Natalie Wachen Sag-Aftra, Aea, Agva

Total Page：16

File Type：pdf, Size：1020Kb

NATALIE WACHEN SAG-AFTRA, AEA, AGVA TELEVISION (Partial List) NCIS: Los Angeles Guest-Star CBS BRIMMING WITH LOVE Co-Star Lifetime SWITCHED AT BIRTH Co-Star ABC Family BOARDWALK EMPIRE Recurring HBO DECEPTION Recurring NBC I JUST WANT MY PANTS BACK Guest Star MTV/Jace Alexander, Dir. 90210 Recurring CW HELL DATE Series Regular BET TYLER'S RIDE (Web) Series Regular Paulist Productions BURIED ALIVE Series Regular FEARNET/SONY TV OFF-BROADWAY RENT Mimi New World Stages/Michael Greif, Dir. THE HAMILTON MIXTAPE (workshop) Woman 2 The Public Theatre/Thomas Kail, Dir. MURDER BALLAD Standby Sara (performed) Union Square Theatre/Trip Cullman, Dir. Standby Narrator JUNK: A ROCK OPERA (Concert Reading) Jessi Joe’s Pub/Shakina Nayfack, Dir. SWEETIE (Staged Reading) Sweetie Signature Theatre/Pat Birch, Dir. REGIONAL THEATER (Partial List) DREAMGIRLS Deena Lyceum Theatre AIN'T MISBEHAVIN' Charlaine Kavli Theatre/Ken Page, Dir. SHOW BOAT Julie Forestburgh Playhouse THE MARVELOUS WONDERETTES Cindy Lou Theatre Aspen/Janet Miller, Chor. THE BREAK-UP NOTEBOOK (East Coast Premiere) Frances ReVision Theatre/Peter Schneider, Dir. BABY, IT’S YOU! (World Premiere) Shirelle Coast Playhouse/Jonathan Sanger, Prod. STORYVILLE Tigre Savoy Lyceum Theater (San Diego)/Ken Page, Dir. THE ALL NIGHT STRUT Alto Lawrence Welk Theatre DISNEY’S FESTIVAL OF THE LION KING Nala Hong Kong Disneyland INTO THE WOODS Cinderella Camino Real Playhouse JESUS CHRIST SUPERSTAR Mary Magdalene Torrance Theatre Co./Janet Miller, Dir. RAGTIME Harlem Woman Musical Theatre West THE CRUCIBLE Tituba Torrance Theatre Company WEST SIDE STORY Anita ICT- Laguna, CA GODSPELL Sonia La Habra Depot Regional Tour SINGING/VOICE OVER (Partial List) BABY, IT’S YOU! Broadway Concept Album Lead Vocals, Group Vocals Richard Perry, Producer THE MANHATTAN DOLLS Lead Vocals, Group Vocals Heather Dispensa, Producer AFFINITY Lead & Group Vocals RK Records STAND UP COMEDY The Hollywood Improv, The Comedy Union, The Healthy Bean, Triple Crown COMMERCIAL (Conflict list available upon request) SPECIAL SKILLS Improv (professional) Singing: Mezzo / Strong Belt, Tight Harmonies Accents: Liberian/West African, Southern-American, Valley Dance: Tap, Jazz, Ballet, Hip Hop, Pop/Michael Jackson, Musical Theatre AGENT: Brianna Ancel/Scot Reynolds / Phone: 818-509-0121 / Fax: 818-509-7729 10950 Ventura Blvd, Studio City, CA 91604 / [email protected] / [email protected] .

