Bringing More Choice to Your Cinema About More2screen

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Bringing More Choice to Your Cinema About More2screen

PRESENTS THE GRADELINNIT COMPANY PRODUCTION OF ABOUT MORE2SCREEN More2Screen is a leading distributor of Event Cinema with an unparalleled reputation for the delivery of great cinema events to audiences around the world. Founded in 2006 by CEO Christine Costello, it has been a global pioneer in the harnessing of digital technology to bring the very best in live music, performance arts and cultural entertainment to local cinema audiences. More2Screen won the Screen Award ‘Event Cinema Campaign of the Year’ category in 2018 for the live broadcast of the musical Everybody’s Talking About Jamie, and recent releases include Kinky Boots The Musical, Gauguin from the National Gallery, London, Matthew Bourne’s Swan Lake and 42nd Street The Musical. FILMED LIVE AT THEATRE ROYAL, DRURY LANE, LONDON For more information visit More2Screen.com RUNNING TIME: 144 Minutes (PART 1 72 Minutes / INTERVAL 10 minutes / PART 2 62 minutes) BBFC: 12A BRINGING MORE CHOICE TO YOUR CINEMA Share your thoughts after the screening Live and recorded theatre, opera, #42ndStreetCinema @more2screen ballet, music & exhibitions @42ndStreetLDN / @More2Screen In Memory of Mark Bramble Director & Co-Author December 7th 1950 - February 20th 2019 PRODUCTION Book by Michael Stewart & Mark Bramble Music & Lyrics by Harry Warren & Al Dubin Based on the novel by Bradford Ropes CAST Director Mark Bramble Dorothy Brock Bonnie Langford Set Designer Douglas W. Schmidt Julian Marsh Tom Lister Costume Designer Roger Kirk Peggy Sawyer Clare Halse Lighting Designer Peter Mumford Sound Designer Gareth Owen Billy Lawlor Philip Bertioli Orchestrations Philip J. Lang Maggie Jones Jasna Ivir Musical Director Jae Alexander Bert Barry Christopher Howell Original Direction & Dances Gower Champion Pat Denning Matthew Goodgame Music Supervisor & New Orchestrations Todd Ellison Andy Lee Graeme Henderson Musical Staging & New Choreography Randy Skinner Abner Dillon Bruce Montague Casting Director Stephen Crockett CDG Mac / Doc / Thug Mark McKerracher for David Grindrod Associates Annie Emma Caffrey Lorraine Ella Martine General Managers Gareth Johnson Jacob Wagen Phyllis Clare Rickard Oscar Paul Knight Co-Executive Producer Dr Johnny Hon Executive Producers for Broadway HD Bonnie Comley ENSEMBLE Stewart F. Lane Hannah Amin Joel Cooper Leah Harris Hannah-Faith Marram Lucy Andic (Thief / Cat Burglar) Alyn Hawke Martin McCarthy Executive Producers for GradeLinnit Company Michael Linnit Thomas Audibert Matt Cox (Waiter) Rebecca Herszenhorn Steph Parry Michael Grade George Beet Adam Denman Bethany Huckle Tom Partridge Sara Bispham Lisa Dent Emma Johnson (Tango Dancer) Producer Pamela Blair Natasha Ferguson Sarah Kacey Lucy Renouf Austin Shaw Josephina Camble Charlene Ford Billie-Kay (Diane) Katy Riches Directed for the screen by Ross MacGibbon Abi Carruthers Madeleine Francis Jasmine Kerr Zoe Rogers Distributed to cinemas worldwide by More2Screen Danielle Cato Maria Garrett Annie Kitchen (Ethel) Christina Shand (Tango Dancer) Luke George (Waiter) Jenny Legg Jessica Stent Freddie Clements Ryan Gover James-Royden Lyley Zac Watts Gabrielle Cocca Maddie Harper (Waiter) Liam Wrate.

