DOCSLIB.ORG

CJP's Barry Shrage: His Passion Doesn't Quit

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
CJP's Barry Shrage: His Passion Doesn't Quit MARCH 30, 2017 – 3 NISAN, 5777 JEWISHVOL 41, NO 17 JOURNAL JEWISHJOURNAL.ORG CJP’s Barry Shrage: His Passion Doesn’t Quit In last week’s edition of the Journal (March 23), we broke the news that Barry Shrage had announced his intention to step down as CEO and president of Combined Jewish Philanthropies in the summer of 2018. In an interview last week to explain the decision, the first question we asked Barry had to do with his plans for retirement – what were the unfulfilled possibilities that he wanted to explore after being released from his responsibilities running Boston’s hugely successful federation? continued on page 2 WHAT’S NEXT ON YOUR TO-DO LIST? Get the financing you need to tackle your next project with a HOME EQUITY LINE OF CREDIT. Remodel the kitchen Repair the roof Shop for the holidays % Go on vacation Finish the basement APR* Consolidate credit cards 3.25 Call 877-MY-METRO or visit metrocu.org. Pay tuition *Annual Percentage Rate is variable based on the Prime Rate published in the Wall Street Journal and adjusts monthly. Prime as of 2/28/17 is 3.75%. Maximum APR is 18% and minimum is 3.25%. Loan to value not to exceed 80% or 75% for condos. LTV may be reduced based on creditworthiness. Available on 1-4 family primary residences in MA or southern NH. New lines up to $500,000. Property insurance required. Early termination fee of $500 applies for lines closed within first 36 months not to exceed 2% of the credit limit. $135 to $525 fee if appraisal is required. $140 review fee if property is in a trust. NMLS# 198524 The Jewish Journal MA is a nonprofit newspaper supported by generous readers, committed advertisers and organizations. Email [email protected]. 2 THE JEWISH JOURNAL MA – JEWISHJOURNAL.ORG – MARCH 30, 2017 COMMUNITY NEWS CJP’s Barry Shrage: The un-retirement from page 1 Barry’s first answer ran on for about commitment to these forms of Jewish five minutes, making Shrage sound education, and in particular, they left not one bit like someone prepared to follow-up entirely to the Birthright sit around in his bathrobe taking all Foundation. Following up and engaging morning to read the paper. Here is some people who’ve been to Israel is a local of that answer, with nary a pause taken community responsibility, this can’t be for a breath, proving that despite his managed from a national headquarters retirement plans, Barry’s passion still someplace. But what I always wonder burns strong. is, why can’t every local federation, every local dayschool, every local Jewish Journal: What is your fantasy organization, they’re all interested in the about retirement? next generation. The next generation Barry Shrage: To be able to do some is flooding out of Israel and into our of the things that I want to do and care local communities, and we need to keep deeply about. Being president and CEO offering them opportunity of deepening of CJP is a very very very full-time job their engagement with Jewish life. We’ve – I love doing it and have always loved done this very successfully on campus doing it, but at some point you start with IACT, and now it’s time for many thinking about “what does the next step foundations, for many federations, to look like? What are the things that you ask where are we this year, where are we could do if you weren’t acting primarily going? And I think that by creating space as the CEO of CJP.” as part of CJP but also in conjunction There are issues that, as some might Barry Shrage spoke at a pro-Israel rally in Boston in 2015. with other organizations, perhaps with be aware, I’ve been obsessed with most an academic institution, we can really of my adult life – issues of Jewish iden- equivalent in our interest in Western In addition, in North America we turn this around. tity, issues of inclusion, issues of adult civilization, in Shakespeare, in great have 35 or 40,000 young adults coming learning, follow up for birthright – all music and great art, which is the fruit back each year, maybe for the first time, JJ: So there’s not a stamp collection of those things are primary concerns of of western civilization. with a strong interest waiting? mine. We’ve done great work, not me The truth is that we in their Jewish Shrage: No offense to anyone, but I but me with our community have that and we have At some point you start learning, they can do not play golf, I do not play bridge. My When we started ME’AH and when more in our Jewish lit- thinking about “what does be engaged in their reading interest, my intellectual interest, we began