Slaughter on Tenth Avenue Stravinsky Violin Concerto Mercuric Tidings
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Miami City Ballet Presents 2021 Spring Season
FOR IMMEDIATE RELEASE CONTACT MIAMI CITY BALLET Amber Dorsky [email protected] | 305.929.7000 x7189 Julii Oh [email protected] Miami City Ballet presents 2021 Spring Season: To Miami, With Love A series of pop-up performances throughout the Magic City Digital Season Features world premiere by Amy Hall Garner and the digital premiere of A Midsummer Night’s Dream On sale February 9, 2021 (Miami, FL) – Miami City Ballet (MCB) is pleased to present its 2021 Spring Season. Dedicated as a love letter to the community, the 35th anniversary season offers a series of seven pop-up performances running Jan 30 to Feb 21, 2021 that celebrate the vibrant neighborhoods and iconic destinations that put the magic into this global City we call home. Supported in partnership with numerous business and civic leaders, these ephemeral To Miami, With Love pop-ups are choreographed and performed by MCB company dancers. Each headlining work is site specific, inspired by the surrounding environment and the unique cultural tapestry of the location. MCB will also offer a Digital Spring Season running March through May 2021, featuring three illustrious programs that portray the company’s youthful and uniquely Miamian spirit. It is bookended with the world premiere of ViVa by Amy Hall Garner (which was filmed on location at Miami Beach’s famed Lincoln Road, MCB’s first home, and at The Taylor Studios in Manhattan’s vibrant Lower East Side) and the digital premiere of George Balanchine’s A Midsummer Night’s Dream – signature MCB work, set in an ethereal South Florida seascape as designed by acclaimed artist Michele Oka Doner. -
Hello! My Baby Student Guide.Pdf
Goodspeed’s Student Guide to the Theatre is made possible through the generosity of GOODSPEED MUSICALS GOODSPEED GUIDE TO THE THEATRE Student The Max Showalter Center for Education in Musical Theatre HELLO! MY BABY The Norma Terris Theatre November 3 - 27, 2011 _________ CONCEIVED & WRITTEN BY CHERI STEINKELLNER NEW LYRICS BY CHERI STEINKELLNER Student Guide to the Theatre TABLE OF CONTENTS NEW MUSIC & ARRANGEMENTS BY GEORGIA STITT ABOUT THE SHOW: The Story...................………………………………………….3 LIGHTING DESIGN BY JOHN LASITER ABOUT THE SHOW: The Characters...........................……………………………5 ABOUT THE SHOW: The Writers....................…..…………………………………...6 COSTUME DESIGN BY ROBIN L. McGEE Listen Up: Tin Pan Alley Tunes................………………………………................7 SCENIC DESIGN BY A Few Composers + Lyricists..............................……………………………….....8 MICHAEL SCHWEIKARDT Welcome to the Alley!...............…………………………………………………...10 CHOREOGRAPHED BY Breaking into the Boys Club......…………………………………………………...11 KELLI BARCLAY New York City..............................…………………………………………………...12 DIRECTED BY RAY RODERICK FUN AND GAMES: Word Search........................................................................13 FUN AND GAMES: Crossword Puzzle….……………………………...................14 PRODUCED FOR GOODSPEED MUSICALS BY How To Be An Awesome Audience Member…………………......................15 MICHAEL P. PRICE The Student Guide to the Theatre for Hello! My Baby was prepared by Joshua S. Ritter M.F.A, Education & Library Director and Christine Hopkins, -
Miami City Ballet Premieres Jerome Robbins' I'm Old
December 26, 2019 FOR IMMEDIATE RELEASE CONTACT Diana Delgado, WOW MKTG [email protected] | 305.273.8373 ext. 205 Amber Dorsky, Miami City Ballet [email protected] | 305.929.7000 ext. 7189 MIAMI CITY BALLET PREMIERES JEROME ROBBINS’ I’M OLD FASHIONED Featuring FRED ASTAIRE AND RITA HAYWORTH Plus, the company premiere of Christopher Wheeldon’s This Bitter Earth Jan. 10 - 26, 2019 Miami, Fort Lauderdale, and West Palm Beach MIAMI – Miami City Ballet’s second program of the season, I’m Old Fashioned promises to sweep audiences away when it opens at Miami’s Arsht Center on Friday, January 10th. The program brims with four visually stunning