Climb High : Sondheim at the Gateway to His Career
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February 7, 2021
VILLANOVA THEATRE PRESENTS STREAMING JANUARY 28 - FEBRUARY 7, 2021 About Villanova University Since 1842, Villanova University’s Augustinian Catholic intellectual tradition has been the cornerstone of an academic community in which students learn to think critically, act compassionately and succeed while serving others. There are more than 10,000 undergraduate, graduate and law students in the University’s six colleges – the College of Liberal Arts and Sciences, the Villanova School of Business, the College of Engineering, the M. Louise Fitzpatrick College of Nursing, the College of Professional Studies and the Villanova University School of Law. As students grow intellectually, Villanova prepares them to become ethical leaders who create positive change everywhere life takes them. In Gratitude The faculty, staff and students of Villanova Theatre extend sincere gratitude to those generous benefactors who have established endowed funds in support of our efforts: Marianne M. and Charles P. Connolly Jr. ’70 Dorothy Ann and Bernard A. Coyne, Ph.D. ̓55 Patricia M. ’78 and Joseph C. Franzetti ’78 The Donald R. Kurz Family Peter J. Lavezzoli ’60 Patricia A. Maskinas Msgr. Joseph F. X. McCahon ’65 Mary Anne C. Morgan ̓70 and Family & Friends of Brian G. Morgan ̓67, ̓70 Anthony T. Ponturo ’74 Eric J. Schaeffer and Susan Trimble Schaeffer ’78 The Thomas and Tracey Gravina Foundation For information about how you can support the Theatre Department, please contact Heather Potts-Brown, Director of Annual Giving, at (610) 519-4583. gratefully acknowledges the generous support of our many patrons & subscribers. We wish to offer special thanks to our donors. 20-21 Benefactors A Running Friend William R. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Doing the Time Warp: Queer Temporalities and Musical Theater Permalink https://escholarship.org/uc/item/1k1860wx Author Ellis, Sarah Taylor Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Doing the Time Warp: Queer Temporalities and Musical Theater A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Theater and Performance Studies by Sarah Taylor Ellis 2013 ABSTRACT OF THE DISSERTATION Doing the Time Warp: Queer Temporalities and Musical Theater by Sarah Taylor Ellis Doctor of Philosophy in Theater and Performance Studies University of California, Los Angeles, 2013 Professor Sue-Ellen Case, Co-chair Professor Raymond Knapp, Co-chair This dissertation explores queer processes of identification with the genre of musical theater. I examine how song and dance – sites of aesthetic difference within the musical – can warp time and enable marginalized and semi-marginalized fans to imagine different ways of being in the world. Musical numbers can complicate a linear, developmental plot by accelerating and decelerating time, foregrounding repetition and circularity, bringing the past to life and projecting into the future, and physicalizing dreams in a narratively open present. These excesses have the potential to contest naturalized constructions of historical, progressive time, as well as concordant constructions of gender, sexual, and racial identities. While the musical has historically been a rich source of identification for the stereotypical white gay male show queen, this project validates a broad and flexible range of non-normative readings. -
KEVIN COLE “America's Pianist” Kevin Cole Has Delighted
KEVIN COLE “America’s Pianist” Kevin Cole has delighted audiences with a repertoire that includes the best of American Music. Cole’s performances have prompted accolades from some of the foremost critics in America. "A piano genius...he reveals an understanding of harmony, rhythmic complexity and pure show-biz virtuosity that would have had Vladimir Horowitz smiling with envy," wrote critic Andrew Patner. On Cole’s affinity for Gershwin: “When Cole sits down at the piano, you would swear Gershwin himself was at work… Cole stands as the best Gershwin pianist in America today,” Howard Reich, arts critic for the Chicago Tribune. Engagements for Cole include: sold-out performances with the Los Angeles