our strong push for adult erary inheritance and intensive forms of my passion is all about Jewish life and learning, we found that everything we have a responsibil- the next step look like? Jewish involvement. the Jewish future and the connection improved – there were more kids going ity to pass that on to What are the things that That’s why we between that and the wider world that to day school, there was a greater inter- our kids but you have you could do if you weren’t created the IACT we’re in conversation with as a Jewish est in day school, there was a greater to see the beauty in program, that’s why people. One of the points of my tenure interest in strengthening afternoon it first. ME’AH was acting primarily as the we work so closely at CJP has been the notion that our par- school education. This is all because incredibly important in CEO of CJP.” with young adults. ticularity, our engagement with the next once adults see the beauty of Jewish doing that, and we’re But there could be/ generation around Jewish ideas is essen- learning – the reality is that most adults working with Hebrew should be a national tial, but that is not in any conflict with in our community had pretty poor College and others to revitalize it, and interest in this, there should be national our universal commitment to making a Jewish education – they see that the we believe that there could be a national foundations that would also want better world for all of our citizens, for all beauty of Jewish learning is at least the interest in this strategy. to join together to strengthen the Americans and for the world. Will you open the door? This Passover, your generosity will allow us to create a warm and welcoming community where help is available to all who are struggling — and to all who need hope. cjp.org/gift The Jewish Journal MA is a nonprofit newspaper supported by generous readers, committed advertisers and organizations. PREPARE FOR PASSOVER THE JEWISH JOURNAL MA – JEWISHJOURNAL.ORG – MARCH 30, 2017 3 ‘Passover Cowboy’ and other books for Passover A DIFFERENT KIND PENNY SCHWARTZ memoir described how his family, along with Special to the Journal other Russian Jewish families, resettled in OF PASSOVER the South American country in the early Linda Leopold-Strauss rom the plains of Argentina to the hal- 1900s. illustrated by lowed, magical halls of Harry Potter’s Now, in “The Passover Cowboy,” illustrat- Jeremy Tugeau Hogwarts, a new crop of children’s ed by Gina Capaldi (Apples & Honey Press), Kar-Ben; ages 4-9 F $17.99 hardcover; books for Passover transports children to Diamond Goldin has written an original unexpected places for the eight day Festival story inspired by that memoir that is set in $7.99 paperback of Freedom that begins this year with the the rural Argentinian countryside. his is a touching, Diamond Goldin enjoys exposing kids first seder, on Monday evening, April 10. Tintergenerational Among the engaging and informative to the diverse cultures of Jewish life from story where a young girl books and new family haggadahs is a new around the world, she told the Journal. From named Jessica is deter- tale penned by Western Massachusetts a young age, the writer and long time Jewish mined to figure out a way for her ill grandpa to still lead the family’s writer Barbara Diamond Goldin (“The educator was interested in Jewish life in Passover seder. The story will hit home for many kids with aging Best Hanukkah Ever,” “Cakes and Miracles: South America because she had an aunt who relatives as Jessica helps carry on a family tradition in a creative A Purim Tale,”) one of the country’s most had emigrated there from Eastern Europe. new way. Jeremy Tugeau’s expressive illustrations capture Jessica’s acclaimed writers of Jewish children’s books In “Passover Cowboy,” readers discover that emotions of joy, disappointment and the love and admiration she and the recipient of the Sydney Taylor Body- the Argentinian people also fought for their shares her with grandfather. of-Work award from the Association of independence, reflecting Passover’s theme of THE PASSOVER Jewish Libraries. the Israelite’s quest for freedom from slavery. Nearly twenty years ago, while working on “I liked making that connection,” said COWBOY “Journeys with Elijah (1999),” an award win- Diamond Goldin, now the director at the Barbara Diamond ning collection of folk tales from around the Edwards Public Library in Southampton. Goldin world based on the Prophet Elijah, Diamond Here’s a brief description of “Passover illustrated by Gina Capaldi Goldin came across the diary of a Jewish Cowboy” and these other terrific reads for Apples and immigrant who grew up in Argentina.