Copy Link

Recommended publications

OCTOBER 2016 Welcome to October Sky! We Can’T Imagine a More Perfect Show to Give Our 2016–2017 Season a Great Launch (If You’Ll Pardon the Pun)
OCTOBER 2016 Welcome to October Sky! We can’t imagine a more perfect show to give our 2016–2017 Season a great launch (if you’ll pardon the pun). New musicals are, of course, one of The Old Globe’s specialties, and the upcoming season is filled with exactly the kind of work the Globe does best. In this very theatre, you’ll have a chance to see a revival of Steve Martin’s hilarious Picasso at the Lapin Agile; the exciting backstage drama Red Velvet; and the imaginative, fable- like musical The Old Man and The Old Moon. And of course, we’re bringing back The Grinch for its 19th year! Across the plaza in the Sheryl and Harvey White Theatre, we hope you’ll join us for work by some of the most exciting voices in the American theatre today: award-winning actor/ songwriter Benjamin Scheuer (The Lion), Globe newcomer Nick Gandiello (The Blameless), the powerful and trenchant Dominique Morisseau (Skeleton Crew), and the ingenious Fiasco Theater, with their own particular spin on Molière’s classic The Imaginary Invalid. It’s a season we’re extremely proud and excited to share with all of you. DOUGLAS GATES Managing Director Michael G. Murphy and Erna Finci Viterbi Artistic Director Barry Edelstein. We’re also proud to welcome the outstanding creative team that has made October Sky a reality. Director/choreographer Rachel Rockwell is an artist whose work we’ve long admired, whose skill in staging is matched by her deft touch with actors. She’s truly a perfect fit for this heartwarming and triumphant show.
[Show full text]
Broadway Bound with Garrett Stack at Public Radio Exchange, > Exchange.Prx.Org > Broadway Bound *Playlist Is Listed by Show Title/Disc, Not in Order of Play
Originating on WMNR Fine Arts Radio [email protected] Playlist* Program is archived 24-48 hours after broadcast, heard free of charge Broadway Bound with Garrett Stack at Public Radio Exchange, > exchange.prx.org > Broadway Bound *Playlist is listed by show title/disc, not in order of play. Show #: 287 Broadcast Date: May 26, 2018 Time: 16:00 - 18:00 # Selections: 27 Time Writer(s) Title Artist Disc Label Year Position Comment File Number Intro Track Holiday Release Date Date Played Date Played Copy 2:43 (m)F Lowe (l)A J Lerner Almost Like Being In Love Marion Bell, David Brooks Brigadoon - Original Broadway Cast 1947 RCA Victor 1947 3/13/1947 - 7/31/1948. 581 perf. One 1947 Tony Award: Best Choreography, Agnes CDS Brig 0:09 7 1988 5/6/06 11/25/064/12/08 3/13/10 5/26/18 De Mille 4:13 [m]John Kander [l]FRed Ebb Don't Tell Mama Natasha Richardson & the Kit Kat Girls Cabaret: The New Broadway Cast Recording RCA Victor 1998 3/19/1998 - 1/4/2004. 2377 perf. Four 1998 Tony Awards: Best Revival; Best Actor CDS 3 20 1998 12/8/07 2/18/12 1/3/15 5/26/18 - Alan Cumming; Best Actress - Natasha Richardson; Best Featured Actor - Ron Rifkin. 3:07 (m)Fred Lowe(l)Alan Lerner I Loved You Once in Silence Juliewith AlanAndrews Cumming Camelot Original Broadway Cast Columbia 1960 12/3/1960 - 1/5/1963. 873 perf. 4 Tony Awards CDS Cam 16 1998 12/9/06 12/8/07 7/25/09 2/13/10 11/22/142/14/15 5/26/18 8:22 R Rodgers/ O Hammerstein If I Loved You Sally Murphy & Michael Hayden Carousel - 1994 Broadway Cast recording Broadway Angel 1994 3/24/1994 - 1/15/1995.