Philharmonic at the Hollywood Bowl; BBC Concert Orchestra at Royal Albert Hall; National Symphony at the Kennedy Center; Hong Kong Philharmonic; San Francisco Symphony, Chicago Symphony, Philadelphia Orchestra, Philharmonia Orchestra (London); Boston Philharmonic, Adelaide Symphony Orchestra (Australia) Minnesota Orchestra, Pittsburgh Symphony, Dallas Symphony, Seattle Symphony,Vietnam National Symphony Orchestra; New Zealand Symphony, Edmonton Symphony (Canada), Ravinia Festival, Wolf Trap, Savannah Music Festival, Castleton Festival, Chautauqua Institute and many others. He made his Carnegie Hall debut with the Albany Symphony in May 2013. He has shared the concert stage with, William Warfield, Sylvia McNair, Lorin Maazel, Brian d’Arcy James, Barbara Cook, Robert Klein, Lucie Arnaz, Maria Friedman, Idina Menzel and friend and mentor Marvin Hamlisch. Kevin was featured soloist for the PBS special, Gershwin at One Symphony Place with the Nashville Symphony. He has written, directed, co- produced and performed multimedia concerts for: The Gershwin’s HERE TO STAY -The Gershwin Experience, PLAY IT AGAIN, MARVIN!-A Celebration of the music of Marvin Hamlisch with Pittsburgh Symphony and Chicago Symphony and YOU’RE THE TOP!-Cole Porter’s 125th Birthday Celebration and I LOVE TO RHYME – An Ira Gershwin Tribute for the Ravinia Festival with Chicago Symphony. -
Colonial Concert Series Featuring Broadway Favorites
Amy Moorby Press Manager (413) 448-8084 x15 [email protected] Becky Brighenti Director of Marketing & Public Relations (413) 448-8084 x11 [email protected] For Immediate Release, Please: Berkshire Theatre Group Presents Colonial Concert Series: Featuring Broadway Favorites Kelli O’Hara In-Person in the Berkshires Tony Award-Winner for The King and I Norm Lewis: In Concert Tony Award Nominee for The Gershwins’ Porgy & Bess Carolee Carmello: My Outside Voice Three-Time Tony Award Nominee for Scandalous, Lestat, Parade Krysta Rodriguez: In Concert Broadway Actor and Star of Netflix’s Halston Stephanie J. Block: Returning Home Tony Award-Winner for The Cher Show Kate Baldwin & Graham Rowat: Dressed Up Again Two-Time Tony Award Nominee for Finian’s Rainbow, Hello, Dolly! & Broadway and Television Actor An Evening With Rachel Bay Jones Tony, Grammy and Emmy Award-Winner for Dear Evan Hansen Click Here To Download Press Photos Pittsfield, MA - The Colonial Concert Series: Featuring Broadway Favorites will captivate audiences throughout the summer with evenings of unforgettable performances by a blockbuster lineup of Broadway talent. Concerts by Tony Award-winner Kelli O’Hara; Tony Award nominee Norm Lewis; three-time Tony Award nominee Carolee Carmello; stage and screen actor Krysta Rodriguez; Tony Award-winner Stephanie J. Block; two-time Tony Award nominee Kate Baldwin and Broadway and television actor Graham Rowat; and Tony Award-winner Rachel Bay Jones will be presented under The Big Tent outside at The Colonial Theatre in Pittsfield, MA. Kate Maguire says, “These intimate evenings of song will be enchanting under the Big Tent at the Colonial in Pittsfield. -
A Career Overview 2019
ELAINE PAIGE A CAREER OVERVIEW 2019 Official Website: www.elainepaige.com Twitter: @elaine_paige THEATRE: Date Production Role Theatre 1968–1970 Hair Member of the Tribe Shaftesbury Theatre (London) 1973–1974 Grease Sandy New London Theatre (London) 1974–1975 Billy Rita Theatre Royal, Drury Lane (London) 1976–1977 The Boyfriend Maisie Haymarket Theatre (Leicester) 1978–1980 Evita Eva Perón Prince Edward Theatre (London) 1981–1982 Cats Grizabella New London Theatre (London) 1983–1984 Abbacadabra Miss Lyric Theatre, Hammersmith Williams/Carabosse (London) 1986–1987 Chess Florence Vassy Prince Edward Theatre (London) 1989–1990 Anything Goes Reno Sweeney Prince Edward Theatre (London) 1993–1994 Piaf Édith Piaf Piccadilly Theatre (London) 1994, 1995- Sunset Boulevard Norma Desmond Adelphi Theatre (London) & then 1996, 1996– Minskoff Theatre (New York) 19981997 The Misanthrope Célimène Peter Hall Company, Piccadilly Theatre (London) 2000–2001 The King And I Anna Leonowens London Palladium (London) 2003 Where There's A Will Angèle Yvonne Arnaud Theatre (Guildford) & then the Theatre Royal 2004 Sweeney Todd – The Demon Mrs Lovett New York City Opera (New York)(Brighton) Barber Of Fleet Street 2007 The Drowsy Chaperone The Drowsy Novello Theatre (London) Chaperone/Beatrice 2011-12 Follies Carlotta CampionStockwell Kennedy Centre (Washington DC) Marquis Theatre, (New York) 2017-18 Dick Whttington Queen Rat LondoAhmansen Theatre (Los Angeles)n Palladium Theatre OTHER EARLY THEATRE ROLES: The Roar Of The Greasepaint - The Smell Of The Crowd (UK Tour) -
