By Robert Schenkkan Directed by Francine Thomas Reynolds Oct 21-Nov 2, 2014
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MELODY BETTS Resume
MELODY A. BETTS AEA, SAG-AFTRA Height: 5’3” Hair: Brown Eyes: Light Brown PROFESSIONAL/REGIONAL THEATRE Secret of My Success Rose Lockhart Paramount Theater Gordon Greenberg/ Steve Rosen Waitress Becky. Nurse Norma Brooks Atkinson Theater/ National Tour Diane Paulus The Sound of Music Mother Abbess National Tour Jack O'Brien Invisible Thread Rain Lady, Joy u/s Second Stage Theater Diane Paulus Nunsense Sister Hubert Marriott Theatre Rachel Rockwell All Shook Up Sylvia Marriott Theatre Marc Robin The Boys from Syracuse Luce Drury Lane Oakbrook David H. Bell Godspell Sonia-“Oh Bless the Lord” LTOTS Ann Niemann Seussical Sour Kangaroo/Bird Girl Drury Lane Oakbrook Rachel Rockwell Do Patent Leather Shoes… Sister Helen LTOTS Ann Niemann Cinderella Fairy Godmother Marriott Theatre Rachel Rockwell Thoroughly Modern Millie Muzzy Van Hossmere Drury Lane Oakbrook Bill Osetek Comedy of Errors Courtesan/Abbess Chicago Shakespeare David H. Bell Ragtime*** Sarah’s Friend Drury Lane Oakbrook Rachel Rockwell The Drowsy Chaperone Trix the Aviatrix Marriott Theatre Marc Robin Once on This Island Asaka Marriott Theatre David H. Bell The Nativity Mother of Mary Goodman Theatre A.T.Douglas Intimate Apparel Esther Mills Simpkins Theatre Egla Hasaan Blithe Spirit Madame Arcati Horrabin Theatre Tamara Izlar The Monument Mejra Simpkins Theatre Jeff Day Mud, River, Stone Ama Simpkins Theatre Tamara Izlar Othello Emilia Hainline Theatre Egla Hasaan Pinocchio Blue Fairy/Story Teller Chicago Shakespeare Rachel Rockwell Motherhood the Musical Tasha Royal George Theater -
The 200 Plays That Every Theatre Major Should Read
The 200 Plays That Every Theatre Major Should Read Aeschylus The Persians (472 BC) McCullers A Member of the Wedding The Orestia (458 BC) (1946) Prometheus Bound (456 BC) Miller Death of a Salesman (1949) Sophocles Antigone (442 BC) The Crucible (1953) Oedipus Rex (426 BC) A View From the Bridge (1955) Oedipus at Colonus (406 BC) The Price (1968) Euripdes Medea (431 BC) Ionesco The Bald Soprano (1950) Electra (417 BC) Rhinoceros (1960) The Trojan Women (415 BC) Inge Picnic (1953) The Bacchae (408 BC) Bus Stop (1955) Aristophanes The Birds (414 BC) Beckett Waiting for Godot (1953) Lysistrata (412 BC) Endgame (1957) The Frogs (405 BC) Osborne Look Back in Anger (1956) Plautus The Twin Menaechmi (195 BC) Frings Look Homeward Angel (1957) Terence The Brothers (160 BC) Pinter The Birthday Party (1958) Anonymous The Wakefield Creation The Homecoming (1965) (1350-1450) Hansberry A Raisin in the Sun (1959) Anonymous The Second Shepherd’s Play Weiss Marat/Sade (1959) (1350- 1450) Albee Zoo Story (1960 ) Anonymous Everyman (1500) Who’s Afraid of Virginia Woolf Machiavelli The Mandrake (1520) (1962) Udall Ralph Roister Doister Three Tall Women (1994) (1550-1553) Bolt A Man for All Seasons (1960) Stevenson Gammer Gurton’s Needle Orton What the Butler Saw (1969) (1552-1563) Marcus The Killing of Sister George Kyd The Spanish Tragedy (1586) (1965) Shakespeare Entire Collection of Plays Simon The Odd Couple (1965) Marlowe Dr. Faustus (1588) Brighton Beach Memoirs (1984 Jonson Volpone (1606) Biloxi Blues (1985) The Alchemist (1610) Broadway Bound (1986) -
2019 Silent Auction List
September 22, 2019 ………………...... 10 am - 10:30 am S-1 2018 Broadway Flea Market & Grand Auction poster, signed by Ariana DeBose, Jay Armstrong Johnson, Chita Rivera and others S-2 True West opening night Playbill, signed by Paul Dano, Ethan Hawk and the company S-3 Jigsaw puzzle completed by Euan Morton backstage at Hamilton during performances, signed by Euan Morton S-4 "So Big/So Small" musical phrase from Dear Evan Hansen , handwritten and signed by Rachel Bay Jones, Benj Pasek and Justin Paul S-5 Mean Girls poster, signed by Erika Henningsen, Taylor Louderman, Ashley Park, Kate Rockwell, Barrett Wilbert Weed and the original company S-6 Williamstown Theatre Festival 1987 season poster, signed by Harry Groener, Christopher Reeve, Ann Reinking and others S-7 Love! Valour! Compassion! poster, signed by Stephen Bogardus, John Glover, John Benjamin Hickey, Nathan Lane, Joe Mantello, Terrence McNally and the company S-8 One-of-a-kind The Phantom of the Opera mask from the 30th anniversary celebration with the Council of Fashion Designers of America, designed by Christian Roth S-9 The Waverly Gallery Playbill, signed by Joan Allen, Michael Cera, Lucas Hedges, Elaine May and the company S-10 Pretty Woman poster, signed by Samantha Barks, Jason Danieley, Andy Karl, Orfeh and the company S-11 Rug used in the set of Aladdin , 103"x72" (1 of 3) Disney Theatricals requires the winner sign a release at checkout S-12 "Copacabana" musical phrase, handwritten and signed by Barry Manilow 10:30 am - 11 am S-13 2018 Red Bucket Follies poster and DVD, -