Load more

Recommended publications
  • Press Release
    FOR IMMEDIATE RELEASE Media Contact: Summer L. Williams Phone #: 617.448.5780 Email: [email protected] www.companyone.org Company One Theatre, in CollaBoration with Suffolk University, Presents THE FLICK High resolution photos availaBle here: http://www.companyone.org/Season15/The_Flick/photos_videos.shtml Boston, MA (FeBruary 2014) — Company One Theatre (C1), recently named "Boston's Best Theatre Company" By The Improper Bostonian, in collaBoration with Suffolk University, present the New England premiere of THE FLICK, By OBIE award winning playwright, Annie Baker. Performances take place FeBruary 20‐March 15, 2014 at the Suffolk University Modern Theatre (525 Washington Street, Boston, MA 02111). Tickets, from $20‐$38 , are onsale now at www.companyone.org. THE FLICK welcomes you to a run‐down movie theatre in Worcester County, MA, where Sam, Avery and Rose are navigating lives as sticky as the soda under the seats. The movies on the Big screen are no match for the tiny Battles and not‐so‐tiny heartBreaks that play out in the empty aisles. Annie Baker (THE ALIENS) and C1 Artistic Director Shawn LaCount reunite with this hilarious and heart‐rending cry for authenticity in a fast‐changing world. With this production, the artists of C1 answer the call from New England fans of one of America’s most celeBrated contemporary playwrights. Boston’s relationship with Annie Baker Began with the C1 award‐winning production of THE ALIENS as part of the Shirley, VT Plays Festival. Annie Baker (who grew up in Amherst, Massachusetts) recently won Both an OBIE for playwriting, and the Susan Smith BlackBurn Prize for THE FLICK.
    [Show full text]
  • John Gassner
    John Gassner: An Inventory of His Collection at the Harry Ransom Center Descriptive Summary Creator: Gassner, John, 1903-1967 Title: John Gassner Papers Dates: 1894-1983 (bulk 1950-1967), undated Extent: 151 document boxes, 3 oversize boxes (65.51 linear feet), 22 galley folders (gf), 2 oversize folders (osf) Abstract: The papers of the Hungarian-born American theatre historian, critic, educator, and anthologist John Gassner contain manuscripts for numerous works, extensive correspondence, career and personal papers, research materials, and works by others, forming a notable record of Gassner’s contributions to theatre history. Call Number: Manuscript Collection MS-54109 Language: Chiefly English, with materials also in Dutch, French, German, Greek, Hebrew, Italian, Norwegian, Polish, Portuguese, Spanish, Swedish, and Turkish Access: Open for research Administrative Information Acquisition: Purchases and gifts, 1965-1986 (R2803, R3806, R6629, G436, G1774, G2780) Processed by: Joan Sibley and Amanda Reyes, 2017 Note: The Ransom Center gratefully acknowledges the assistance of the Gladys Krieble Delmas Foundation, which provided funds to support the processing and cataloging of this collection. Repository: The University of Texas at Austin, Harry Ransom Center Gassner, John, 1903-1967 Manuscript Collection MS-54109 Biographical Sketch John Gassner was a noted theatre critic, writer, and editor, a respected anthologist, and an esteemed professor of drama. He was born Jeno Waldhorn Gassner on January 30, 1903, in Máramarossziget, Hungary, and his family emigrated to the United States in 1911. He showed an early interest in theatre, appearing in a school production of Shakespeare’s The Tempest in 1915. Gassner attended Dewitt Clinton High School in New York City and was a supporter of socialism during this era.