ANTA Theater and the Proposed Designation of the Related Landmark Site (Item No
Landmarks Preservation Commission August 6, 1985; Designation List 182 l.P-1309 ANTA THFATER (originally Guild Theater, noN Virginia Theater), 243-259 West 52nd Street, Manhattan. Built 1924-25; architects, Crane & Franzheim. Landmark Site: Borough of Manhattan Tax Map Block 1024, Lot 7. On June 14 and 15, 1982, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the ANTA Theater and the proposed designation of the related Landmark Site (Item No. 5). The hearing was continued to October 19, 1982. Both hearings had been duly advertised in accordance with the provisions of law. Eighty-three witnesses spoke in favor of designation. Two witnesses spoke in opposition to designation. The owner, with his representatives, appeared at the hearing, and indicated that he had not formulated an opinion regarding designation. The Commission has received many letters and other expressions of support in favor of this designation. DESCRIPTION AND ANALYSIS The ANTA Theater survives today as one of the historic theaters that symbolize American theater for both New York and the nation. Built in the 1924-25, the ANTA was constructed for the Theater Guild as a subscription playhouse, named the Guild Theater. The fourrling Guild members, including actors, playwrights, designers, attorneys and bankers, formed the Theater Guild to present high quality plays which they believed would be artistically superior to the current offerings of the commercial Broadway houses. More than just an auditorium, however, the Guild Theater was designed to be a theater resource center, with classrooms, studios, and a library. The theater also included the rrost up-to-date staging technology. -
CONTRIBUTION TOWARDS AMERICAN PLAYS by CLIFFORD ODETS and OTHER PLAYWRIGHTS DURING 1930S
IMPACT: International Journal of Research in Humanities, Arts and Literature (IMPACT: IJRHAL) ISSN (P): 2347-4564; ISSN (E): 2321-8878 Vol. 6, Issue 4, Apr 2018, 51-56 © Impact Journals CONTRIBUTION TOWARDS AMERICAN PLAYS BY CLIFFORD ODETS AND OTHER PLAYWRIGHTS DURING 1930s G. Visalam Head, Department of English, Sri Muthukumaran Arts and Science College, Chennai, Tamil Nadu, India Received: 31 Mar 2018 Accepted: 04 Apr 2018 Published: 07 Apr 2018 ABSTRACT American Plays had a tremendous response during 1930s and several genre of plays were staged at all corners of America and the Americans were fond of enacting and viewing the plays. The genre of plays will vary based on the American people mindset and the political situations. Several playwrights followed Hollywood techniques for writing their scripts. The role of playwright was found to be more vital than the role of an actor or the Director or the Production Company. The contribution of the playwrights during 1930s was considered to be a trend setting period in changing the roles of a writer from technician to becoming an artist. KEYWORDS : Playwright, Writer, Script, Actor, Play, Drama, Theatre INTRODUCTION During the 1930s, the playwrights followed Hollywood’s technique for paying writers for their scripts. Theatres such as Group Theatre and the Theatre Guild supported this idea to consider writers as autonomous artists whose function was very important than any other member of the company. The scripts were sold on the basis of their value, but they were written without the specific actor, particular director or any theatres in mind. Thus the Star System of Pre-World War came to an end, by giving importance to the playwright. -
Songs of Kurt Weill
