Michael Wrynn Doyle ’98, Alex Cranmer ’99, Rich Price 258 West 44th Street ’99.5, Sarah Peters ’03.5, David Moan ’04, Dan Pruksarnukal ’04, Cassidy Freeman ’04.5, Julia Proctor ’06.5, Lauren Turner Kiel ’07, Allison Corke ’08, It’s the Grand Reunion of ALL Rishabh Kashyap ’08, Willie Orbison ’08, Stephanie Strohm ’08, Alec Strum THEATRE STUDENTS from the Richard & Cheryl years, aka, “Alex ’08, Jordan Tirrell-Wysocki ’08, Justine Katzenbach ’08.5, Lucy Faust ’09, Draper to the Present Time.” So here’s Jimmy Wong ’09.5, Cassidy Boyd ’10, Peter Hoffman ’10, John Glouchevitch what you can do to help: PLEASE ’10.5, and guests, honorary alum Jim Ryan and visiting lecturer Vanessa FORWARD THIS TO ALL MIDD Mildenberg, appearing in a wide selection of work from Midddlebury and THEATER TYPES! Clearly my list PTP stages.
    [Show full text]
  • Diversity in the Arts
    Diversity In The Arts: The Past, Present, and Future of African American and Latino Museums, Dance Companies, and Theater Companies A Study by the DeVos Institute of Arts Management at the University of Maryland September 2015 Authors’ Note Introduction The DeVos Institute of Arts Management at the In 1999, Crossroads Theatre Company won the Tony Award University of Maryland has worked since its founding at the for Outstanding Regional Theatre in the United States, the John F. Kennedy Center for the Performing Arts in 2001 to first African American organization to earn this distinction. address one aspect of America’s racial divide: the disparity The acclaimed theater, based in New Brunswick, New between arts organizations of color and mainstream arts Jersey, had established a strong national artistic reputation organizations. (Please see Appendix A for a list of African and stood as a central component of the city’s cultural American and Latino organizations with which the Institute revitalization. has collaborated.) Through this work, the DeVos Institute staff has developed a deep and abiding respect for the artistry, That same year, however, financial difficulties forced the passion, and dedication of the artists of color who have theater to cancel several performances because it could not created their own organizations. Our hope is that this project pay for sets, costumes, or actors.1 By the following year, the will initiate action to ensure that the diverse and glorious quilt theater had amassed $2 million in debt, and its major funders that is the American arts ecology will be maintained for future speculated in the press about the organization’s viability.2 generations.
    [Show full text]
  • SLOW FOOD ESL Federal Credit Union 2019-2020 Season Continues with a Crave-Able Comedy to Warm up the Winter
    Media Contact: Dawn Kellogg Communications Manager (585) 420-2059 [email protected] FOR IMMEDIATE RELEASE GEVA’S 47TH SEASON CONTINUES WITH SLOW FOOD ESL Federal Credit Union 2019-2020 Season continues with a crave-able comedy to warm up the winter. Rochester, N.Y., December 27, 2019 – Geva Theatre Center presents Slow Food, by Wendy MacLeod and directed by Skip Greer, in the Elaine P. Wilson Stage from January 14 through February 9. Peter and Irene’s anniversary celebration in Palm Springs is off to a rocky start, but they are looking forward to a nice meal in a local restaurant. It’s just their luck to be served (or not) by a perfectionist waiter who won’t bring them their food and has them questioning everything – from their menu selections to the state of their marriage. Wendy MacLeod’s play The House of Yes became an award-winning Miramax film starring Parker Posey. Her other plays include Sin (The Goodman, Second Stage), Schoolgirl Figure (The Goodman Theatre), The Water Children and Juvenilia (Playwrights Horizons), and Things Being What They Are (Seattle Repertory Theatre, Steppenwolf Theatre). Her play Find and Sign premiered at the Pioneer Theater in Salt Lake City and her play This Flight Tonight was included in Standing On Ceremony: The Gay Marriage Plays and seen across the country and in New York City at the Minetta Lane. She was the first playwright chosen for The Writers’ Room residency at The Arden Theatre in Philadelphia, where she wrote Women in Jeopardy!, which received its premiere production at Geva Theatre Center in 2015.