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A-Level Dance Resource List Resource List
Resource list A-level Dance (2230) Teaching and learning resources Resource list AQA Education (AQA) is a registered charity (number 1073334) and a company limited by guarantee registered in England and Wales (number 3644723). Our registered address is AQA, Devas Street, Manchester M15 6EX. Contents Performance – books Performance - DVDs, CD ROMs Choreography – books Choreography - DVDs, CD ROMs General contextual and historical books General DVDs, videos and CD ROMs linked with areas of study, the three set works and the three dance genres General DVDs Jazz and Musicals – DVDs and videos Jazz dance - books American Musicals (30s and 40s mainly) Alvin Ailey and Revelations (1960): a set work for 2010 Modern dance – general: books Modern dance – general: resource packs Modern dance in Britain 1965-1985: books and resource packs Modern dance in Britain 1965-1985: DVDs or videos Beach Birds for Camera, Merce Cunningham (1991): a set work for 2010 Ballet – general: books and resource packs Cinderella, Ashton (1948): a set work for 2010 Diaghilev and the Ballets Russes: an area of study for 2010 Useful websites and organisations AQA Education (AQA) is a registered charity (number 1073334) and a company limited by guarantee registered in 2 of 26 England and Wales (number 3644723). Our registered address is AQA, Devas Street, Manchester M15 6EX. Books, DVDs, videos and resource packs for specific areas of the new GCE Dance specification for examination in 2009 (AS) and 2010 (A Level) Performance – books [OP] = Out of Print Blakey, W.P. (1992) The Muscle Book Stafford: Bibliotek Blakey, W.P. (1994) Stretching Without Pain Stafford: Bibliotek Cohan, R.
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English 252: Theatre in England 2006-2007 * [Optional Events
English 252: Theatre in England 2006-2007 * [Optional events — seen by some] Wednesday December 27 *2:30 p.m. Guys and Dolls (1950). Dir. Michael Grandage. Music & lyrics by Frank Loesser, Book by Jo Swerling and Abe Burrows. Based on a story and characters of Damon Runyon. Designer: Christopher Oram. Choreographer: Rob Ashford. Cast: Alex Ferns (Nathan Detroit), Samantha Janus (Miss Adelaide), Amy Nuttal (Sarah Brown), Norman Bowman (Sky Masterson), Steve Elias (Nicely Nicely Johnson), Nick Cavaliere (Big Julie), John Conroy (Arvide Abernathy), Gaye Brown (General Cartwright), Jo Servi (Lt. Brannigan), Sebastien Torkia (Benny Southstreet), Andrew Playfoot (Rusty Charlie/ Joey Biltmore), Denise Pitter (Agatha), Richard Costello (Calvin/The Greek), Keisha Atwell (Martha/Waitress), Robbie Scotcher (Harry the Horse), Dominic Watson (Angie the Ox/MC), Matt Flint (Society Max), Spencer Stafford (Brandy Bottle Bates), Darren Carnall (Scranton Slim), Taylor James (Liverlips Louis/Havana Boy), Louise Albright (Hot Box Girl Mary-Lou Albright), Louise Bearman (Hot Box Girl Mimi), Anna Woodside (Hot Box Girl Tallulha Bloom), Verity Bentham (Hotbox Girl Dolly Devine), Ashley Hale (Hotbox Girl Cutie Singleton/Havana Girl), Claire Taylor (Hot Box Girl Ruby Simmons). Dance Captain: Darren Carnall. Swing: Kate Alexander, Christopher Bennett, Vivien Carter, Rory Locke, Wayne Fitzsimmons. Thursday December 28 *2:30 p.m. George Gershwin. Porgy and Bess (1935). Lyrics by DuBose Heyward and Ira Gershwin. Book by Dubose and Dorothy Heyward. Dir. Trevor Nunn. Design by John Gunter. New Orchestrations by Gareth Valentine. Choreography by Kate Champion. Lighting by David Hersey. Costumes by Sue Blane. Cast: Clarke Peters (Porgy), Nicola Hughes (Bess), Cornell S. John (Crown), Dawn Hope (Serena), O-T Fagbenie (Sporting Life), Melanie E.