\ Ethan Blake BM Vocal Performance Paradise Valley, Arizbna Justin Carpenter DMA Vocal Performance Tempe, Arizona Gabriella Cavalcanti BM Vocal Performance Tucson, Arizor;ia Chelsea Chimilar MM Vocal Pert. Pedagogy East St. Paul, MB Haeju Choi DMA Collaborative Piano Seoul, Soutt\._K1 SONGS OF KURT WEILL Julia Davis BM Music Theater Anthem, Ariz~a Philip Godfrey BM Vocal Performance Ahwatukee, Arizona Olivia Gardner MM Vocal Performance Mesa, Arizona David Hopkins MM Music Theater Savanah, Georgia Zhou Jiang DMA Collaborative Piano Kunming, CHINA Aaron T. Jones MM Opera Theater Richmond, Virginia Titus Kautz MM Music Theater Bridgeport, Nebraska 1 'i Rina Kim DMA Collaborative Piano Toronto, ON Canada Erin Kong BM Music Theater Chandler, Arizona Juhyun Lee DMA Collaborative Piano lncheon, South Korea Danielle Mendelson BM Vocal Performance Dallas, Texas Nicholas Medrano BM Music Education Scottsdale, Arizona Julian Mendoza BM Music Theater Phoenix, Arizona Vaibu Mohan BM Music Theater Phoenix, Arizona Rex Morris MM Music Theater Baton Rouge, Louisiana Mary Price MM Collaborative Piano Marion, Alabama Christopher Reah BM Music Theater Anthem, Arizona Mariah Rosario BM Vocal Performance Tucson, Arizona Analise Rosario BM Music Theater Tucson, Arizona Kaitlyn Russell BM Music Theater Tucson, Arizona Sara Sanderson BM Music Theater Tucson, Arizona Boston Scott BM Music Theater Scottsdale, Arizona Nathan Shepperd BM Music Theater Phoenix, Arizona Drake Sherman BM Vocal Performance Tucson, Arizona Amanda Sherrill MM Collaborative Piano Orlando~rida Juhee Seo DMA Vocal Performance Seoul, Sou~orea Yeojin Seol DMA Collaborative Piano Seoul, South Korea Melody Startzell BM Vocal Performance Prescott, Arizona Samuel Stefanski BM Vocal Performance Glendale, Arizona Kehui Wu DMA Vocal Performance Hengyong, China Monday • October 17, 2016 • ASU Organ Hall • 7:30pm Ch anashan. -
Drake Plays 1927-2021.Xls
Drake Plays 1927-2021.xls TITLE OF PLAY 1927-8 Dulcy SEASON You and I Tragedy of Nan Twelfth Night 1928-9 The Patsy SEASON The Passing of the Third Floor Back The Circle A Midsummer Night's Dream 1929-30 The Swan SEASON John Ferguson Tartuffe Emperor Jones 1930-1 He Who Gets Slapped SEASON Miss Lulu Bett The Magistrate Hedda Gabler 1931-2 The Royal Family SEASON Children of the Moon Berkeley Square Antigone 1932-3 The Perfect Alibi SEASON Death Takes a Holiday No More Frontier Arms and the Man Twelfth Night Dulcy 1933-4 Our Children SEASON The Bohemian Girl The Black Flamingo The Importance of Being Earnest Much Ado About Nothing The Three Cornered Moon 1934-5 You Never Can Tell SEASON The Patriarch Another Language The Criminal Code 1935-6 The Tavern SEASON Cradle Song Journey's End Good Hope Elizabeth the Queen 1936-7 Squaring the Circle SEASON The Joyous Season Drake Plays 1927-2021.xls Moor Born Noah Richard of Bordeaux 1937-8 Dracula SEASON Winterset Daugthers of Atreus Ladies of the Jury As You Like It 1938-9 The Bishop Misbehaves SEASON Enter Madame Spring Dance Mrs. Moonlight Caponsacchi 1939-40 Laburnam Grove SEASON The Ghost of Yankee Doodle Wuthering Heights Shadow and Substance Saint Joan 1940-1 The Return of the Vagabond SEASON Pride and Prejudice Wingless Victory Brief Music A Winter's Tale Alison's House 1941-2 Petrified Forest SEASON Journey to Jerusalem Stage Door My Heart's in the Highlands Thunder Rock 1942-3 The Eve of St. -
Night Game Ordinance 2013
City of Chicago SO2013-7858 Office of the City Clerk Document Tracking Sheet Meeting Date: 10/16/2013 Sponsor(s): Emanuel (Mayor) Type: Ordinance Title: Amendment of Municipal Code Section 4-156-430 regarding athletic contests at night and weekday afternoons Committee(s) Assignment: Committee on License and Consumer Protection 09-013 - 18S% syBSIITUTE ORDINANCE BE IT ORDAINED BY THE CITY COUNCIL OF THE CITY OF CHICAGO: SECTION 1. Section 4-156-430 of the Municipal Code of Chicago is hereby amended by adding the language underscored and by deleting the language struck through, as follows: 4-156-430 Athletic contests at night and on weekday afternoons Restrictions. (A) (1) It shall be unlav^^ul for any licensee or other person, firm, corporation or other legal entity to produce or present or permit any other person, firm, corporation or other legal entity to produce or present any athletic contest, sport, game, including any baseball game, or any other amusement as defined in