    [Show full text]
  • Paramount Center Project Emerson College Theatre District Rehabilitation Project Washington Street, Boston, Mass
    VARIETY A RTS E NTERPRISES Projects: Paramount Center EDITORIAL & DESIGN SERVICES, RESEARCH, & INTERPRETATION for MUSEUMS, HISTORICAL SOCIETIES, & CULTURAL ORGANIZATIONS Paramount Center Project Emerson College Theatre District Rehabilitation Project Washington Street, Boston, Mass. 2006-2010 Permanent Lobby Exhibition Boston Theatre History … including Boston Vaudeville History R.W. Bacon ~ Vaudeville History Consultant n 2005 Emerson College announced its plan to Theatre (1894, 1800 seats), the Keith Memorial Irenovate the Paramount Theatre on Washington Theatre (1928, 2907 seats, now known as the Opera Street in Boston’s theatre district, an $80 million House), and the Modern Theatre (1914, 800 seats). project to include a 590-seat main theatre, a black-box The Paramount closed in 1976, but its marquee was theatre, film screening room, sound stage, rehearsal restored in 2002 by the developers of the adjacent rooms, classrooms, faculty offices, and dormitory Ritz-Carlton Towers. housing for 262 students. All of this massive As the complicated construction project progressed redevelopment (180,000 square feet!) would spread towards completion, the generous linear footage across the original footprint of several earlier iconic originally devoted to the interpretive panels on Boston theatres that were the cradle of the vaudeville theatre history kept shrinking. Nevertheless, the entertainment genre in the 1880s. resulting permanent exhibition in the highly-visible Plans included exhibit panels throughout the center’s public spaces of the new performing arts center is the public spaces to interpret the arc of Boston's theatre next-best-thing to an actual museum of Boston theatre history – a permanent exhibition to also include the … and vaudeville. history of vaudeville, from its birth at the 80-chair In the aftermath of completion, the Paramount Center dime museum of B.F.
    [Show full text]
  • Terry Helgesen Collection
    152 N. York St., 2nd Floor, Elmhurst, IL 60126 historictheatres.org Finding Aid for the TERRY HELGESEN COLLECTION Acc. #: xx-005 Future Additions Expected: No Finding Aid creation: August 17, 2010 Size: 10.5 linear feet (approx.) Abstract The Terry Helgesen Collection contains 26 oversize scrapbooks, some correspondence, several draft chapters of a book on theatres, and an oil painting of a young Terry Helgesen. The scrapbooks consist of photographs and drawings of theatres collected by THS member Terry Helgesen with his descriptions of the theatres and other information such as number of seats, architect, opening and closing dates, renovation and demolition dates, and other notable facts. Background Information Terry Helgesen (1914-1995) was a pianist who played on stage in the waning days of presentation houses (a short stage show followed by a movie) as well as in nightclubs. Terry was also a THS Founding member and the 1979 Member of the Year. He was born in Seattle, WA but his family moved to Santa Barbara, CA when he was still very young. He was tutored in piano by Roger Clerbois and Joseph Hoffman, among others. Terry entered vaudeville (variety entertainment with a mixture of comedy, song and dance) in a “tyke” act called “Terry and Ty” with Terry playing a miniature piano and Ty doing a quick-step. Though Terry started as part of an act, he later changed to accompaniment and played on the Orpheum, Fanchon & Marco and Publix circuits. During his travels he sought out newspapers and photographers who had images of theatres which he purchased and assembled into scrapbooks.
    [Show full text]
  • Download a PDF of the Program
    RIVETING & TIMELY NEW PLAY SKELETONBY DIRECTED BY DOMINIQUE MEGAN CREW MORISSEAU SANDBERG-ZAKIAN MAR.2-31 SOUTH END CALDERWOOD PAVILION AT THE BCA NEW ENGLAND’S BEST VIEW BOSTON’S MOST ROMANTIC FINE DINING EXPERIENCE BRUNCH LUNCH COCKTAILS DINNER ND FLOOR OF PRUDENTIAL TOWER TOPOFTHEHUB.NET CALL: CONTENTS MARCH2018 7 THE PROGRAM 10 AN INTERVIEW WITH PLAYWRIGHT DOMINIQUE MORISSEAU 13 PLAYWRIGHT’S RULES OF ENGAGEMENT PLUS: 4 04 Backstage by Olivia J. Kiers 14 About the Company 34 Patron Services 35 Emergency Exits 38 Guide to Local Theatre 44 Boston Dining Guide 46 Dining Out: Davio’s 10 theatrebill STAFF Publishing services are provided by Theatrebill, a pub- lication of New Venture Media Group LLC, publisher of President/Publisher: Tim Montgomery Panorama: The Official Guide to Boston, 560 Harrison Ave., Suite 412, Boston, MA 02118, 857-366-8131. Art Director: Scott Roberto Associate Art Director: Laura Jarvis Assistant Editor: Olivia J. Kiers WARNING: The photographing or sound recording of any performance or the possession of any device Vice President Publishing: Rita A. Fucillo for such photographing or sound recording inside Vice President Advertising: Jacolyn Ann Firestone this theatre, without the written permission of the Senior Account Executive: Annie Farrell management, is prohibited by law. Violators may be Senior Account Executive: Abe Dewing punished by ejection and violations may render the offender liable for money damages. Chief Operating Officer: Tyler J. Montgomery Business Manager: Melissa J. O’Reilly FIRE NOTICE: The exit indicated by a red light and sign nearest to the seat you occupy is the shortest route to the street.
