EQ Magazine } Winter 2014
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The NAC. Wherever You Are. Contents
National Arts Centre Annual Report 2010–2011 The NAC. Wherever you are. Contents 14 Message from Julia E. Foster, Board Chair 37 Artistic and creative leadership 16 Message from Peter A. Herrndorf, President and CEO 37 Senior management 18 Report on strategic goals 38 Management Discussion and Analysis 24 Official languages at the NAC 43 Financial statements 25 Year in review 49 Notes to the financial statements 35 The Prairie Scene 63 National Arts Centre Foundation 36 Board of Trustees 70 Donor contributions 2010–2011 photopicturegarden/Taxi/Getty Images Role The National Arts Centre (NAC) raised its curtains for the first time in 1969. Created by the Parliament of Canada as a Centennial project during the 1960s, the NAC has become Canada’s foremost showcase for the performing arts. Today the NAC works with thousands of artists from across Canada and around the world and collaborates with dozens of arts organizations across the country. The NAC is strongly committed to being a leader and innovator in each of the performing arts fields in which it works: classical music, English theatre, French theatre, dance, and variety and community programming. It is also at the forefront of youth and education activities, supporting programs for young and emerging artists, presenting programs for young audiences and producing resources and study materials for teachers and students. The NAC is the only multidisciplinary, bilingual performing arts centre in North America and one of the largest in the world. Accountability and Funding The NAC reports to Parliament through the Minister of Canadian Heritage and Official Languages. Of the NAC’s total revenue, approximately half is derived from an annual parliamentary appropriation, while the other half comes from earned revenue— box office sales, the NAC Foundation, NAC catering, le café (restaurant), commercial parking and facility rentals. -
STUDY GUIDE TOOLS for TEACHERS Sponsored By
2014 STUDY GUIDE TOOLS FOR TEACHERS sponsored by Tom McCamus, Seana McKenna Support for the 2014 season of the Tom Patterson Theatre is generously provided by Richard Rooney & Laura Dinner Production support is generously provided by Karon Bales & Charles Beall Table of Contents The Place The Stratford Festival Story ........................................................................................ 1 The Play The Playwright: William Shakespeare ........................................................................ 3 A Shakespearean Timeline ......................................................................................... 4 Cast of Characters ...................................................................................................... 6 Plot Synopsis ............................................................................................................... 7 Sources and Origins .................................................................................................... 8 Stratford Festival Production History ......................................................................... 9 The Production Artistic Team and Cast ............................................................................................... 10 Lesson Plans and Activities Creating Atmosphere .......................................................................................... 11 Mad World, Mad Kings, Mad Composition! ........................................................ 14 Discussion Topics .............................................................................................. -
Christopher Plummer
Christopher Plummer "An actor should be a mystery," Christopher Plummer Introduction ........................................................................................ 3 Biography ................................................................................................................................. 4 Christopher Plummer and Elaine Taylor ............................................................................. 18 Christopher Plummer quotes ............................................................................................... 20 Filmography ........................................................................................................................... 32 Theatre .................................................................................................................................... 72 Christopher Plummer playing Shakespeare ....................................................................... 84 Awards and Honors ............................................................................................................... 95 Christopher Plummer Introduction Christopher Plummer, CC (born December 13, 1929) is a Canadian theatre, film and television actor and writer of his memoir In "Spite of Myself" (2008) In a career that spans over five decades and includes substantial roles in film, television, and theatre, Plummer is perhaps best known for the role of Captain Georg von Trapp in The Sound of Music. His most recent film roles include the Disney–Pixar 2009 film Up as Charles Muntz, -