Article I of this chapter, if any part of such athletic contest, sport, game, including any baseball game, or any other^ amusement as defined in Article I of this chapter (also known in this section and in this Ordinance as (" Event(6) Event or major league baseball game that takes place between the hours of 8:00 p.m. and 8:00 a.m., or is scheduled to begin between the hours of 2:01 p.m. and 4:09 p.m. on weekdays (except for Memorial Day, Independence Day or Labor Day), and is presented in the open air portion of any stadium or playing field which is not totally enclosed and contains more than 15,000 seats where any such seats are located within 500 feet of 100 or more dwelling units. -
Preserve Our H Eritage! Join the H Istorical Society of R Ockland C Ounty!
Historic Preservation Focus: Crow House In conjunction with “Influencers,” the HSRC’s semi-permanent Rockland Voices exhibition fea- tures the special mini-exhibit “Crow House: Hand- made by Henry Varnum Poor.” Poor seemed to turn everything he touched into art, and that is perhaps nowhere more evident than in the house $500.00 and studio he designed and built as a place of $1,000.00 $2,500.00 $5,000.00 comfort for his family on South Mountain Road. ....... ....... How it was conceived, constructed, and enjoyed ............ are illustrated through archival images and docu- ................. ments. Contemporary photographic images from Zip: Zip: the past decade help shed light on the present condition of this important artist's home and stu- Ceramics Studio, Poor’s Crow House dio and beg the question: What does the future Photograph courtesy Friends of Crow House mail: - State: State: E hold for Crow House? ................................ ................................ ................................ loved Brook House until her death in 1981. Some ................................ Acknowledgments s Circles of these homes stayed within the families; others ’ "Influencers" is a joint project of the HSRC and were sold, with new residents—some famous; Rockland Center for the Arts. “Influencers” and others, low-profile—entering the enclave. “Crow House: Handmade by Henry Varnum Poor” April 24–October 27, 2019 President Sustaining Patron Benefactor At the same time, South Mountain Road was PatronMuseum were made possible by a grant from the Office of Wednesdays–Fridays & Sundays,12–4 pm succumbing to suburban spread. Homes ranging the Rockland County Executive, Department of from modest middle-class colonials to spectacular Economic Development and Tourism. -
AS YOU LIKE IT, the First Production of Our 50Th Anniversary Season, and the First Show in Our Shakespearean Act
Welcome It is my pleasure to welcome you to AS YOU LIKE IT, the first production of our 50th anniversary season, and the first show in our Shakespearean act. Shakespeare’s plays have been a cornerstone of our work at CSC, and his writing continues to reflect and refract our triumphs and trials as individuals and collectively as a society. We inevitability turn to Shakespeare to express our despair, bewilderment, and delight. So, what better place to start our anniversary year than with the contemplative search for self and belonging in As You Like It. At the heart of this beautiful play is a speech that so perfectly encapsulates our mortality. All the world’s a stage, and we go through so many changes as we make our exits and our entrances. You will have noticed many changes for CSC. We have a new look, new membership opportunities, and are programming in a new way with more productions and a season that splits into what we have called “acts.” Each act focuses either on a playwright or on an era of work. It seemed appropriate to inaugurate this with a mini-season of Shakespeare, which continues with Fiasco Theater's TWELFTH NIGHT. Then there is Act II: Americans dedicated to work by American playwrights Terrence McNally (FIRE AND AIR) and Tennessee Williams (SUMMER AND SMOKE); very little of our repertoire has focused on classics written by Americans. This act also premieres a new play by Terrence McNally, as I feel that the word classic can also encapsulate the “bigger idea” and need not always be the work of a writer from the past.