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Performing Arts, Dance & Drama Courses
World class thinking. World class achieving. St Mary’s College PERFORMING ARTS Level 3 suite Pre-course reading and guidance Performing Arts Instagram: SMCperformingarts Level 3 Performing Arts WHY SHOULD I CHOOSE PERFORMING ARTS? The Performing Arts qualifications are an exciting and challenging journey from GCSE to Vocational College or University. Performances throughout the year in varying styles will satisfy your desire for ‘stage-time’ and theory elements will broaden your knowledge and appreciation of cultural, social and historical influences in the world of theatre. We offer independent qualifications in Acting and Dance (both worth 1.5 A level Equivalent) and our impressive full time course (3 A level Equivalent). World class thinking. World class achieving. Level 3 Performing Arts The courses we offer ➢Level 3 Foundation Diploma in Performing Arts (Dance) (1.5 A-Level Equivalent) Click here for the specification ➢Level 3 Foundation Diploma in Performing Arts (Acting) (1.5 A-Level equivalent) Click here for the specification ➢Level 3 Extended Diploma in Performing Arts (3 A-Level Equivalent) Click here for the specification World class thinking. World class achieving. Level 3 Performing Arts BTEC LEVEL 3 Foundation Diploma in Dance (1.5 A-Level 84 UCAS Points) Four internally assessed units covering: › Jazz › Street dance › Contemporary › Community Theatre Two externally assessed examinations – 1 written theory (Unit 1) – 1 written & performance based (Unit 3) World class thinking. World class achieving. Level 3 Performing Arts BTEC LEVEL 3 Foundation Diploma in Dance (1.5 A-Level – 84 UCAS Points) Practioner studies: • Matthew Bourne • Christopher Bruce • Andrew Winghart • Martha Graham • Bob Fosse • Street Dance styles Click to learn more about each person World class thinking.
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Consumer Alert Regarding Ticket Purchasing
CONSUMER ALERT REGARDING TICKET PURCHASING With so many high-profile and popular events coming to Wharton Center, we have found more and more patrons are being exploited by unscrupulous ticket resellers. Often our tickets are being marketed on secondary ticket websites before the operator of the website has even purchased tickets – and they are selling at prices far above the price you will pay through whartoncenter.com. Purchasing tickets to Wharton Center events through another source might result in paying too much for your tickets or paying for tickets that are invalid. If there is a problem with your tickets, you may not be able to receive help from Wharton Center’s Ticket Office as there will be no in-house record of your transaction. In addition, we are unable to contact you if there is a change in performance time, traffic notices, etc. To avoid being ensnared by unscrupulous ticket resellers: • Bookmark our website, whartoncenter.com for ticket and show information. • Sign up for our eClub to receive information directly from Wharton Center. We urge you to protect yourself by purchasing directly from the official source for Wharton Center tickets: at whartoncenter.com; by phone at 1-800-WHARTON (1-800-942-7866); or at the Auto-Owners Insurance Ticket Office at Wharton Center. IN CASE OF EMERGENCY Please observe the lighted exit signs located throughout the building and theatre(s). All patrons should note all exits, especially those closest to your seat location. Our staff and ushers are trained to assist patrons through multiple emergency situations. If you have questions regarding our safety and security procedures, please contact the house management staff at Wharton Center by calling 884-3119 or 884-3116.