[Show full text]
June 1-3,2(>(>7
Leonard A. Anderson M. Seth Reines Executive Director Artistic Director June 1-3,2(>(>7 nte Media -I1 I - I , ,, This program is partially supportec grant from the Illinois Arts Council. Named a Partner In Excellence by the Illinois Arts Council. IF IT'S GOT OUR NAME ON IT YOlU'VE GOT OUR WORD ON If. attachments that are tough enough for folks Ib you. And then we put wr gllarantee on m,m, In fact,we ofb the WustryS only 3-year warm&, Visit mgrHd.com. Book By James Goldman Music Lyrics by Stephen Sondheim Produced Originally on Broadway by Harold Prince By special arrangement with Cameron Mackintosh Directed & Staged by Tony Parise Assistant To The Directorr AEA Stage Manager Marie Jagger-Taylor* Tom Reynolds* Lighting Designer Musical Director Sound Designer Joe Spratt P. Jason Yarcho David J. Scobbie The Cast (In Order of Appearance) Dimitri Weismann .............................................................................................Guy S. Little Jr.* Roscoe....................................................................................................................... Tom Bunfill Phyllis Rogers Stone................................................................................... Colleen Zenk Pinter* Benjamin Stone....................................................................................................... Mark Pinter* Sally Durant Plumrner........................................................................................ a McNeely* Buddy Plummer........................................................................................................
[Show full text]
BOOK &MUSIC by Joe Kinosian BOOK
BOOK & MUSIC by Joe Kinosian BOOK & LYRICS by Kellen Blair DIRECTED by Scott Schwartz Printer’s Ad Printer’s Ad LEARNING & EDUCATION USING THEATRE AS A CATALYST TO INSPIRE CREATIVITY “ATC’S EDUCATION DEPARTMENT HAS BEEN NOTHING SHORT OF A MIRACLE.” -Cheryl Falvo, Crossroads English Chair / Service Learning Coordinator Theatre skills help support critical thinking, decision-making, teamwork and improvisation. It can bridge the gap from imagination to reality. We inspire students to feel that anything is possible. LAST SEASON WE REACHED OVER 11,000 STUDENTS IN 80 SCHOOLS ACROSS 8 AZ COUNTIES For more information about our Learning & Education programs, visit EDUCATION.ARIZONATHEATRE.ORG IN THIS ISSUE November-December 2014 Title Page ............................................................................5 The Cast ............................................................................. 6 About the Play .......................................................................12 About Arizona Theatre Company .......................................................15 ATC Leadership .....................................................................20 The Creative Team ................................................................... 28 Staff forMurder for Two ..............................................................36 Board of Trustees ...................................................................40 Theatre Information ................................................................. 47 Corporate and Foundation Donors ....................................................49
[Show full text]
The Virtual Vaudeville Prototype
392 From (Archival) Page to (Virtual) Stage: The Virtual Vaudeville Prototype Tonia Sutherland ABSTRACT This article explores the difficulties archivists face in capturing, preserving, and representing performance and other ephemeral or intangible cultural expressions. It also examines the applicability of existing archival theory and practice for recon- structing historical performances in digital environments. Using the Virtual Vaudeville Prototype as a case study, the research considers the efficacy of new media technologies for those who strive to capture performative expressions to redress erasures and silences in the historical record. The article provides brief historical context for vaudeville as a mode of performance at the turn of the twentieth century, discusses the Virtual Vaudeville Prototype and the archival evidence upon which it was built, and considers Virtual Vaudeville as both an evidence-based project fash- ioned from archival research and as an archival record in its own right. © Tonia Sutherland. KEY WORDS Archives, Performance studies, Digital humanities, Digital arts and culture, Virtual Vaudeville, Digital technologies, Motion capture, New media The American Archivist Vol. 79, No. 2 Fall/Winter 2016 392–416 From (Archival) Page to (Virtual) Stage: The Virtual Vaudeville Prototype 393 rchives provide societies with an opportunity to preserve cultural evidence; however, capturing and preserving temporal, event-based, ephemeral, and intangibleA cultural heritage such as performances, oral traditions, social prac- tices, and festive events presents an ongoing archival challenge. The difficul- ties archivists face in capturing, preserving, and representing ephemeral and intangible culture create erasures, gaps, and vagaries in the historical record kept by archives; these erasures will ultimately not only make ephemeral works inaccessible, but will also systematically silence and render invisible the unique ways that indigenous and other cultures communicate and represent ideas, solve problems, and express human emotions.
