DOCSLIB.ORG

Production Archive DATE PRODUCTION TITLE & Playwright

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Production Archive DATE PRODUCTION TITLE & Playwright Production Archive DATE PRODUCTION TITLE DIRECTOR & other STAGE & & playwright designers misc.info 1905 Love Me, Love My Dog Grace Bee Whitridge Studio (third by Lady Speyer floor of Old Main) 1906 Land of Heart's Desire Grace Bee Whitridge Studio by William Yeats 1907 A Piece of Diplomacy Grace Bee Whitridge Studio 1909 Greek Tableaux Grace Bee Whitridge Studio 1910 The Coward Grace Bee Whitridge Studio by Robert Nathan 1911 The Private Secretary Grace Bee Whitridge Studio by G. von Moser 1912 Mollentrave On Women Grace Bee Whitridge Studio by A. Sutro 1913 The Twig of Thorn Grace Bee Whitridge Studio by M.J. Warren 1913 The Iron Master Grace Bee Whitridge Studio by George Ohnet 1914 A Bachelor's Romance Grace Bee Whitridge Studio by M. Morton 1915 Miss Hobbs Grace Bee Whitridge Studio by J.K. Jerome 1916 Green Stockings Grace Bee Whitridge Studio by A.E.W. Mason 1916 As You Like It Grace Bee Whitridge Studio by William Shakespeare 1917 Honor Bound Grace Bee Whitridge Studio by Sidney Grundy 1917 The Stepmother Grace Bee Whitridge Studio by A.A. Milne 1920 The Perfect Gift Grace Bee Whitridge Studio 1920 Indian Summer Grace Bee Whitridge Studio by Pierre Larung 1920 Scrap of Paper Grace Bee Whitridge Studio by D. Sardou 1921 Christmas Chimes Grace Bee Whitridge Studio by Margaret Cameron 1921 Three Pills in a Grace Bee Whitridge Studio Bottle by Rachel L. Field 1921 Campbell of Kilmhor Grace Bee Whitridge Studio by J.A. Ferguson 1921 The Lifted Bandage Grace Bee Whitridge Studio 1921 The Model Husband Grace Bee Whitridge Studio 1921 Allison's Lad Grace Bee Whitridge Studio by Beulah M. Dix 1921 Suppressed Desires Grace Bee Whitridge Studio by George C. Clark & Susan Glaspell 1921 Salvage Grace Bee Whitridge Studio by Eleanor Hubbard 1921 While the Lentils Boil Grace Bee Whitridge Studio 1922 Trifles Grace Bee Whitridge Studio by Susan Glaspell 1922 The Heart of a Clown Grace Bee Whitridge Studio by Constance P. Anderson 1923 The Merchant of Venice Grace Bee Whitridge Studio by William Shakespeare 1923 Only 38 Grace Bee Whitridge Studio by A.E. Thomas 1924 Grumpy Grace Bee Whitridge Studio by H. Hoolges & Percy Dal 1925 Beau of BAth Grace Bee Whitridge Studio by Constance D'Arcy MacKay 1925 The Happy Man Grace Bee Whitridge Studio by Rita Benson 1925 The Other One Grace Bee Whitridge Studio by CHarles Townsend 1925 The Boor Grace Bee Whitridge Studio by Anton Chekoff 1925 The Brink of Silence Grace Bee Whitridge Studio by Ester E. Galbraith 1925 Mrs. Pat and the Law Grace Bee Whitridge Studio by Mary Aldis 1925 Much Ado About Nothing Grace Bee Whitridge Studio by William Shakespeare 1926 Mrs. Prim Passes By Grace Bee Whitridge Studio by A.A. Milne 1926 Thank You Doctor Grace Bee Whitridge Studio by G. Emery 1926 Lonesome Like Grace Bee Whitridge Studio by Harold Brighouse 1926 The Valiant Grace Bee Whitridge Studio by H. Hall & R. Middlemass 1927 Rose Moul Grace Bee Whitridge Studio 1927 In Honor Bound Grace Bee