ballets, including two highly anticipated company premieres – Jerome Robbins’ brilliant cinematic tribute to Fred Astaire and Rita Hayworth, I’m Old Fashioned and Christopher Wheeldon’s evocative This Bitter Earth. Rounding out the program is George Balanchine’s fan favorite Tschaikovsky Pas de Deux and Alexei Ratmansky’s breathtaking Symphonic Dances. Evening and matinee performances take place in Miami Jan. 10 - 12, West Palm Beach Jan. 17-19, and Fort Lauderdale Jan. 25-26. The company’s premiere of Jerome Robbins’ I’m Old Fashioned headlines the first performance of 2020 and features a unique pairing -- bridging the Silver Screen with today’s modern era. It premiered to standing ovations in 1983, with the New York Times calling the innovative piece, “a complex, brilliant idea.” The ballet opens with a huge screen playing an excerpt from the Fred Astaire, Rita Hayworth film, You Were Never Lovelier. Set to Morton Gould’s musical adaptation of a theme by Jerome Kern, Astaire and Hayworth engage in a sweeping ballroom waltz while MCB dancers join them on stage. -
October 2007 Volume 61, Number 3
AAOfficiaGlG PublicaMtMion of theAA AmericZaZn GuilIdI of MNuNsical ArEtEists A Branch of the Associated Actors and Artistes of America • Affiliated with the AFL-CIO October 2007 Volume 61, Number 3 E XECUTIVE D IRECTOR’S I N T H I S EPORT BY ALAN S. G ORDON R I S S U E President’s Message 2 State of the Union Election Results When I began working for you in early 2000, I created, with your elected offi - Officers 4 cers, a list of goals for myself and for AGMA. Many of those initial goals were Board of Governors 4 accomplished quickly, while others took significant amounts of time and effort. Over the years, I have submitted reports to the Board of Governors to keep it fully AGMA Member Wins informed of the ways in which AGMA’s staff was improving the administrative Union Plus Scholarship 6 operation of your union. Despite continuing successes every year, in every Classical Singer Convention 7 sphere of AGMA’s interests, and tremendous expansion of our representation of dancers, I had one initial goal that frustratingly remained unresolved: assisting the Area News dancers of American Ballet Theater (ABT). Pittsburgh 8 Now, however, I am most pleased to report on that one remaining goal. AGMA Southern California 8 has been asked to assist the dancers’ independent union in renegotiating its con - tract with ABT, after which it is our shared expectation that those dancers will rejoin New York 9 our union. Washington/Baltimore 10 As with any organization, successfully achieving any one goal usually creates new projects, and that’s true for AGMA as well. -
Qurrat Ann Kadwani: Still Calling Her Q!
1 More Next Blog» Create Blog Sign In InfiniteBody art and creative consciousness by Eva Yaa Asantewaa Tuesday, May 6, 2014 Your Host Qurrat Ann Kadwani: Still calling her Q! Eva Yaa Asantewaa Follow View my complete profile My Pages Home About Eva Yaa Asantewaa Getting to know Eva (interview) Qurrat Ann Kadwani Eva's Tarot site (photo Bolti Studios) Interview on Tarot Talk Contact Eva Name Email * Message * Send Contribute to InfiniteBody Subscribe to IB's feed Click to subscribe to InfiniteBody RSS Get InfiniteBody by Email Talented and personable Qurrat Ann Kadwani (whose solo show, They Call Me Q!, I wrote about Email address... Submit here) is back and, I hope, every bit as "wicked smart and genuinely funny" as I observed back in September. Now she's bringing the show to the Off Broadway St. Luke's Theatre , May 19-June 4, Mondays at 7pm and Wednesdays at 8pm. THEY CALL ME Q is the story of an Indian girl growing up in the Boogie Down Bronx who gracefully seeks balance between the cultural pressures brought forth by her traditional InfiniteBody Archive parents and wanting acceptance into her new culture. Along the journey, Qurrat Ann Kadwani transforms into 13 characters that have shaped her life including her parents, ► 2015 (222) Caucasian teachers, Puerto Rican classmates, and African-American friends. Laden with ▼ 2014 (648) heart and abundant humor, THEY CALL ME Q speaks to the universal search for identity ► December (55) experienced by immigrants of all nationalities. ► November (55) Program, schedule and ticket information ► October (56) ► September (42) St. -