    [Show full text]
  • Paramount Theatre and the Boston Opera House Honored for Their Remarkable Makeovers
    Paramount Theatre and the Boston Opera House Honored For Their Remarkable Makeovers By Megan Johnson Published May 15, 2017 © Peter Vanderwarker / Elkus Manfredi Architects An image of the historic Paramount Theater before the renovation (left), and after (right). In a city where nondescript luxury condos pop up on every “talkie” films. But it fell into disrepair by the Combat Zone’s corner, it’s rare that historic buildings are revitalized to their heyday, and was even used to play adult films on occasion. It original glory. But now, the restoration of three Boston theaters shuttered in 1981, only to be purchased and entirely restored by that fell into disrepair by the 1960’s and ‘70’s is getting the Suffolk University. It now contains the auditorium and a student attention it deserves: Last week, the National Trust for Historic dormitory. Preservation released their list of 11 once-endangered sites that are now thriving and contributing to their communities, and Overloading with opulence, the Boston Opera House was a a trio of historic Boston theaters- the Boston Opera House, the vaudeville palace when it was built in 1928. By the late 1990’s, Paramount Theatre, and the Modern Theatre- scored a spot on that gilded beauty and glamour had fallen by the wayside. Now the list. The inclusion of the Boston theaters is a major coup for fully restored and used by the Boston Ballet and a constant the the Boston Preservation Alliance, who tirelessly advocated for stream of Broadway plays, the Opera House looks every bit the the theaters through building public and government support, as luxurious palace it once was.
    [Show full text]
  • The Nature Plays
    The Nature Plays A series of site-specific plays created by Playwright Patrick Gabridge, Mount Auburn Cemetery Artist-in-Residence Friends of Mount Auburn presents The Nature Plays A series of site-specific plays created by Playwright Patrick Gabridge, Mount Auburn Cemetery Artist-in-Residence Directed by Courtney O’Connor Produced by Plays in Place Thursday, May 30th: 1pm & 5 pm Saturday, June 1st: 1 pm & 5 pm Sunday, June 2nd: 1 pm & 5 pm Thursday, June 6th: 5pm Saturday, June 8th: 1 pm & 5 pm Sunday, June 9th: 1 pm & 5 pm Cast Hot Love in the Moonlight Mac Ed Hoopman* Jeremy Jacob Oommen Athyal* Samantha Theresa Hoa Nguyen* Namesakes Asa Gray Lisa Tucker* Louis Agassiz Ed Hoopman* Jane Gray Theresa Hoa Nguyen* Elizabeth Agassiz Jacob Oommen Athyal* Sworn to Secrecy Stephanie Theresa Hoa Nguyen* Jordan Jacob Oommen Athyal* Leanna Lisa Tucker* Devon Ed Hoopman* Cerulean Blue Dan Ed Hoopman* Kate Lisa Tucker* Ellie Theresa Hoa Nguyen* Fred Jacob Oommen Athyal* Love and Loss in the Glade Joe Sassafras Jacob Oommen Athyal* Michael Sassafras Ed Hoopman* Fernando Lisa Tucker* Paula Theresa Hoa Nguyen* * Appearing through an Agreement between the Friends of Mount Auburn, Plays In Place, and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. Production Crew Written by Patrick Gabridge Directed by Courtney O’Connor Produced by Plays in Place Stage Manager: Adele Nadine Traub* Costume Design: Kimberly Berry Sound Design: Arshan Gailus Assistant Stage Manager: Betsy Pierce Mushroom Design: Alzi Kenney Associate Producer: Lindsay Eagle Publicity: Rachel Lucas Bios: Jacob Oommen Athyal* Jacob’s previous credits include Guards at the Taj (Underground Railway, Best Actor Elliot Norton), The Elaborate Entrance of Chad Deity (Perseverance Theater, AK & Company One), and Rhinoceros (Boston Playwrights/The Modern Theatre).