[Show full text]
1920 Patricia Ann Mather AB, University
THE THEATRICAL HISTORY OF WICHITA, KANSAS ' I 1872 - 1920 by Patricia Ann Mather A.B., University __of Wichita, 1945 Submitted to the Department of Speech and Drama and the Faculty of the Graduate School of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts. Redacted Signature Instructor in charf;& Redacted Signature Sept ember, 19 50 'For tne department PREFACE In the following thesis the author has attempted to give a general,. and when deemed.essential, a specific picture of the theatre in early day Wichita. By "theatre" is meant a.11 that passed for stage entertainment in the halls and shm1 houses in the city• s infancy, principally during the 70' s and 80 1 s when the city was still very young,: up to the hey-day of the legitimate theatre which reached. its peak in the 90' s and the first ~ decade of the new century. The author has not only tried to give an over- all picture of the theatre in early day Wichita, but has attempted to show that the plays presented in the theatres of Wichita were representative of the plays and stage performances throughout the country. The years included in the research were from 1872 to 1920. There were several factors which governed the choice of these dates. First, in 1872 the city was incorporated, and in that year the first edition of the Wichita Eagle was printed. Second, after 1920 a great change began taking place in the-theatre. There were various reasons for this change.
[Show full text]
READING INTERNATIONAL, INC. (Exact Name of Registrant As Specified in Its Charter)
UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 FORM 10-K ☑ ANNUAL REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the fiscal year ended December 31, 2017 or ☐ TRANSITION REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the transition period from _______ to ______ Commission File No. 1-8625 READING INTERNATIONAL, INC. (Exact name of registrant as specified in its charter) NEVADA 95-3885184 (State or other jurisdiction of incorporation or organization) (I.R.S. Employer Identification Number) 5995 Sepulveda Boulevard, Suite 300 Culver City, CA 90230 (Address of principal executive offices) (Zip Code) Registrant’s telephone number, including Area Code: (213) 235-2240 Securities Registered pursuant to Section 12(b) of the Act: Title of each class Name of each exchange on which registered Class A Nonvoting Common Stock, $0.01 par value NASDAQ Class B Voting Common Stock, $0.01 par value NASDAQ Securities registered pursuant to Section 12(g) of the Act: None Indicate by check mark if the registrant is a well-known seasoned issuer, as defined in Rule 405 of the Securities Act. Yes ☐ No ☑ If this report is an annual or transition report, indicate by check mark if the registrant is not required to file reports pursuant to Section 13 or 15(d) of the Securities Exchange Act of 1934. Yes ☐ No ☑ Indicate by check mark whether registrant (1) has filed all reports required to be filed by Section 13 or 15(d) of the Exchange Act of 1934 during the preceding 12 months (or for shorter period than the Registrant was required to file such reports), and (2) has been subject to such filing requirements for the past 90 days.
[Show full text]
Post No Bills
Rattlestick Playwrights Theater gratefully relies on donor support. Giving has never been easier. Use your phone to scan the QR code and donate now.. Post No Bills Or, detach the form below and return it to the house manager - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Name Billing address City, ST, Zip Code I (we) pledge a total of $____________________ to be paid: ☐now ☐monthly ☐quarterly ☐yearly. Credit card number | Exp. date By Mando Alvarado Authorized Signature Directed by Please make checks, corporate matches, or other gifts payable to: Michael Ray Escamilla Rattlestick Productions, Inc. 224 Waverly Place, New York, NY 10014 I (we) would like Rattlestick to use the following name(s) in all acknowledgements: ________________________________ ☐I (we) wish to have our gift remain anonymous. Support Rattlestick: As a nonprofit theater serving New York receive additional discounts, invitations City for the past 20 years, Rattlestick to private events, benefits and more. For Presents Playwrights Theater relies on the gener- more information, or to make a contri- osity of its patrons who donate through- bution, visit our website at out the season. Our Patron Program is a www.rattlestick.org/donatetorattlestick THE FEW new initiative for our most dedicated or contact: supporters to become a vital part of the Hannah Baxter by Rattlestick family, with seven levels of Individual Giving Manager giving tailored to fit all of our patrons, [email protected] Samuel D. Hunter no matter your budget. Please consider making a donation to Rattlestick and directed by 1. Friend—$75 Davis McCallum 25% discount on tickets to shows throughout the season 2. Donor—$150 50% discounts on tickets to shows throughout the season with 3.