MIAMI CITY BALLET ANNOUNCES SOCIAL EVENTS of the 30Th ANNIVERSARY SEASON MCB's 30TH Anniversary Gala to Be S
Media Contact: Samantha Franco Zakarin Martinez Public Relations samantha@zm‐pr.com 305.372.2502 MIAMI CITY BALLET ANNOUNCES SOCIAL EVENTS OF THE 30th ANNIVERSARY SEASON MCB’s 30TH Anniversary Gala to be set on the Sands of Miami Beach MIAMI BEACH, Fla. – (July 14, 2015) – Set on the sands of Miami Beach’s scenic shoreline, Miami City Ballet will present its landmark 30th Anniversary Gala on Saturday, January 23, 2016 celebrating three decades of artistic leadership and community impact, and featuring elements of the company’s highly anticipated, all‐new production of George Balanchine’s A Midsummer Night’s Dream. Inspired by the idea of Shakespeare’s midsummer forest transposed onto Miami’s ocean floor, this black‐tie affair will unfold directly on the beach, housed beneath a tent overlooking the water. The evening begins at 5:30 pm for sunset cocktails and breathtaking views, followed by a tented dinner under the stars; dessert and dancing with the 51 Miami City Ballet dancers; and an exclusive after party under the moonlight. Presented in partnership with the City of Miami Beach, the signature event is made possible by an esteemed chairing committee, including Grand Honorary Chairs Claudia and Steven Perles, who recently gifted MCB with $1 Million for the new production of A Midsummer Night’s Dream; Susan B. Kronick, Chairman of MCB’s Board of Trustees and Edward Manno Shumsky; Ana Codina Barlick, Vice Chairman of MCB’s Board of Trustees and Robert Barlick; Tina Carlo, Chair of the Partners en Pointe Committee and Dan Carlo; and Michele and Larry Herbert, Palm Beach Committee Chairs, among many other notable Miami, Palm Beach and New York philanthropists. -
Miami City Ballet 37
Miami City Ballet 37 MIAMI CITY BALLET Charleston Gaillard Center May 26, 2:00pm and 8:00pm; Martha and John M. Rivers May 27, 2:00pm Performance Hall Artistic Director Lourdes Lopez Conductor Gary Sheldon Piano Ciro Fodere and Francisco Rennó Spoleto Festival USA Orchestra 2 hours | Performed with two intermissions Walpurgisnacht Ballet (1980) Choreography George Balanchine © The George Balanchine Trust Music Charles Gounod Staging Ben Huys Costume Design Karinska Lighting Design John Hall Dancers Katia Carranza, Renato Penteado, Nathalia Arja Emily Bromberg, Ashley Knox Maya Collins, Samantha Hope Galler, Jordan-Elizabeth Long, Nicole Stalker Alaina Andersen, Julia Cinquemani, Mayumi Enokibara, Ellen Grocki, Petra Love, Suzette Logue, Grace Mullins, Lexie Overholt, Leanna Rinaldi, Helen Ruiz, Alyssa Schroeder, Christie Sciturro, Raechel Sparreo, Christina Spigner, Ella Titus, Ao Wang Pause Carousel Pas de Deux (1994) Choreography Sir Kenneth MacMillan Music Richard Rodgers, Arranged and Orchestrated by Martin Yates Staging Stacy Caddell Costume Design Bob Crowley Lighting Design John Hall Dancers Jennifer Lauren, Chase Swatosh Intermission Program continues on next page 38 Miami City Ballet Concerto DSCH (2008) Choreography Alexei Ratmansky Music Dmitri Shostakovich Staging Tatiana and Alexei Ratmansky Costume Design Holly Hynes Lighting Design Mark Stanley Dancers Simone Messmer, Nathalia Arja, Renan Cerdeiro, Chase Swatosh, Kleber Rebello Emily Bromberg and Didier Bramaz Lauren Fadeley and Shimon Ito Ashley Knox and Ariel Rose Samantha -
David Justin CV 2014 Pennsylvania Ballet