    [Show full text]
  • Millennium Theatres
    Millennium Theatres Discovering Community Theatre’s Future By Exploring Its Past Millennium Theatre - I - Millennium Theatres Discovering Community Theatre’s Future By Exploring Its Past Published by Theatre USA With the cooperation of the American Association of Community Theatre & The City of Detroit Department of Recreation, Empowerment Zone Millennium Theatre - II - Theatre USA (formerly IATA/USA) WHAT IS IT? Made up of six national organizations with individual members in every state, Theatre USA is the powerful voice of the USA amateur theatre community speaking to the world. Its parent organization AITA is a non-governmental organization (NGO) having official relations with UNESCO, and is a member of the Standing Committee of International Theatre Organizations. The International Amateur Theatre Association (AITA/IATA) was funded in 1952 in Brussels, Belgium, as the umbrella organization for amateur theatre across the world. (community and educational, young and old). There are literally millions of people around the world actively involved in amateur theatre. These people share a commitment to creative theatrical expression and are members of more than 100,000 community, youth, children’s and education groups. Amateur theatre worldwide is serviced by national AITA/IATA centers such as Theatre USA, Regional Alliances, and Continental service Centers. Most national centers are composed of individual theatre member organizations. Theatre USA has representatives from its six national organizations on its Board: Association for Theatre in Higher Education, AATE –American Alliance for Theatre and Education, AACT– American Association of Community Theatre, BTN – Black Theatre Network, IOD – Institute of Outdoor Drama, EDTA/Thespians – Educational Theatre Association (sponsors of the International Thespians).
    [Show full text]
  • Winter/Spring 2019
    STAGEPAGE.SPRING.2019 january All Access The Curious Savage The Country House Bobbie-Jean Faculty Goitse Cardboard Piano You’re a Good Man, Cry It Out ImprovBoston Theatre III Concord Players Powell-Kelly Goitse New Repertory Theatre Charlie Brown Merrimack Repertory Theatre Charlie and the January 5 - April 27 January 18 - 27 February 8 - February 23 Merrimack College March 5 March 23 - April 14 Theatre III April 24 - May 19 Chocolate Factory 617-576-1253 / improvboston.com B19 978-263-9070 / theatreiii.org M19 978-369-2990 / concordplayers.org M1 February 21- 23 merrimack.edu/rogers M13 617-923-8487 / newrep.org B25 April 5 - April 14 978-654-4678 / mrt.org M8 merrimack.edu/rogers M13 978-263-9070 / theatreiii.org M19 Lexus Broadway In Boston TourCo Ragtime through January 20 Green Day’s American Idiot The Illusionists Extremities The Secret Garden ImprovBoston Wheelock Family Theatre Laughs in Spanish American Moor 617-259-3400 / BroadwayInBoston.com B13 The Company Theatre Broadway In Boston Also Known As Theatre Concord Players ArtsEmerson January 6 - April 28 January 25 - February 17 February 8 - February 17 Boston Playwrights’ Theatre March 5 - March 10 March 28 - April 13 April 26 - May 11 617-576-1253 / improvboston.com B19 617-353-3001 / wheelockfamilytheatre.org B31 April 10 - April 21 The End of TV 781-871-2787 / companytheatre.com M17 February 21 - March 3 617-259-3400 / BroadwayInBoston.com B13 617-933-8600 B7 978-369-2990 / concordplayers.org M1 617-824-8400 / artsemerson.org B15 866-811-4111 / BostonPlaywrights.org B6
    [Show full text]
  • Actors' Shakespeare Project American Repertory Theater Apollinaire