    [Show full text]
  • Lou Bellamy 2006 Distinguished Artist
    Lou Bellamy 2006 Distinguished Artist Lou Bellamy 2006 Distinguished Artist The McKnight Foundation Introduction spotlight is a funny thing. It holds great potential to expose and clarify whatever lies within its glowing circle—but for that to happen, eyes outside the pool of light must be focused Aon what’s unfolding within. Theater gains meaning only through the community that generates, participates in, and witnesses it. For McKnight Distinguished Artist Lou Bellamy and his Penumbra Theatre Company, using one’s talents to connect important messages to community is what art is all about. Bellamy believes that theater’s purpose is to focus the community’s attention and engage people in the issues we face together. He relishes the opportunity life has presented to him: to work in an African American neighborhood and develop art responsive to that neighborhood, while presenting ideas that are universal enough to encourage a world of diverse neighborhoods to take notice. This is not a spectator sport. Bellamy is a strong proponent of active art, art driven to do something. Ideally, audience members should see what’s onstage and listen to the message, then carry that message with them when they leave the theater. “You put all these people in a room,” he has said, “turn out the lights, and make them all look at one thing. You’ve got something powerful in that room.” More than 40,000 people experience that power annually, in Penumbra’s 265-seat theater in St. Paul. Universal messages are not crafted through European American templates only, and Bellamy recognizes that presenting a multifaceted reality means showing all the rays of light that pass through it.
    [Show full text]
  • A Sourcebook on Feminist Theatre and Performance: on and Beyond the Stage/Edited by Carol Martin; with an Introduction by Jill Dolan
    A SOURCEBOOK OF FEMINIST THEATRE AND PERFORMANCE A Sourcebook of Feminist Theatre and Performance brings together key articles first published in The Drama Review (TDR), to provide an intriguing overview of the development of feminist theatre and performance. Divided into the categories of “history,” “theory,” “interviews,” and “texts,” the materials in this collection allow the reader to consider the developments of feminist theatre through a variety of perspectives. This book contains the seminal texts of theorists such as Elin Diamond, Peggy Phelan, and Lynda Hart, interviews with performance artists including Anna Deveare Smith and Robbie McCauley, and the full performance texts of Holly Hughes’ Dress Suits to Hire and Karen Finley’s The Constant State of Desire. The outstanding diversity of this collection makes for an invaluable sourcebook. A Sourcebook of Feminist Theatre and Performance will be read by students and practitioners of theatre and performance, as well as those interested in the performance of sexualities and genders. Carol Martin is Assistant Professor of Drama at Tisch School of the Arts, New York University. WORLDS OF PERFORMANCE What is a “performance”? Where does it take place? Who are the participants? Not so long ago these were settled questions, but today such orthodox answers are unsatisfactory, misleading, and limiting. “Performance” as a theoretical category and as a practice has expanded explosively. It now comprises a panoply of genres ranging from play, to popular entertainments, to theatre, dance, and music, to secular and religious rituals, to “performance in everyday life,” to intercultural experiments, and more. For nearly forty years, The Drama Review (TDR), the journal of performance studies, has been at the cutting edge of exploring these questions.
    [Show full text]
  • CATF-Program 2015.Pdf
    2015 World Builders by Johnna Adams • Everything You Touch by Sheila Callaghan • On Clover Road by Steven Dietz • WE ARE PUSSY RIOT by Barbara Hammond • The Full Catastrophe by Michael Weller 2014 The Ashes Under Gait City by Christina Anderson • One Night by Charles Fuller • Uncanny Valley by Thomas Gibbons • North of the Boulevard by Bruce Graham • Dead and Breathing by Chisa Hutchinson 2013 A Discourse on the Wonders of the Invisbile World by Liz Duffy Adams • Modern Terrorism, or They Who Want to Kill Us and How We Learn to Love Them by Jon Kern • H2O by Jane Martin • Heartless by Sam Shepard • Scott and Hem in the Garden of Allah by Mark St. Germain 2012 Gidion’s Knot by Johnna Adams • The Exceptionals by Bob Clyman • In a Forest, Dark and Deep by Neil LaBute • Captors by Evan M. Wiener • Barcelona by Bess Wohl 2011 From Prague by Kyle Bradstreet • Race by David Mamet • Ages of the Moon by Sam Shepard • We Are Here by Tracy Thorne • The Insurgents by Lucy Thurber 2010 The Eelwax Jesus 3-D Pop Music Show by Max Baker & Lee Sellars • Lidless by Frances Ya-Chu Cowhig • Breadcrumbs by Jennifer Haley • Inana by Michele Lowe • White People by J.T. Rogers 2009 The History of Light by Eisa Davis • Yankee Tavern by Steven Dietz • Dear Sara Jane by Victor Lodato • Fifty Words by Michael Weller • Farragut North by Beau Willimon 2008 Stick Fly by Lydia R. Diamond • A View of the Harbor by Richard Dresser • Pig Farm by Greg Kotis • WRECKS by Neil LaBute • The Overwhelming by J.T.