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Out and About with the Vic-Wells
President: Vice President: No. 480 - September 2012 Simon Russell Beale CBE Nickolas Grace Price 50p when sold Out and About with the Vic-Wells Shakespeare at the British Museum There will be a Vic-Wells visit to the British Museum’s current exhibition Shakespeare: staging the world on Monday, 1st October 2012. The exhibition provides a new insight into the emerging role of London as a world city four hundred years ago, interpreted through the innovative perspective of Shakespeare’s plays - and features over 190 objects. The exhibition creates a unique dialogue between these objects drawn from the museum’s collection. Great paintings, rare manuscripts, maps, drawings, armour, coins and other intriguing objects are all examined through the lens of Shakespeare’s plays. Shakespeare: staging the world also explores the theatre-going experience at the time. The newly built playhouses were situated in the suburbs: Bankside was an area with a dangerous and notorious reputation. The theatres needed to attract large numbers of playgoers and so performances had to appeal to a wide spectrum of society, from groundlings to courtiers. Objects excavated from the sites of the Globe and Rose theatres, such as a sucket fork for sweetmeats and the skull of a bear, illustrate the Southwark of Shakespeare’s day, the cultural world inhabited by the playhouse, which rubbed shoulders with bear-baiting arenas as well as brothels and pubs. The British Museum has produced, working with the Royal Shakespeare Company, a series of new digital interventions which appear throughout the exhibition, allowing visitors to encounter Shakespeare’s words and characters alongside the objects on The Lyte Jewel display.
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HANDING OVER THEIR HEARTS... continually experiment, The Last Tango, Vincent Simone Handing over challenging one another and Flavia Cacace’s third and to reach new heights. ﬁ nal stage show, opens next month The real leap of faith their hearts… comes in trusting that work to your dancers. “It’s a bit like removing your We asked Dance heart and handing it off to Today readers to tell someone else,” says British us their favourite choreographer Tom Ridley. “But when you succeed, choreograpahers. Who the joy you get from that made our list – and who shared accomplishment did you pick? Marianka is extraordinary. I’m not Swain reveals all dancing one part or one show: I get to be part of that dance experience forever.” he body says what “ words cannot,” Here are some of the T proclaimed best in the business... contemporary legend Martha Graham. Dancers Ballroom act as intercessors between choreographers and Fred Astaire audiences, communicating Astaire, working with the former’s ideas to the collaborators such as Eleanor latter, but in appreciating the Powell (pictured below) and performers in front of us, we Hermes Pan, gave dance musical through his dazzling, honouring all the ballroom sometimes forget to honour a starring role in the ﬁ lm seemingly effortless routines. fundamentals, with the creators upon whose interesting choreography. visionary work they rely. Gene Kelly at work on Jason Gilkison We’ll forgive her Dollgate!” Every dance medium Invitation to the Dance “Burn The Floor got me into Emma Barnett needs choreography ballroom – Jason makes for constant reinvention it look so cool and sexy.
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Swan Lake Resource Pack
RESOURCES FOR TEACHERS AND STUDENTS CONTENTS 1. OUTLINE OF THE RESOURCE PACK p03 2. THE PLOT OF SWAN LAKE p04 3. THE THEMES OF SWAN LAKE p06 - The Royal Family - Paparazzi - Identity - Rejection 4. THE CHARACTERS IN MATTHEW BOURNE’S SWAN LAKE p08 5. PRODUCTION ELEMENTS p11 - Physical Setting • Set Design • Costume Design • Lighting Design - Aural Setting 6. THE ROLE OF THE CHOREOGRAPHER p20 7. WORKSHEETS p27 8. REFLECTING AND REVIEWING p33 9. FURTHER WORK p35 - Essay Questions - References - Resources and Further Reading - Reviews and Articles - Credits MATTHEW BOURNE’S SWAN LAKE RESOURCES FOR TEACHERS AND STUDENTS 2 1. OUTLINE OF THE RESOURCE PACK This education resource pack aims to The central focus of this resource is to provide workable provide an insight into the creative tasks that address the key themes that Bourne researched, as outlined in his choreographic notebooks and choreographic process of Matthew and within interviews. Some of the themes explored in Bourne in the development and this pack have been described by Bourne, others are reinvention of Swan Lake. themes that might be identified by students or a Swan Lake audience. The pack follows a structure which provides information Symbols have been used to help differentiate between about the dance itself, but also provides tasks the following; research and/or further reading activities, which encourage students to explore composition, discussion and evaluation ideas, practical tasks and written performance and appreciation methods, the key work. Clearly some of the activities overlap each other. foundation to dance work at key stage 2, key stage 3 and at examination level at both key stage 4 and 5.