    Actors’ Shakespeare Project About: Actors’ Shakespeare Project believes Shakespeare’s words are urgently relevant to our times. Working as an ensemble of resident company members, we bring these words into the voices, bodies, and imaginations of our actors, audiences, and neighborhoods. We do this through creative projects, including intimate productions and outreach programs that are informed by the spaces in which they happen. These projects inspire civic dialogue, build relationships between people, strengthen communities, and reveal something about what it means to be human here and now. Season: After the heart-rending tale of Othello (under the direction of Bridget Kathleen O’Leary) kicks off at The Modern Theatre at Suffolk University, Melia Bensussen will graciously return to the director’s chair for The Winter’s Tale, a strange and beautiful play perfect to share with all ages over the holiday season. Next, Artistic Director Allyn Burrows will direct Richard II with a small and powerful cast. In the spring, we will wrap up the season with a delightful romp of a comedy, The School for Scandal, at the Multicultural Arts Center in Cambridge, under the director of company member Paula Plum. American Repertory Theater About: A.R.T. seeks to expand the boundaries of theater by programming events that immerse audiences in transformative theatrical experiences. Season: A season of adaptations, including: NATASHA, PIERRE & THE GREAT COMET OF 1812 Music and Libretto by Dave Malloy Directed by Rachel Chavkin NICE FISH Conceived, Written,
    [Show full text]
  • Ladder Blocks C O N T E N T S
    BOSTON PRESERVATION ALLIANCE Ladder Blocks C O N T E N T S P A R T I O V E R V I E W P A R T I I S I G N I F I C A N C E P A R T I I I T H R E A T T O T H E L A D D E R B L O C K S P A R T I V S U P P O R T A N D F U T U R E E F F O R T S BOSTON PRESERVATION ALLIANCE P A R T I O V E R V I E W Series of city blocks within Boston's iconic Downtown Encompassing historic Washington Street Theatre District Eastern edge of the Boston Common, north of Chinatown, and west of the Financial District From School to Boylston Streets, between Tremont and Washington Streets Located in the heart of Boston, the Ladder Blocks is a rising district full of high-end restaurants, elegant shopping centers, expensive high-rises, and successful businesses. The streets are frequently congested with heavy pedestrian traffic; allowing visitors to experience the historic streets and unique character of the nineteenth century architecture and marvel at the human- scale massing of the buildings. Currently, the neighborhood is considered to have some of the highest pedestrian counts on the East Coast, coming second to New York City. While famous for the grandeur of the commercial hub, the Ladder Blocks are also known for the rich history they emulate through its buildings and streets.
    [Show full text]
  • German Influences on the British Stage, 1890-1918
    THE MODERN CATALYST: GERMAN INFLUENCES ON THE BRITISH STAGE, 1890-1918 A Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Nicholas John Dekker, M.A. ***** The Ohio State University 2007 Doctoral Examination Committee: Approved by Dr. Thomas Postlewait, Adviser Dr. Lesley Ferris __________________________________ Adviser Dr. Joy Reilly Graduate Program in Theatre ABSTRACT This dissertation examines the role of German culture – theatre, music, opera, politics, and philosophy – as a catalyst to the modernist transformations of London theatre between 1890 and 1918. It explores the ways British theatre engaged German culture, whether by emulation, adaptation, or resistance, and focuses on four major figures in the Edwardian Theatre: J. T. Grein, William Archer, Bernard Shaw, and Harley Granville Barker. Impresario J. T. Grein (1862-1935) established German theatre companies in London to introduce British theatre to the works of great German writers, actors, and directors. Scottish critic William Archer (1856-1924) used Germany as a model for his campaign to translate and produce the plays of Henrik Ibsen in London. He also advocated the formation of England’s National Theatre, using German examples of state- funded repertory theatres. Bernard Shaw (1856-1950) introduced English audiences to Richard Wagner’s operas, ideas, and productions. Shaw’s plays also enjoyed a rich production history in Germany through his working relationship with his translator, Siegfried Trebitsch. Director Harley Granville Barker (1877-1946) closely followed the careers of German directors Max Behrend and Max Reinhardt. In 1912 and 1914, Barker produced three of Shakespeare’s plays, The Winter’s Tale, Twelfth Night, and A Midsummer Night’s Dream, in which audiences and critics quickly noticed German ii influences.
    [Show full text]