    [Show full text]
  • Identifying the Endgame
    Theater Bruce Nauman’s Green Light Corridor (1970), in Move: Choreographing You, the Hayward Gallery, London, 2010. Photo: Alastair Muir Published by Duke University Press Theater Thomas F. DeFrantz Identifying the Endgame What’s an Audience or a Public? To think carefully about the possibilities of curatorial practice in relation to the emer- gence of audiences and publics, we surely come back to questions of demographics, social relations, and cultural assumptions. In the context of the United States, the pro- liferation of new performance forms in the 1960s and the establishment of national institutions to administer them in the 1980s led us to discuss these sorts of markers as identity politics and to speak of multicultural programming. We tended to assume the presence of a white masculine audience, artist, and object that would be circulated in the name of art; our progressive politics told us that those majority stakeholders could pos- sibly be augmented by small numbers of audiences of color in relation to a black artist or a white woman artist. These incursions would somehow demonstrate a brief diversity of creative exercise. This sort of programming lasted all the way to the new millennium — did it ever stop? — in performance seasons with one black artist or with visual artist lineups that included a white women’s moment among the men. At times, queer white men might be identified as gay, allowing them presence as alternative artists/publics, and also allowing the overexposure that men always have in the world. Obviously, this approach to curating as though the audience or public were mostly white, peppered with a little bit of color at times, failed.
    [Show full text]
  • The Department of Theater Year in Review 2013-2014
    The Department of Theater Year In Review 2013-2014 1 Table of Contents 2013-2014 Our Season Page 3 Faculty and Staff News and Achievements Page 8 Outreach Page 15 Curricular Enhancement Page 16 Development Page 18 News and Achievements Page 22 Looking ahead to 2014-2015 Our Season Page 25 People Page 27 Outreach Page 28 Development Page 29 Appendix: 2013-2014 Season Survey Analysis 2 2013-2014 Our Season Box office results for 2013-2014 The 2013-2014 season in box office numbers was a dramatic one. While the Red Sox run at the World Series gave us lower-than-hoped-for numbers for our season opener, the show was rapturously reviewed, and our number rebounded beyond our projections thanks to our two biggest shows, Street Scene and Peter Pan, which brought in huge crowds and box office receipts. Of particular note, also, was our Peter Pan matinee, which was a sell-out and drew a number of elementary schools in addition to our usual middle- and high-school crowd. THE SHOW SPACE EST # ACTUAL +/- Attendance The Liar Rand $6,000.00 $3,924.20 $(2,075.80) 682 Detroit Curtain $4,500.00 $3,583.36 $(916.64) 576 Street Scene Rand $5,500.00 $10,634.77 $5,134.77 1788 Play Lab Curtain $2,000.00 $1,290.54 $(709.46) 387 Peter Pan Rand $6,000.00 $11,258.63 $5,258.63 1681 Peter Pan Matinee Rand $1,000.00 $1,932.00 $932.00 365 $25,000.00 $32,623.50 less 7.2% $1,800.00 $2,348.89 TOTAL BOX OFFICE $23,200.00 $30,274.61 $7,074.61 5479 That outcome, we are pleased to note, compares favorably to last year’s box office total of $29,543.37.