A N N U a L Report 2015/16
2 0 1 5 / 1 a 6 n n u a l R e t p r o The Royal Manitoba Theatre Centre’s John Hirsch Mainstage. PHOTO BY JERRY GRAJEWSKI Inset: John Hirsch and Tom Hendry. Mandate It is the aim of the Royal Manitoba Theatre Centre to study, practice and promote all aspects of the dramatic art, with particular emphasis on professional production. Mission The Royal Manitoba Theatre Centre exists to celebrate the widest spectrum of theatre art. Deeply rooted in the province of Manitoba, which gave it life and provides for its growth, Royal MTC aspires to both ABOUT ROYAL MTC reflect and engage the community it serves. When the Winnipeg Little Theatre and Theatre 77 merged to form Vision the Manitoba Theatre Centre in 1958, the goal was to produce great Royal MTC’s theatres and our province will theatre with mass appeal. Artistic Director John Hirsch and General teem with artists and audiences sharing in the act of imagining, enriching lives Manager Tom Hendry staged professional productions of an eclectic and communities. array of plays – classics, Broadway hits and new Canadian work. With the establishment of a second stage for experimental work in 1960, Values and an annual provincial tour that began in 1961, MTC fully realized Quality the original vision of a centre for theatre in Manitoba. Inspired by the A commitment to quality is reflected in the breadth and quality of MTC’s programming, a whole network of what writing of each play, in the actors, directors became known as “regional theatres” emerged across North America. -
Shakespeare on Film, Video & Stage
William Shakespeare on Film, Video and Stage Titles in bold red font with an asterisk (*) represent the crème de la crème – first choice titles in each category. These are the titles you’ll probably want to explore first. Titles in bold black font are the second- tier – outstanding films that are the next level of artistry and craftsmanship. Once you have experienced the top tier, these are where you should go next. They may not represent the highest achievement in each genre, but they are definitely a cut above the rest. Finally, the titles which are in a regular black font constitute the rest of the films within the genre. I would be the first to admit that some of these may actually be worthy of being “ranked” more highly, but it is a ridiculously subjective matter. Bibliography Shakespeare on Silent Film Robert Hamilton Ball, Theatre Arts Books, 1968. (Reissued by Routledge, 2016.) Shakespeare and the Film Roger Manvell, Praeger, 1971. Shakespeare on Film Jack J. Jorgens, Indiana University Press, 1977. Shakespeare on Television: An Anthology of Essays and Reviews J.C. Bulman, H.R. Coursen, eds., UPNE, 1988. The BBC Shakespeare Plays: Making the Televised Canon Susan Willis, The University of North Carolina Press, 1991. Shakespeare on Screen: An International Filmography and Videography Kenneth S. Rothwell, Neil Schuman Pub., 1991. Still in Movement: Shakespeare on Screen Lorne M. Buchman, Oxford University Press, 1991. Shakespeare Observed: Studies in Performance on Stage and Screen Samuel Crowl, Ohio University Press, 1992. Shakespeare and the Moving Image: The Plays on Film and Television Anthony Davies & Stanley Wells, eds., Cambridge University Press, 1994. -
Classics (345Kb)
Ethan McSweeny /Selected Press – Classics 01.18 “Ethan McSweeny seems to have a Midas touch. It’s not that the plays he directs turn into gold but they do sail across the footlights with a vibrant, magnetic sheen… The wunderkind director who made his Broadway debut before some directors finish graduate school, is earning plaudits for a flurry of new productions…Throughout his career, McSweeny has moved from classics to contemporary dramas to premieres with ease…His scrupulous attention to the melding of design, pacing, and performance and facility with which he presents them, feels crisp, vibrant, and cinematic.” Jaime Kleiman, American Theatre “McSweeny is revealing himself to be the kind of directorial prodigy we read about in biographies of such auteurs as Robert Wilson and Peter Sellers. Except that he does not impose a vision or conceit on a play; he amplifies themes in the work.” Rohan Preston, Minneapolis Star Tribune “McSweeny is not only one of our most successful theatre directors, but equally one of our most important, and for a man who zoomed a few years ago past 40, he continues to sport the aura of a modern Boy Wonder — an Orson Welles with much more in his future than commercials for Paul Masson … It’s not just that he is — as Peter Marks characterized him in his Washington Post review of The Tempest — a “classical imagist,” although he does possess that rare mixture of deep affinity for text and a fanciful eye. He has proven to be fluid in his choices, negotiating between the classical and the edgy-new. -