[Show full text]
April 26, 27, & 28 2012
Volume XV Issue 3 The Horace Mann Theatre Company's Tri-Annual Publication Spring 2012 April 26, 27, & 28 2012 Cover Art by Jean Mariano (‘12) 2 Off icers Notes FROM: Thespian Editors Gamblers, showgirls, drunks, preaching “mission dolls,” and Mindy’s cheesecake (or was it stru- del?). What a way to end the year. All the way back in May 2011, we were so excited to hear that the HMTC would perform Frank Loesser’s Guys and Dolls. The show has fun dancing, a hilarious book, memorable lyrics, and exceptional music. The slapstick comedy and larger-than-life characters translate well into high school theatre, allowing students to step out of their comfort zones whether they’re singing, dancing, acting, or design- ing. It’s a classic. But there’s something more about Guys and Dolls. Maybe it’s the famous Brooklyn accents. Maybe it’s the homage to a fairytale New York that existed somewhere between 1950 and our imaginations. Or maybe it’s the way sitting in the audience or even listening to the CD can immediately put a huge grin on our faces. Like Clark Field in spring or cotton candy, Guys and Dolls is just plain good. We’re hoping this issue of The Thespian, which of course focuses on Guys and Dolls, captures the musical’s essence of simple delight against a backdrop of American history. Explore the many iterations of Guys and Dolls – from 1950 to today! Check out our spotlight on our new musical director Bill Stanley! And fill out our hilarious crossword puzzle mixingG+D and HMTC trivia! As we wrap up our APs, SATs, and even our high school careers, we can’t think of a better way to launch into summer break than ripping open your Thes- pian and watching us shimmy and sneeze our way through Gross Theatre.
[Show full text]
Then and Now Substantial Contributions to the History of Musical Theatre
THE OPPRESSION AND SEXISM OF AFRICAN-AMERICAN WOMEN: THEN AND NOW SUBSTANTIAL CONTRIBUTIONS TO THE HISTORY OF MUSICAL THEATRE by KELLI OWENS A thesis submitted in partial fulfillment of the requirements for the Honors in the Major Program in Musical Theatre in the College of Arts and Humanities and in the Burnett Honors College at the University of Central Florida Orlando, Florida Spring Term, 2014 Thesis Chair: Earl Weaver, MFA © 2014 Kelli Owens ii ABSTRACT A wise Martin Luther King Jr. once said, “Freedom is never given by the oppressor; it must be demanded by the oppressed (King 1).” For as long as men and women have shared the planet, sexism has been a universal issue in civilization. In a social justice context, American society has found ways to oppress people for centuries. The Oxford Dictionary defines sexism as a “prejudice, stereotyping, or discrimination, typically against women, on the basis of sex (“sexism”).” Voting rights in America were established in 1790, but it took years of petitioning at various women’s rights conventions before the Nineteenth Amendment to the United States Constitution stating "the right of citizens of the United States to vote shall not be denied or abridged by the United States or by any State on account of sex" was passed in 1920 (“Nineteenth Amendment”). Traditionally, men were supposed to be the strong, decisive, driven, courageous, money-making breed, while women were expected to be the nurturing, affectionate, weak subordinates. Today, we find men and women working in careers previously linked with sexism; men as nurses and teachers, women as CEOs and factory workers.