    [Show full text]
  • A DELICATE SHIP WRITTEN by Anna Ziegler
    WEST COAST PREMIERE A DELICATE SHIP WRITTEN BY Anna Ziegler DIRECTED BY Andre Barron PRODUCERS Brian M. Cole, Makena Metz ASST. DIRECTOR Jacob Smith SCENIC DESIGN Sarah B. Brown LIGHTING DESIGN Jared A. Sayeg † COSTUME DESIGN Michele Young SOUND DESIGN Cricket S. Myers PROJECTION DESIGN/VIDEO Nick Santiago PROPS Christine Joëlle STAGE MANAGER Maurie Gonzalez FIGHT DIRECTOR Bjørn Johnson ORIGINAL MUSIC COMPOSER Matt Schatz GRAPHIC DESIGNER Cece Tsou PUBLICIST David Elzer ONLINE MARKETING Kay Capasso † A Delicate Ship is presented by special arrangement with Dramatists Play Services, New York. Originally Produced by Cincinnati Playhouse in the Park (Blake Robison, Artistic Director; Buzz Ward, Managing Director) Off-Broadway premiere produced by The Playwrights Realm (Katherine Kovner, Artistic Director) on August 18, 2015. This project is supported in part by grants from The City of Los Angeles Department of Cultural Affairs and the Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission. The Road Theatre Company is a subsidiary of The Other Side of the Hill Productions, Inc., a 501-C3 Non-Profit Corp. head_a1 A NOTE FROM THE ARTISTICHEAD_A2 DIRECTORS text block. Dear Road Patrons, styles vary. Welcome back to the second mainstage show of the Road Theatre’s 26th season. Following the very successful, much-discussed world premiere of Sharr White’s Stupid Kid, we continue our journey into sto- ries of young people in process, often challengingly so. So from the back roads of Colorado, we move to the heart of Brooklyn, and the complicated world of three bright 30-somethings, where a knock at a door on Christmas Eve changes three lives.
    [Show full text]
  • Inside | FLY a Behind-The-Curtain Look at the Artists, the Company and the Art Form of This Production
    ® INSIDE BEFORE EN ROUTE AFTER inside | FLY A behind-the-curtain look at the artists, the company and the art form of this production. COMMON CORE STANDARDS NEW YORK STATE STANDARDS BLUEPRINT FOR THE ARTS Speaking and Listening: 1; 2; 6 Arts: 4 Theater: Developing Theater Literacy; Making Language: 1; 4; 6 English Language Arts: 1; 4 Connections This section is part of a full NEW VICTORY® SCHOOL TOOLTM Resource Guide. For the complete guide, including information about the NEW VICTORY Education Department check out: NEWVICTORY.ORG/SCHOOLTOOLS ® THE NEW VICTORY THEATER / NEWVICTORY.ORG/SCHOOLTOOL © THE NEW 42ND STREET, INC. 5 ® INSIDE BEFORE EN ROUTE AFTER inside | FLY American History + Tap Dance + Video Projections + Perseverance = WHERE IN THE WORLD IS FLY FROM? [ FLY ] NORTH AMERICA X ATLANTIC The year is 1943: Allied forces liberate Rome; British and US OCEAN troops storm the beaches of Normandy; and, on an airfield PACIFIC in Alabama, four brave young men join the first black military OCEAN SOUTH AMERICA aviators in United States history. FLY, a theatrical action-adventure, beautifully employs dance and video projection to illuminate the tremendous courage and resilience of the Tuskegee Airmen. From training to combat, experience the anguish, fears and triumphs of a brotherhood who fought for freedom abroad—and at home. Thrilling, inspired and uplifting, FLY soars. FLY CLOSER LOOK AT X NEW BRUNSWICK • Crossroads Theatre Company, based in New Jersey, was the first African American theater to receive the prestigious Tony Award for Outstanding Regional Theatre in 1999. NEW JERSEY • Established in 1978, Crossroads Theatre Company has produced over 100 works, many of which were world-premiere productions by leading African and African American artists.
    [Show full text]
  • Acts of Provocation: Popular Antiracisms On/Through the Twenty- First Century New York Commercial Stage
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 6-2017 Acts of Provocation: Popular Antiracisms on/through the Twenty- First Century New York Commercial Stage Stefanie A. Jones The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2025 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] ACTS OF PROVOCATION: POPULAR ANTIRACISMS ON/THROUGH THE TWENTY- FIRST CENTURY NEW YORK COMMERCIAL STAGE by STEFANIE A. JONES A dissertation submitted to the Graduate Faculty in Theatre in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2017 S A Jones © 2017 STEFANIE A. JONES ALL RIGHTS RESERVED ii S A Jones Acts of Provocation: Popular Antiracisms on/through the Twenty-First Century New York Commercial Stage Stefanie A. Jones This manuscript has been read and accepted for the Graduate Faculty in Theatre in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. _____________ ____________________________________ Date David Savran Chair of Examining Committee _____________ ____________________________________ Date Peter Eckersall Executive Officer Supervisory Committee: Kandice Chuh Robert Reid-Pharr James Wilson THE CITY UNIVERSITY OF NEW YORK iii S A Jones ABSTRACT Acts of Provocation: Popular Antiracisms on/through the Twenty-First Century New York Commercial Stage by Stefanie A. Jones Advisor: David Savran This is an abolitionist feminist study of the role of liberalism in the twenty-first century political economy.
    [Show full text]