Whitridge Studio by Sidney Grundy 1927 Summer is A-Comin' Grace Bee Whitridge Studio by L.N. Parker 1928 A Frightful Comedy of Grace Bee Whitridge Studio Pirates 1928 Mr. Sampson Grace Bee Whitridge Studio by Charles Lee 1928 Trial By Jury 1928 Wappin' Whorf 1928(?) As You Like It Grace Bee Whitridge Studio *** by William Shakespeare 1928 Eve in Evelyn Grace B. Whitridge Studio by G. Hughes 1928 The Vanishing Princess Grace Bee Whitridge Studio J. Galden 1929 Feb. The Rock Grace Bee Whitridge Studio by T.S. Elliot 1929 Peter, The Rock Grace Bee Whitridge Studio, also: Feb.(?) by Mary Hamlin Stillwater High School, Fergus Falls, & Dayton Presbyterian Church, St. Paul 1929(?) As You Like It Grace Bee Whitridge Studio *** by William Shakespeare 1929 May The Church and Man Grace Bee Whitridge (?) by Mary Gwen Owen A dialogue 1929 May Christ in Art and Song (?) St. Paul Auditorium (11 Tableaux) 1929 Figure Heads Grace Bee Whitridge? Studio by Louis Sanders Student directed (?) 1929 Nov. Copy Grace Bee Whitridge Studio (Feb,March by Randall Banning 1930 repeats) 1929 Annual Christmas Grace Bee Whitridge Candlelight Service 1929 The Floral Shop Grace Bee Whitridge Studio by Winifred Hawkridge 1930 Flattering Word student directed Studio Jan. 17th by George Kelly 1930 The Goose Hangs High Grace Bee Whitridge Studio (?) Mar. 21-22 by Lewis Beach 1930 The Boomerang Grace Bee Whitridge Studio June 12-13 by Winchell Smith Senior Play & Victor Mapers 1930 The First Dress Suit Grace Bee Whitridge Studio Nov. 14 by Russell Medcalf Knox (repeat (Medcraft?) Presbyterian 11/24-5) Church, StPaul 1930 Bargains in Cathay Grace Bee Whitridge Studio Nov. 14 by Rachel Field Knox (repeat Presbyterian 11/24-5) Church, StPaul 1930 The Killer Grace Bee Whitridge Studio Nov. 24-5 by Albert Collins 1930 The Kelly Kid Dan Totheroth Studio Dec.5 by Kathleen Noms (student) (Norris?) 1930 Feast of Lights Grace Bee Whitridge Studio Dec. 18 1930 The Wedding Rehearsal student directed Studio by John Farrar 1931 Dolly Reforming Grace Bee Whitridge Studio Herself by Sir H.A. Jones 1931 The Servant in the Glenn Clark & Studio House by Grace Bee Whitridge Charles Rann Kennedy 1931 Eternal Spring Grace Bee Whitridge Studio by Peter Garland 1931 Peace Tableau, a Grace Bee Whitridge disarmament program 1931 In a Tavern Grace Bee Whitridge Studio 1931 Feast of Lights Grace Bee Whitridge Studio 1932 The Importance of Grace Bee Whitridge Studio Being Earnest by Oscar Wilde 1932 The Dover Road Grace Bee Whitridge Studio by A.A. Milne 1932/1931 Francis of Assisi Grace Bee Whitridge Studio by L. Housman 1933 Romance After Midnight Grace Bee Whitridge Studio by C.S. Brooks 1933 The Dover Road Grace Bee Whitridge Studio by A.A. Milne 1933 Upstage Grace Bee Whitridge Studio by A. Gurstenberg 1934 Dulcy (Duley) Grace Bee Whitridge Studio by B. Kaufman and M. Counelly 1934 The First Mrs. Frazer Grace Bee Whitridge Studio by Sr. J.G. Eruine 1935 The Late Christopher Grace Bee Whitridge Studio Bean by S.C. Howard 1935/1934 Winter's Tale by Grace Bee Whitridge Studio William Shakespeare 1935 What Men Live By by Grace Bee Whitridge Studio