David Justin 4603 Charles Ave Austin TX 787846 Tel: 512-576-2609 Email: [email protected] Web site: http://www.davidjustin.net CURRICULUM VITAE ACADEMIC EDUCATION • University of Birmingham, United Kingdom, Master of Arts in Dance in Education and the Community, May 2000. Thesis: Exploring the collaboration of imagination, creativity, technique and people across art forms, Advisor: Tansin Benn • Royal Academy of Dramatic Arts, Edward Kemp, Artistic Director, London, United Kingdom, 2003. Certificate, 285 hours training, ‘Acting Shakespeare.’ • International Dance Course for Professional Choreographers and Composers, Robert Cohen, Director, Bretton College, United Kingdom, 1996, full scholarship DANCE EDUCATION • School of American Ballet, 1987, full scholarship • San Francisco Ballet School, 1986, full scholarship • Ballet West Summer Program, 1985, full scholarship • Dallas Metropolitan Ballet School, 1975 – 1985, full scholarship PROFESSIONAL EXPERIENCE Choreographer, 1991 to present See full list of choreographic works beginning on page 6. Artistic Director, American Repertory Ensemble, Founder and Artistic Director, 2005 to present $125,000 annual budget, 21 contract employees, 9 board members11 principal dancers from the major companies in the US, 7 chamber musicians, 16 performances a year. McCullough Theater, Austin, TX; Florence Gould Hall, New York, NY; Demarco Roxy Art House, Edinburgh, Scotland; Montenegrin National Theatre, Podgorica, Montenegro; Miller Outdoor Theatre, Houston, TX, Long Center for the Performing Arts, -
Copyrighted Material
335 Index a “After You Get What You Want, You “Aba Daba Honeymoon” 151 Don’t Want It” 167 ABBA 313 Against All Odds (1984) 300 Abbott and Costello Meet Frankenstein “Age of Not Believing, The” 257 (1948) 155 Aguilera, Christina 323, 326 Abbott, Bud 98–101, 105, 109, 115 “Ah Still Suits Me” 87 ABC 229–230 “Ah, Sweet Mystery of Life” 78 Abdul, Paula 291 AIDS 317–318 About Face (1953) 151 “Ain’t There Anyone Here for “Abraham” 110–111 Love?” 170 Absolute Beginners (1986) 299 Aladdin (1958) 181 Academy Awards 46, 59, 73–74, 78, 82, Aladdin (1992) 309–310, 312, 318, 330 89, 101, 103, 107, 126, 128, 136, 140, Aladdin II, The Return of Jafar 142, 148–149, 151, 159, 166, 170, 189, (1994) 309 194, 200, 230, 232–233, 238, 242, 263, Alamo, The (1960) 187 267, 271, 282, 284, 286, 299, 308–309, Alexander’s Ragtime Band (1938) 83, 319, 320–321 85–88 Ackroyd, Dan 289 Alice in Wonderland (1951) 148 Adler, Richard 148 Alice in Wonderland: An X‐Rated Admiral Broadway Revue (1949) 180 Musical Fantasy (1976) 269 Adorable (1933) 69 All‐Colored Vaudeville Show, An Adventures of Priscilla, Queen of the (1935) 88 Desert, The (1994) 319 “All God’s Chillun Got Rhythm” 88–89 African AmericansCOPYRIGHTED 13–17, 21, 24, 28, 40, All New MATERIAL Mickey Mouse Club, The 43, 54–55, 78, 87–89, 109–111, 132, (1989–94) 326 163–164, 193–194, 202–203, 205–209, “All Out for Freedom” 102 213–216, 219, 226, 229, 235, 237, All‐Star Revue (1951–53) 179 242–243, 258, 261, 284, 286–287, 289, All That Jazz (1979) 271–272, 292, 309, 293–295, 314–315, 317–319 320, 322 “After the Ball” 22 “All You Need Is Love” 244 Free and Easy? A Defining History of the American Film Musical Genre, First Edition. -
Marketing Manager
Miami City Ballet’s mission is to produce and present the highest level of dance performances throughout Florida, the United States and abroad, train young aspiring dancers, and develop Miami City Ballet School into a leader of dance education. MARKETING MANAGER • Full time, exempt • Usual work hours are 9 – 5.30pm • Based in Miami Beach ABOUT MIAMI CITY BALLET Miami City Ballet’s (MCB) mission is to transform lives through the passion of dance. Now in its 34th season, the company has grown to 53 dancers and has a repertoire of more than 100 ballets. As one the country’s premier ballet companies, Miami City Ballet performs for over 100,000 patrons annually during its South Florida home season in Miami, Fort Lauderdale, West Palm Beach, and Naples. The company also tours domestically and internationally. Miami City Ballet opens its 2019/20 season in October 2019. The new season is full of cinematic, magical experiences and a number of company premieres. Each of the four programs showcases the vibrancy and world-class artistry of Miami City Ballet, plus the dazzling spectacle of George Balanchine’s The Nutcracker that has become a cherished holiday tradition for South Floridians. Miami City Ballet (MCB) is led by Artistic Director Lourdes Lopez and is considered a leader in the field – nurturing new choreographic voices, creating innovative collaborations and opening new avenues of inclusivity within classical ballet. Founded in 1985 by Miami philanthropist Toby Lerner Ansin and Founding Artistic Director and ballet legend Edward Villella, MCB is universally admired as one of the world’s preeminent interpreters of the choreography of George Balanchine. -