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HELLO DOLLY Program Notes.Pdf
` PROGRAM NOTES By Joshua S. Ritter Goodspeed Education & Library Director When Hello, Dolly! opened on Broadway in January of 1964, the nation was still reeling from the shock of President Kennedy’s assassination and apprehensive about the worsening situation in Vietnam. The Beatles invasion had just begun; a youthful fervor for change and rock ‘n’ roll was palpable. David Merrick, a preternaturally gifted producer, could sense the longing of another American generation. He undoubtedly knew the time was right to provide the comfort and nostalgia of a good old-fashioned Broadway musical. After all, he was in possession of a successful theatrical property that was screaming to be set to music. It could also serve as a star vehicle for Ethel Merman, and it contained a 1890’s period flavor that would offer much-needed diversion from current events. Merrick began assembling a team of future Broadway legends to give music and new life to Thorton Wilder’s highly-successful play The Matchmaker. The title would quickly change to Dolly! A Damned Exasperating Woman; Call on Dolly; and finally to Hello, Dolly!. Merrick hired Gower Champion and Michael Stewart, with whom he had previously worked on Carnival!, to stage and adapt the book for what would later be called Hello, Dolly!. Merrick hired the young Jerry Herman to compose the music soon after his success penning the score for his first Broadway musical, Milk and Honey. Champion, Stewart, and Herman worked together to anchor the show to the title song and “Put on your Sunday Clothes.” These became massive production numbers, the former involving whirling waiters, trays of food, and Dolly Levi’s grand descent down a flight of stairs.
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The Red Shoes Digital Programme 13.67 MB
A NEW ADVENTURES AND ILLUMINATIONS PRODUCTION FOR BBC DIGITAL PROGRAMME WELCOME FROM NEW ADVENTURES Dear friends, Welcome to our spectacular production of The Red Shoes, filmed last year at Sadler’s Wells, London. This show is the culmination of a twenty-year ambition to bring Powell and Pressburger’s seminal 1948 film to the stage. It is also, in many ways, a personal love letter to a life in theatre and dance, made all the more poignant by this year’s unexpected events. When we created the show in 2016, we were delighted by the response from audiences everywhere we went, returning to some venues for a second run by popular demand! The production went on to win two Olivier Awards and was also honoured with by the LA Critics’ Awards for both choreography and set and costume design. This film version features a star-studded cast and many of the original cast in the roles they created, including Dominic North, Michela Meazza, Liam Mower, Glenn Graham and the wonderful Ashley Shaw who won a National Dance Award for her role as Victoria Page. We were also joined by an old friend of the company, the great Adam Cooper, who played the iconic role of The Swan in my original production of Swan Lake 25 years ago. We were so delighted that Adam returned to The Red Shoes company to take on the role of enigmatic impresario, Boris Lermontov. This last year has been so challenging for us all and I would like to take this opportunity to thank our supporters and loyal audiences who have sent messages of encouragement from around the globe.
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A Study on the Gender Imbalance Among Professional Choreographers Working in the Fields of Classical Ballet and Contemporary Dance
Where are the female choreographers? A study on the gender imbalance among professional choreographers working in the fields of classical ballet and contemporary dance. Jessica Teague August 2016 This Dissertation is submitted to City University as part of the requirements for the award of MA Culture, Policy and Management 1 Abstract The dissertation investigates the lack of women working as professional choreographers in both the UK and the wider international dance sector. Although dance as an art form within western cultures is often perceived as ‘the art of women,’ it is predominately men who are conceptualising the works and choreographing the movement. This study focuses on understanding the phenomenon that leads female choreographers to be less likely to produce works for leading dance companies and venues than their male counterparts. The research investigates the current scope of the gender imbalance in the professional choreographic field, the reasons for the imbalance and provides theories as to why the imbalance is more pronounced in the classical ballet sector compared to the contemporary dance field. The research draws together experiences and statistical evidence from two significant branches of the artistic process; the choreographers involved in creating dance and the Gatekeepers and organisations that commission them. Key issues surrounding the problem are identified and assessed through qualitative data drawn from interviews with nine professional female choreographers. A statistical analysis of the repertoire choices of 32 leading international dance companies quantifies and compares the severity of the gender imbalance at the highest professional level. The data indicates that the scope of the phenomenon affects not only the UK but also the majority of the Western world.