Virginia Church, adapted from Tolstoy 1935 Dust of the Road by Grace Bee Whitridge Studio Kenneth S. Goodman 1936 Craig's Wife Grace Bee Whitirdge Studio by G.E. Kelly 1936 Hearts and Kitchen Grace Bee Whitridge Studio Stoves 1936 Icebound by O. Davies Grace Bee Whitridge Studio 1936 The Tinker Grace Bee Whitridge Studio by F. Eastman 1937 The Doctor Comes From Grace Bee Whitridge Studio Moscow (The Cure) by Dora M. MacDonald 1937 The Doctor Decides Grace Bee Whitridge Studio by Fred Eastman 1937 The Pie and the Tart Grace Bee Whitridge Studio by M. Jagendorf 1937 Another Language Grace Bee Whitridge Studio by R.P. Franken 1938 You and I by P. Barry Grace Bee Whitridge Studio 1938 A Quiet Place Grace Bee Whitridge Studio by H.H. Nugent 1938 Suitable For Charity Grace Bee Whitridge Studio by P.S. McCoy 1939 A Little Grace Bee Whitridge Studio 1939 A Case of Paternity Grace Bee Whitridge Studio by H. Suderman 1939 The Far Off Hills Grace Bee Whitridge Studio by L. Robinson 1940 The Silver Cord Grace Bee Whitridge Studio by S.C. Howard 1940 One American Family Grace Bee Whitridge Studio 1941 Merchant of Venice Grace Bee Whitridge Studio by William Shakespeare 1941 Adam and Eve by L. Grace Bee Whitridge Studio Hulley, Guy Bolton, and Geo Middleton Dec., 1941 You Can't Take it With Mary G. Owen Studio You by M. Hart and G. Kaufman Feb., 1942 Death Takes a Holiday Mary G. Owen Studio by W. Ferris April,1942 Letters to Lucerne by Mary G. Owen Studio Fratter and A. Vincent Nov. 1942 Arsenic and Old Lace Mary G. Owen Studio by J. Kesserling March 1943 Abe Lincoln by R.E. Mary G. Owen Studio Sherwood Nov. 1943 Ladies in Retirement Mary G. Owen Studio by E. Percy and R. Denham Jan. 1994 Cry Havoc Mary G. Owen Studio March 1944 Army Play by Play Mary G. Owen Studio May 1944 A Dolls House by H. Studio Ibsen Nov. 1944 A Little Honey Studio 1944 Spider Island March 1945 Little Women by Louisa Studio May Alcott Skin of our Teeth by Mary G. Owen Gym T. Welder Dec. 1945 Pygmalion by Shaw Mary G. Owen Studio Feb. 1946 Male Animal by J. Mary G. Owen Studio Thurber and E. Nugent May 1946 Murder in the Mary G. Owen Studio Cathedral by Eliot Nov. 1946 What Every Woman Knows Mary G. Owen Studio by Sir J. Barrie Feb. 1947 Time of your Life by H. Peterson Studio Saroyan May 1947 Antigone by Sophocles Mary G. Owen Studio Nov. 1948 Life With Father by H. Peterson Little Theatre Dan Clarence Winter Inspector General by Mary G. Owen Little Theatre 1948 N.V. Begal 1949 She Stoops to Conquer H.G. Peterson Little Theatre by Goldsmith Dec. 1949 The Flies by Satre Mary G. Owen Little Theatre March 1950 Pelleas and Malisande H.G. Peterson Little Theatre by Maltertenck Nov. 1950 Home is Tomorrow by H.G. Peterson Little Theatre J.B. Priestly Feb. 1951 The First Lady by K. Mary G. Owen Little Theatre Dayton and G. Kaufman May 1951 Rip Van Winkle by W. Owen and Peterson Little Theatre Irving May 1951 The Devil and Daniel Owen and Peterson Little Theatre Webster by Benet Oct 1951 Silver Whistle byR. Peterson Little Theatre Macinrae March 1952 Hazel Kirke by S. Peterson Little Theatre Mackaye Oct 1952 Both Your Houses by Mary G.