MIAMI CITY BALLET PRESENTS a DANCE for HEROES Inspired by and Dedicated to First Responders and Essential Workers Friday, May 8 at 8Pm
April 29, 2020 FOR IMMEDIATE RELEASE CONTACT Amber Dorsky, Miami City Ballet [email protected] | 305.929.7000 x1798 Julii Oh, Miami City Ballet [email protected] | 305.929.7000 x1600 MIAMI CITY BALLET PRESENTS A DANCE FOR HEROES Inspired by and dedicated to first responders and essential workers Friday, May 8 at 8pm Miami, FL – Miami City Ballet (MCB) will present the world premiere of A Dance for Heroes on the company’s Facebook page Friday, May 8, 2020 at 8:00pm EST. MCB Artistic Director Lourdes Lopez personally commissioned the new work inspired by and dedicated to the first responders and essential workers that have worked with uncompromising courage and grace throughout the COVID-19 pandemic. Artistic Director Lourdes Lopez tapped 24-year-old choreographer, Durante Verzola, to create A Dance for Heroes as a tribute to the frontline workers who are making unimaginable sacrifices. She says, “We have watched in awe, as our first responders, nurses, doctors, fire rescue departments, mail carriers, grocery store clerks, janitors, and countless essential workers perform incredible acts of courage. They have shown us what grace, bravery and dedication truly look like. We want to honor them and to thank them for all they are doing. Dance, at its core, is a celebration of life, vitality, resiliency and beauty of the human spirit. This is our way to celebrate and acknowledge the very community members that have supported us throughout the years. All of us at MCB are here for them just as they have been here for us.” Durante Verzola adds, “I really wanted to show the dancers being very generous with all of their movements, holding nothing back, and taking risks, just as all of our essential workers are during this time. -
Race, Nation, and Popular Culture in Cuban New York City and Miami, 1940-1960
Authentic Assertions, Commercial Concessions: Race, Nation, and Popular Culture in Cuban New York City and Miami, 1940-1960 by Christina D. Abreu A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (American Culture) in The University of Michigan 2012 Doctoral Committee: Associate Professor Jesse Hoffnung-Garskof Associate Professor Richard Turits Associate Professor Yeidy Rivero Associate Professor Anthony P. Mora © Christina D. Abreu 2012 For my parents. ii Acknowledgments Not a single word of this dissertation would have made it to paper without the support of an incredible community of teachers, mentors, colleagues, and friends at the University of Michigan. I am forever grateful to my dissertation committee: Jesse Hoffnung-Garskof, Richard Turits, Yeidy Rivero, and Anthony Mora. Jesse, your careful and critical reading of my chapters challenged me to think more critically and to write with more precision and clarity. From very early on, you treated me as a peer and have always helped put things – from preliminary exams and research plans to the ups and downs of the job market – in perspective. Your advice and example has made me a better writer and a better historian, and for that I thank you. Richard, your confidence in my work has been a constant source of encouragement. Thank you for helping me to realize that I had something important to say. Yeidy, your willingness to join my dissertation committee before you even arrived on campus says a great deal about your intellectual generosity. ¡Mil Gracias! Anthony, watching you in the classroom and interact with students offered me an opportunity to see a great teacher in action.