Manifest Destiny
AL5298Po 5/29/07 2:04 PM Page 1 AN HBO FILMS MOVIE EVENT AIDAN ADAM AUGUST ANNA QUINN BEACH SCHELLENBERG PAQUIN WE WILL BE KNOWN FOREVER BY THE TRACKS WE LEAVE BEHIND. BASED ON THE ACCLAIMED BESTSELLER ® PRESENTS A WOLF FILMS/TRAVELER’S REST FILMS PRODUCTION ‘‘BURY MY HEART AT WOUNDED KNEE’’ AIDAN QUINN ADAM BEACH AUGUST SCHELLENBERG ERIC SCHWEIG J.K. SIMMONS WES STUDI COLM FEORE GORDON TOOTOOSIS AND ANNA PAQUIN CASTING BY RENE HAYNES,CSA MUSIC SUPERVISOR EVYEN J KLEAN MUSIC BY GEORGE S. CLINTON PRODUCTION DESIGNER IAN THOMAS EDITORS MICHAEL ORNSTEIN, A.C.E., MICHAEL BROWN, A.C.E. DIRECTOR OF PHOTOGRAPHY DAVID FRANCO PRODUCED BY CLARA GEORGE EXECUTIVE PRODUCERS TOM THAYER DICK WOLF BASED ON THE BOOK BY DEE ALEXANDER BROWN SCREENPLAY BY DANIEL GIAT DIRECTED BY YVES SIMONEAU ©2007 Home Box Office, Inc. All rights reserved. HBO® is a service mark of Home Box Office, Inc. AL5692tx:AL5692tx 8/24/07 3:21 PM Page 1 T EACHER’ S G UIDE ANOTHER FREE EDUCATIONAL PROGRAM FROM YOUNG MINDS INSPIRED Bury My Heart at Wounded Knee / HBO WHO SHOULD ACTIVITY 1 ESOURCES USE THIS PROGRAM MANIFEST DESTINY – THEN & NOW R This program has been designed Photocopy this list of resources to help students CURRICULUM CONNECTION: This activity examines the role of manifest destiny in for high school and college U.S. with their research. History classes. Please share it the 19th-century displacement of American Indians and in subsequent U.S. domestic and Dear Educator: with other teachers as foreign policy. BOOKS appropriate. Review the material on the activity sheet detailing the role of manifest destiny – the ✜ Bury My Heart at Wounded Knee: An Indian History of The heartrending story of the U.S. -
1778-EQ Fall 13 MAG.Indd
EQUITY QUARTERLY FALL 2013 THE BALLET EVOLUTION NEW BALLET CERTIFICATION EQ LIVE MEETS RECORDED Join the Dance A New Dance Partner IT TAKES INCREDIBLE GRACE AND ATHLETICISM TO BE A PROFESSIONAL DANCER. AND NOW EQUITY WILL HELP ENSURE THE DANCERS OF LES GRANDS BALLETS CANADIENS DE MONTRÉAL RECEIVE THE COMPENSATION THEY DESERVE, AND THE WORKING CONDITIONS THEY NEED. LIKE THE MEMBERS OF ALBERTA BALLET, THE ROYAL WINNIPEG BALLET AND THE NATIONAL BALLET OF CANADA, THESE DANCERS WILL BE ABLE to FocuS on thEir artiStry – and CONTINUE TO BRING THE ELEGANCE OF THE PAST TOGETHER WITH FANTASTIC VISIONS OF THE FUTURE. WE LOOK FORWARD TO THEIR STORIES OF PRINCES AND PRINCESSES AND SWANS AND NUTCRACKERS, AND TO SEE HOW THEY ARE CAPTURING NEW AUDIENCES WHILE ENTHRALLING DEVOTED FANS. EQUITY QUARTERLY FALL 2013 VOLUME 7 NUMBER 2 EQ 6 Taking the art in 2 PRESIDENT’S MESSAGE new directions 3 NOTES FROM ARDEN R. RYSHPAN 4 LETTERS TO THE EDITOR 8 The journey to 5 EQ MOVES certification 17 EQ VOICES 18 FONDLY REMEMBERED 14 The ballet 20 EQ&A evolution 21 EQ BACKSTAGE Equity members can submit letters to the editor via email at [email protected]. The deadline for Coming issue: WINTER/SPRING 2014 EQ submissions is Monday, November 11, 2013. EQ reserves the right to edit for length, style and content. Subscriptions are available at an annual rate of $35, including GST. EQ Equity Quarterly (ISSN 1913-2190) is a forum to discuss issues of interest to members concerning their Publications Mail Agreement No. 40038615 FALL 2013 – Volume 7, Number 2 craft, developments in the industry, Equity’s role in the workplace, and the important position live performance EQ is published four times a year by Canadian Actors’ Equity association. -
Seana Mckenna to Star in Canadian Premiere of Joan Didion’S the Year of Magical Thinking
NEWS RELEASE Monday, October 19, 2009 For immediate release SEANA MCKENNA TO STAR IN CANADIAN PREMIERE OF JOAN DIDION’S THE YEAR OF MAGICAL THINKING "Remarkable. It will break your heart." The New York Times October 19, 2009 - Seana McKenna, one of this country’s finest actors, will star in the Canadian premiere of Joan Didion’s The Year of Magical Thinking at the Belfry Theatre from November 10 to December 13, 2009. Directed by Belfry Artistic Director Michael Shamata, The Year of Magical Thinking is based on Didion’s best selling memoir of the same name. In The Year of Magical Thinking, Didion, one of America’s great essayists and novelists, captures the compassion, humour and bewilderment of a fiercely intelligent woman whose world lurches suddenly from the ordinary to the unimaginable. This is Didion’s attempt to make sense of the “weeks and then months that cut loose any fixed idea I ever had about death, about illness . about marriage and children and memory . about the shallowness of sanity, about life itself.” Told with raw candour and a storyteller’s gift for the absurd, this magnificently written meditation on grief – ‘a place none of us know until we reach it’ – is also a celebration of family, filled with a luminous belief in the power of the human spirit to overcome heartbreak and to endure. Joan Didion Joan Didion was born in Sacramento, California. In 1964, she married John Gregory Dunne, an aspiring novelist who was writing for Time magazine. The couple moved to Los Angeles with the intention of staying six months and ended up making their home there for the next 20 years. -