Load more

Recommended publications
  • The Dublin Gate Theatre Archive, 1928 - 1979
    Charles Deering McCormick Library of Special Collections Northwestern University Libraries Dublin Gate Theatre Archive The Dublin Gate Theatre Archive, 1928 - 1979 History: The Dublin Gate Theatre was founded by Hilton Edwards (1903-1982) and Micheál MacLiammóir (1899-1978), two Englishmen who had met touring in Ireland with Anew McMaster's acting company. Edwards was a singer and established Shakespearian actor, and MacLiammóir, actually born Alfred Michael Willmore, had been a noted child actor, then a graphic artist, student of Gaelic, and enthusiast of Celtic culture. Taking their company’s name from Peter Godfrey’s Gate Theatre Studio in London, the young actors' goal was to produce and re-interpret world drama in Dublin, classic and contemporary, providing a new kind of theatre in addition to the established Abbey and its purely Irish plays. Beginning in 1928 in the Peacock Theatre for two seasons, and then in the theatre of the eighteenth century Rotunda Buildings, the two founders, with Edwards as actor, producer and lighting expert, and MacLiammóir as star, costume and scenery designer, along with their supporting board of directors, gave Dublin, and other cities when touring, a long and eclectic list of plays. The Dublin Gate Theatre produced, with their imaginative and innovative style, over 400 different works from Sophocles, Shakespeare, Congreve, Chekhov, Ibsen, O’Neill, Wilde, Shaw, Yeats and many others. They also introduced plays from younger Irish playwrights such as Denis Johnston, Mary Manning, Maura Laverty, Brian Friel, Fr. Desmond Forristal and Micheál MacLiammóir himself. Until his death early in 1978, the year of the Gate’s 50th Anniversary, MacLiammóir wrote, as well as acted and designed for the Gate, plays, revues and three one-man shows, and translated and adapted those of other authors.
    [Show full text]
  • The George Washington University Presidential Invitational Tournament February 6, 1994 Semifinal Round the Toss-Ups
    The George Washington University Presidential Invitational Tournament February 6, 1994 Semifinal Round The Toss-Ups 1) His first head coaching experience before the NFL was at a high school in Reno, Nevada, a few years after graduating from Stanford. After winning just nine games in three years, he went back to Stanford, where he became a top-notch assistant coach. He moved to the NFL soon afterward as a running-backs coach. He turned down a slot at the GW Law School to become a head coach for the New York Giants, going 14-18 in his two-year stint. FIP, name this man, whom Dan Reeves replaced. Ray Handley 2) Born in 1934, this author served in the Strategic Air Command for four years before studying German and philosophy at Columbia. His first collection of poems, Preface to a Twenty Volume Suicide Note, reflected the romanticism of the Greenwich Village crowd of his time, but he soon afterward rejected this view for militant Afro-Americanism, as seen in his later plays such as Dutchman and The Slave. FTP, identify this author, who in 1965 chose for himself the name Amiri Baraka. Leroi~ 3) Graham Vivian was an English painter known for his landscapes with arbitrary colors who did famous portraits of Somerset Maugham and Winston Churchill. George was a conservative Supreme Court Justice nominated in 1922 by Warren Harding. Donald is an actor whose credits include M*A*S*H, Animal House, The Firm, and Invasion of the Body Snatchers. FrP, what last name do these three people share? Sutherland 4) Shirts bearing his likeness on front and a line from Apocalypse Now, "Charlie Don't Surf," on back, are now very popular.
    [Show full text]
  • James Thurber and the Midwest
    James Thurber and the Midwest Stephen L. Tanner Because of his large role in shaping the tone and character of The New Yorker, a magazine synonymous with urban sophistication, James Thurber is sometimes viewed as an Eastern cosmopolite. This impression is misleading, for although he lived half his life in the East and New York City was the site of his literary success, he remained a partially unreconstructed Midwesterner. His journey from Columbus, Ohio, to New York City was one more example of the familiar pattern of the young man from the provinces who finds the metropolis a catalyst for his genius. But unlike the usual provincial once-removed, he was unashamed of his Midwestern roots and trailed Ohio with him. Among his New York friends he often told stories about his eccentric relatives and acquaintances in Columbus, impersonating the various characters. And of course some of his finest writing treats this same subject. In a 1953 speech accepting a special Ohio Sesquicenten- nial Career medal, he said, "It is a great moment for an Ohio writer living far from home when he realizes that he has not been forgotten by the state he can't forget," and added that his books "prove that I am never very far away from Ohio in my thoughts, and that the clocks that strike in my dreams are often the clocks of Columbus."1 In 1959, when Columbus was named an "All-American City," he wrote to the mayor, "I have always waved banners and blown horns for Good Old Columbus Town, in America as well as abroad, and such readers as I have collected through the years are all aware of where I was born and brought up, and they know that half of my books could not have been written if it had not been for the city of my birth."2 But if it is a mistake to view Thurber as an Eastern sophisticate, it is equally a mistake to infer from these glowing statements about Columbus that he 0O26-3O79/92/33O2-O61$1.5O/0 61 &^*4fc Jp*9 James Thurber, Courtesy of The Ohio State University Library.