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Danny Daniels: a Life of Dance and Choreography
California State University, San Bernardino CSUSB ScholarWorks Theses Digitization Project John M. Pfau Library 2003 Danny Daniels: A life of dance and choreography Louis Eric Fossum Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd-project Part of the Dance Commons Recommended Citation Fossum, Louis Eric, "Danny Daniels: A life of dance and choreography" (2003). Theses Digitization Project. 2357. https://scholarworks.lib.csusb.edu/etd-project/2357 This Thesis is brought to you for free and open access by the John M. Pfau Library at CSUSB ScholarWorks. It has been accepted for inclusion in Theses Digitization Project by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. DANNY DANIELS: A LIFE OF DANCE AND CHOREOGRAPHY A Thesis Presented to the Faculty of California State University, San Bernardino In Partial Fulfillment of the Requirements for the Degree Master of Arts in Interdisciplinary Studies: Theatre 'Arts and Communication Studies by Louis Eric Fossum June 2003 DANNY DANIELS: A LIFE OF DANCE AND CHOREOGRAPHY A Thesis Presented to the Faculty of California State University, San Bernardino by Louis Eric Fossum June 2003 Approved by: Processor Kathryn Ervin, Advisor Department of Thea/fer Arts Department of Theater Arts Dr. Robin Larsen Department of Communications Studies ABSTRACT The career of Danny Daniels was significant for its contribution to dance choreography for the stage and screen, and his development of concept choreography. Danny' s dedication to the art of dance, and the integrity of the artistic process was matched by his support and love for the dancers who performed his choreographic works.
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DAA 2XXXL Broadway Styles 1
Cover Sheet: Request 14379 DAA 3XXXL Broadway Styles 1 Info Process Course|New|Ugrad/Pro Status Pending at PV - University Curriculum Committee (UCC) Submitter Stanley Kaye [email protected] Created 10/25/2019 1:38:37 PM Updated 11/22/2019 11:54:40 AM Description of New course DAA 3XXX Dance Styles 1 request Actions Step Status Group User Comment Updated Department Transferred CFA - Fine Arts Jennifer Setlow 10/25/2019 011301000 No document changes Department Approved CFA - Theatre Peter Carpenter 11/1/2019 and Dance 011304000 No document changes College Approved CFA - College of Jennifer Setlow Please note that 2 credit 11/22/2019 Fine Arts hours/4 contact hours is standard for this type of course--reviewing the courses available under the DAA prefix in the course catalog will provide multiple examples. Please also note that this assignment of credits is accepted by our accrediting body, the National Association of Schools of Dance. Class participation rubric_MT Dance courses.pdf 11/13/2019 University Pending PV - University 11/22/2019 Curriculum Curriculum Committee Committee (UCC) No document changes Statewide Course Numbering System No document changes Office of the Registrar No document changes Student Academic Support System No document changes Catalog No document changes College Notified No document changes Original file: Cover sheet.pdf Course|New for request 14379 Info Request: DAA 3XXXL Broadway Styles 1 Description of request: New course DAA 3XXX Dance Styles 1 Submitter: Jennifer Setlow [email protected] Created: 11/13/2019 10:43:28 AM Form version: 8 Responses Recommended Prefix DAA Course Level 2 Course Number XXX Category of Instruction Introductory Lab Code L Course Title Broadway Dance Styles 1 Transcript Title Broadway Dance Sty 1 Degree Type Baccalaureate Delivery Method(s) On-Campus Co-Listing No Effective Term Spring Effective Year 2020 Rotating Topic? No Repeatable Credit? No Amount of Credit 2 S/U Only? No Contact Type Regularly Scheduled Weekly Contact Hours 4 Course Description Jerome Robbins, Bob Fosse.
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