Native Showcase 2004 Program
Native Cinema Showcase August 18 - 24, 2004 1050 Old Pecos Trail • Santa Fe, New Mexico • 505 982 1338 ON THE CORNER (2003, 90 min.) Canada. Director: Nathaniel Geary. Actors: THE NATIVE CINEMA SHOWCASE Alex Rice (Mohawk) and Simon Baker (Cree). is an international film and video festival held during Indian Named the best Canadian film by the critics at the 2003 Toronto Market to celebrate the creativity of Native cinema today. International Film Festival, On the Corner is a raw, true-to-life This yearʼs showcase features Native stories and peoples from view of Native people living on the mean streets of Vancouverʼs Australia, Brazil, Canada, Mexico, New Zealand, the Siberian Downtown Eastside. Angel, supporting her heroin addiction by Arctic, and the United States. Produced by the Smithsonian working as a prostitute, tries to turn her life around when she sees National Museum of the American Indian and the Center for Black Cloud her teenage brother sinking into the same black hole thatʼs consum- Contemporary Arts of Santa Fe, the showcase exhibits preemi- ing her. Compelling performances bring to life the ravages of this nent contemporary Native cinema to the northern New Mexico unforgiving world, as well as the humanity and courage of those community and national and international visitors who come to who are caught in it. Santa Fe for Indian Market. A THIEF OF TIME (2003, 94 min.) U.S. Director: Chris Eyre (Cheyenne/Arapaho). THE COMPLETE PROGRAM Executive Producers: Robert Redford and Rebecca Eaton. Producer: Craig McNeil BLACK CLOUD (2004, 97 min.,) U.S. Director and writer: Rick Schroder. -
2016 Study Guide
2016 STUDY ProductionGUIDE Sponsor 2016 STUDY GUIDE EDUCATION PROGRAM PARTNER BREATH OF KINGS: REBELLION | REDEMPTION BY WILLIAM SHAKESPEARE CONCEIVED AND ADAPTED BY GRAHAM ABBEY WORLD PREMIÈRE COMMISSIONED BY THE STRATFORD FESTIVAL DIRECTORS MITCHELL CUSHMAN AND WEYNI MENGESHA TOOLS FOR TEACHERS sponsored by PRODUCTION SUPPORT is generously provided by The Brian Linehan Charitable Foundation and by Martie & Bob Sachs INDIVIDUAL THEATRE SPONSORS Support for the 2016 Support for the 2016 Support for the 2016 Support for the 2016 season of the Festival season of the Avon season of the Tom season of the Studio Theatre is generously Theatre is generously Patterson Theatre is Theatre is generously provided by provided by the generously provided by provided by Claire & Daniel Birmingham family Richard Rooney & Sandra & Jim Pitblado Bernstein Laura Dinner CORPORATE THEATRE PARTNER Sponsor for the 2016 season of the Tom Patterson Theatre Cover: From left: Graham Abbey, Tom Rooney, Araya Mengesha, Geraint Wyn Davies.. Photography by Don Dixon. Table of Contents The Place The Stratford Festival Story ........................................................................................ 1 The Play The Playwright: William Shakespeare ........................................................................ 3 A Shakespearean Timeline ......................................................................................... 4 Plot Synopsis .............................................................................................................. -
Season Sponsor Supporting the Arts, Locally
THE BOY IN THE MOON season sponsor Supporting the arts, locally. WELCOME This production comes to us from Crow’s admiring the courage to tell a story truth- Theatre in Toronto. I am always fascinated fully. This play is a fine example of sharing by how stories can take many forms and be the ultimate paradox of life — joy through told in many ways. When I first heard about pain and pain through joy, one moment tears this play, I wondered how the writings of and the next moment laughter. While the The Globe and Mail journalist and author Ian story of the Brown family is unique, its heart Brown would move into the words of a play remains familiar in our inexplicable power by playwright Emil Sher, and then float into to love these people with whom we have been the hands of one of our most admired direc- fated to share our lives. tors, Chris Abraham. To take this curiosity As this play spread into my heart it affirmed further, Crow’s Theatre attracted a sublime so many things to me — be honest and dare acting company and creative team to tell the to let the power of love overtake you, no story on an intimate stage. matter how painful. I am beyond thrilled that Each year, through various donations When I first saw this production last year, Crow’s Theatre has brought its production to and sponsorships, we are committed I was overwhelmed. I remember a feeling I the Grand. to helping our local communities. don’t often have in the theatre — the feeling that I was holding my breath throughout — Welcome.