    [Show full text]
  • An Interview with Fred Hellerman Part II May 26, 2016 in This Interview Fred Is Joined by His Wife, Susan Lardner. Ken Edgar
    An Interview with Fred Hellerman Part II May 26, 2016 In this interview Fred is joined by his wife, Susan Lardner. Ken Edgar: We are now back in Fred Hellerman's living room and we're continuing our conversation with Fred. We are joined today by Susan Lardner, Fred’s wife, who herself has a very interesting background and career. Together they are going to help us remember their lives in Weston, starting in around 1970. Susan, welcome to the show. When we last left our story we had talked about your arrival in Weston and how Harold Leventhal, the Weaver's manager, had purchased a home near Cobb's Mill and was influential in bringing you up here. As a result, you became interested in Weston and eventually bought the house in which we are sitting today. Susan: I checked with one of Harold's daughters and found out that he had bought his house in 1968 and Fred bought this house in 1969. Although Fred had been up here before visiting other people, he had not been in the house purchasing business. Fred Hellerman: Yeah, coming up there for a weekend. I just fell in love with that immediately. It was a very important place for me. Ken: In the summer of 1970, you two were married right here on this property. Fred: From here, yeah, at this house. Susan: Under the tree, by Euclid Shook. [A Weston artist a justice of the peace. –ed.] Ken: The New York Times did a very interesting description of your wedding.
    [Show full text]
  • Teaching the Short Story: a Guide to Using Stories from Around the World. INSTITUTION National Council of Teachers of English, Urbana
    DOCUMENT RESUME ED 397 453 CS 215 435 AUTHOR Neumann, Bonnie H., Ed.; McDonnell, Helen M., Ed. TITLE Teaching the Short Story: A Guide to Using Stories from around the World. INSTITUTION National Council of Teachers of English, Urbana, REPORT NO ISBN-0-8141-1947-6 PUB DATE 96 NOTE 311p. AVAILABLE FROM National Council of Teachers of English, 1111 W. Kenyon Road, Urbana, IL 61801-1096 (Stock No. 19476: $15.95 members, $21.95 nonmembers). PUB 'TYPE Guides Classroom Use Teaching Guides (For Teacher) (052) Collected Works General (020) Books (010) EDRS PRICE MF01/PC13 Plus Postage. DESCRIPTORS Authors; Higher Education; High Schools; *Literary Criticism; Literary Devices; *Literature Appreciation; Multicultural Education; *Short Stories; *World Literature IDENTIFIERS *Comparative Literature; *Literature in Translation; Response to Literature ABSTRACT An innovative and practical resource for teachers looking to move beyond English and American works, this book explores 175 highly teachable short stories from nearly 50 countries, highlighting the work of recognized authors from practically every continent, authors such as Chinua Achebe, Anita Desai, Nadine Gordimer, Milan Kundera, Isak Dinesen, Octavio Paz, Jorge Amado, and Yukio Mishima. The stories in the book were selected and annotated by experienced teachers, and include information about the author, a synopsis of the story, and comparisons to frequently anthologized stories and readily available literary and artistic works. Also provided are six practical indexes, including those'that help teachers select short stories by title, country of origin, English-languag- source, comparison by themes, or comparison by literary devices. The final index, the cross-reference index, summarizes all the comparative material cited within the book,with the titles of annotated books appearing in capital letters.
    [Show full text]
  • 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.
    [Show full text]
  • University Microfilms International 300 N
    INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)” . If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo­ graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand corner of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy.