[Show full text]
JAB Resumelong 9-15-14A.Xlsx
Jonathan Burke Sound Designer / Engineer United Scenic Artists, Local 829 818.355.3308 [email protected] Off Broadway / Regional: Yes, Prime Minister Jonathan Lynn, Director Geffen Playhouse, Los Angeles CA 2013 Lonesome Traveler James O’Neil, Director Laguna Playhouse, Laguna CA 2012 The Best Is Yet To Come: The Music Of Cy Coleman David Zippel, Director 59E59 Theater, New York City, NY 2011 The Seafarer Randall Arney, Director Geffen Playhouse, Los Angeles, CA 2009 Heroes Helmer Thea Sharrock, Director Geffen Playhouse, Los Angeles, CA 2007 You Can’t Take It With You Christopher Hart, Director Geffen Playhouse, Los Angeles, CA 2005 Cookin’ At The Cookery Marion Caffery, Director Geffen Playhouse, Los Angeles, CA 2004 He Hunts David Schweizer, Director Geffen Playhouse, Los Angeles, CA 2002 The Weir Randall Arney, Director Geffen Playhouse, Los Angeles, CA 2001 Below the Belt Marc Masterson, Director City Theatre, Pittsburgh, PA 1997 Jack and Jill Marc Masterson, Director City Theatre, Pittsburgh, PA 1997 Molly Sweeney Lee Sankowich, Director City Theatre, Pittsburgh, PA 1997 Avenue X Dave Steakley, Director City Theatre, Pittsburgh, PA 1996 If We Are Women Marc Masterson, Director City Theatre, Pittsburgh, PA 1996 Beast on the Moon Sara Chazen, Director City Theatre, Pittsburgh, PA 1996 Schoolhouse Rock – Live! Scott Ferguson, Director City Theatre, Pittsburgh, PA 1996 Local: Ojai Playwrights Conference Robert Egan, Artistic Director Zalk Theatre, Ojai, CA 2014 Bye Bye Birdie Lewis Wilkenfeld, Director Kavli Theatre, Thousand Oaks, CA
[Show full text]
Broadway Bound
Originating on WMNR Fine Arts Radio [email protected] Playlist* Program is archived 24-48 hours after broadcast and can be heard Broadway Bound with Garrett Stack free of charge at Public Radio Exchange, > prx.org > Broadway Bound *Playlist is listed alphabetically by show (disc) title, not in order of play. Show #: 264 Broadcast Date: February 4, 2017 Time: 16:00 - 18:00 # Selections: 22 n spite of a horrible business climate, Times Square an Iembarrassment, 42nd St. overrun with pimps, hustlers prostitutes and panhandlers, and urine-soaked sidewalks up and down the theater district, a few good musicals were produced and kept Broadway alive in the 1980’s. Time Writer(s) Title Artist Disc Label Year Position Comment File Number Intro Track Holiday Release Date Date Played Date Played Copy 4:45 [m]Harry Warren[l]Al Dubbin Overture/Audition - 42nd Street Orchestra Danny Carroll/Ensemble 42nd Street - Original Broadway Cast RCA 1980 8/25/1980 - 1/8/1989. 3486 perf. 2 1981 Tony Awrds: best musical; choreography CDS Fort 1 11/12/112/4/17 3:35 Roger Miller River in the Rain Daniel Jenkins and Ron Richardson Big River - Original Broadway Cast MCA 1985 Apr 25, 1985 - Sep 20, 1987 - 1005 perf CDS Big 0:16 10 1985 9/20/08 11/8/08 7/23/11 3/15/14 2/4/17 Seven 1986 Tony Awards: Best Musical; Best Book; Best Score; Best Featured Actor - 4:02 Alex Hill/Andy Razaf If I Can't Sell It, I'll Keep Sittin' On Ruth Brown Black and Blue (1989 Original Broadway Cast) DRG 1989 1/26/1989 -1/20/1991.
[Show full text]