    [Show full text]
  • UCLA Electronic Theses and Dissertations
    UCLA UCLA Electronic Theses and Dissertations Title "Do It Again": Comic Repetition, Participatory Reception and Gendered Identity on Musical Comedy's Margins Permalink https://escholarship.org/uc/item/4297q61r Author Baltimore, Samuel Dworkin Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles “Do It Again”: Comic Repetition, Participatory Reception and Gendered Identity on Musical Comedy’s Margins A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Musicology by Samuel Dworkin Baltimore 2013 ABSTRACT OF THE DISSERTATION “Do It Again”: Comic Repetition, Participatory Reception and Gendered Identity on Musical Comedy’s Margins by Samuel Dworkin Baltimore Doctor of Philosophy in Musicology University of California, Los Angeles, 2013 Professor Raymond Knapp, Chair This dissertation examines the ways that various subcultural audiences define themselves through repeated interaction with musical comedy. By foregrounding the role of the audience in creating meaning and by minimizing the “show” as a coherent work, I reconnect musicals to their roots in comedy by way of Mikhail Bakhtin’s theories of carnival and reduced laughter. The audiences I study are kids, queers, and collectors, an alliterative set of people whose gender identities and expressions all depart from or fall outside of the normative binary. Focusing on these audiences, whose musical comedy fandom is widely acknowledged but little studied, I follow Raymond Knapp and Stacy Wolf to demonstrate that musical comedy provides a forum for identity formation especially for these problematically gendered audiences. ii The dissertation of Samuel Dworkin Baltimore is approved.
    [Show full text]
  • Washington Theater Club*
    INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page{s)” . If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo­ graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand corner of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy.
    [Show full text]
  • James Thurber's Little Man and the Battle of the Sexes: the Humor of Gender and Conflict
    Brigham Young University BYU ScholarsArchive Theses and Dissertations 2006-08-01 James Thurber's Little Man and the Battle of the Sexes: The Humor of Gender and Conflict Andrew S. Jorgensen Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the English Language and Literature Commons BYU ScholarsArchive Citation Jorgensen, Andrew S., "James Thurber's Little Man and the Battle of the Sexes: The Humor of Gender and Conflict" (2006). Theses and Dissertations. 946. https://scholarsarchive.byu.edu/etd/946 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. JAMES THURBER’S LITTLE MAN IN THE BATTLE OF THE SEXES: THE HUMOR OF GENDER AND CONFLICT by Andrew S. Jorgensen A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts Department of English Brigham Young University August 2006 Copyright © 2006 Andrew S. Jorgensen All Rights Reserved BRIGHAM YOUNG UNIVERSITY GRADUATE COMMITTEE APPROVAL of a thesis submitted by Andrew S. Jorgensen This thesis has been read by each member of the following graduate committee and by majority vote has been found to be satisfactory. ______________________ ________________________________ Date Stephen Tanner, Chair ______________________ ________________________________ Date Dennis Cutchins ______________________ ________________________________ Date Kerry Soper BRIGHAM YOUNG UNIVERSITY As chair of the candidate's graduate committee, I have read the dissertation of Andrew S.
    [Show full text]
  • Information to Users
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough,m argins,substandard and improperalignm entcan adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI Universily Microfilms international A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800.'521-0600 Order Nimiber dS2S492 The American Playwrights Theatre: Creating a partnership between commercial and educational theatre as an alternative to Broadway in the 1960s and 1970s Fink, Lawrence Edward, Ph.D.
    [Show full text]
  • PULITZER PRIZE WINNERS in LETTERS © by Larry James
    PULITZER PRIZE WINNERS IN LETTERS © by Larry James Gianakos Fiction 1917 no award *1918 Ernest Poole, His Family (Macmillan Co.; 320 pgs.; bound in blue cloth boards, gilt stamped on front cover and spine; full [embracing front panel, spine, and back panel] jacket illustration depicting New York City buildings by E. C.Caswell); published May 16, 1917; $1.50; three copies, two with the stunning dust jacket, now almost exotic in its rarity, with the front flap reading: “Just as THE HARBOR was the story of a constantly changing life out upon the fringe of the city, along its wharves, among its ships, so the story of Roger Gale’s family pictures the growth of a generation out of the embers of the old in the ceaselessly changing heart of New York. How Roger’s three daughters grew into the maturity of their several lives, each one so different, Mr. Poole tells with strong and compelling beauty, touching with deep, whole-hearted conviction some of the most vital problems of our modern way of living!the home, motherhood, children, the school; all of them seen through the realization, which Roger’s dying wife made clear to him, that whatever life may bring, ‘we will live on in our children’s lives.’ The old Gale house down-town is a little fragment of a past generation existing somehow beneath the towering apartments and office-buildings of the altered city. Roger will be remembered when other figures in modern literature have been forgotten, gazing out of his window at the lights of some near-by dwelling lifting high above his home, thinking
    [Show full text]