Brooklyn Boy
41st Season • 392nd Production SEGERSTROM STAGE / SEPTEMBER 3 - OCTOBER 10, 2004 David Emmes Martin Benson PRODUCING ARTISTIC DIRECTOR ARTISTIC DIRECTOR IN ASSOCIATION WITH Manhattan Theatre Club presents the world premiere of BROOKLYN BOY BY Donald Margulies SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN ORIGINAL MUSIC AND SOUND DESIGN Ralph Funicello Jess Goldstein Chris Parry Michael Roth DRAMATURG PRODUCTION MANAGER STAGE MANAGER Jerry Patch Tom Aberger *Scott Harrison DIRECTED BY Daniel Sullivan HONORARY PRODUCERS CORPORATE PRODUCER Elaine and Martin Weinberg The Citigroup Private Bank Brooklyn Boy was commissioned and developed by South Coast Repertory Brooklyn Boy • SOUTH COAST REPERTORY P1 CAST OF CHARACTERS (In order of appearance) Eric Weiss .................................................................................... Adam Arkin* Manny Weiss ................................................................................ Allan Miller* Ira Zimmer ...................................................................................... Arye Gross* Nina .............................................................................................. Dana Reeve* Alison .......................................................................................... Ari Graynor* Melanie Fine ................................................................................ Mimi Lieber* Tyler Shaw .................................................................................... Kevin Isola* SETTING All scenes are set in the present in Brooklyn, -
Anniversary Season
th ASOLO REPERTORY THEATRE o ANNIVERSARY6 SEASON ASOLO REPERTORY THEATRE th 6oANNIVERSARY DINNER November 26, 2018 The Westin | Sarasota 6pm | Cocktail Reception 7pm | Dinner, Presentation and Award Ceremony • Vic Meyrich Tech Award • Bradford Wallace Acting Award 03 HONOREES Honoring 12 artists who made an indelible impact on the first decade and beyond. 04-05 WELCOME LETTER 06-11 60 YEARS OF HISTORY 12-23 HONOREE INTERVIEWS 24-27 LIST OF PRODUCTIONS From 1959 through today rep 31 TRIBUTES o l aso HONOREES Steve Hogan Assistant Technical Director, 1969-1982 Master Carpenter, 1982-2001 Shop Foreman, 2001-Present Polly Holliday Resident Acting Company, 1962-1972 Vic Meyrich Technical Director, 1968-1992 Production Manager, 1992-2017 Production Manager & Operations Director, 2017-Present Howard Millman Actor, 1959 Managing Director, Stage Director, 1968-1980 Producing Artistic Director, 1995-2006 Stephanie Moss Resident Acting Company, 1969-1970 Assistant Stage Manager, 1972-1990 Bob Naismith Property Master, 1967-2000 Barbara Redmond Resident Acting Company, 1968-2011 Director, Playwright, 1996-2003 Acting Faculty/Head of Acting, FSU/Asolo Conservatory, 1998-2011 Sharon Spelman Resident Acting Company, 1968-1971 and 1996-2010 Eberle Thomas Director, Actor, Playwright, 1960-1966 rep Co-Artistic Director, 1966-1973 Director, Actor, Playwright, 1976-2007 Brad Wallace o Resident Acting Company, 1961-2008 l Marian Wallace Box Office Associate, 1967-1968 Stage Manager, 1968-1969 Production Stage Manager, 1969-2010 John M. Wilson Master Carpenter, 1969-1977 asolorep.org | 03 aso We are grateful you are here tonight to celebrate and support Asolo Rep — MDE/LDG PHOTO WHICH ONE ??? Nationally renowned, world-class theatre, made in Sarasota. -
At Play Fall-Winter 03.Qxd
representing the american theatre by publishing and licensing the works of new and established playwrights JacquesBrelisAliveandWell Polly Pen on Writing Musicals Cowgirls’ Mary Murfitt Issue 9, Fall/Winter 2003 MUSICALS INTERVIEW WITH A BAT BOY Director of Professional Rights Robert Vaughan and Director of Publications Michael Fellmeth met with Bat Boy in the Palm Court of the Plaza Hotel in Manhattan to talk about growing up in a cave in Hope Falls, West Virginia, Bat Boy: The Musical, and his rise to global celebrity as the lead in a hit show about his own life. The pointy- eared, fanged star arrived with an entourage of bodyguards, personal assistants, agent, lawyer and publi- cist. Bat Boy, immaculately clad in Savile Row, seemed only vaguely aware of their presence. He greeted us warmly, sat down, lit a miniature cigar and ordered a bloody mary. continued on next page FELLMETH. Let me begin by saying how taken I EDGAR. Ahhh, Jenna. Jenna the Menace, that lips” motion.) Perhaps we’d best not discuss Dr. am with your voice, Bat Boy. Did you have any was my pet name for her. She was such a terror. Parker. That is a difficult subject for me. formal training? The media had it all wrong, though. It was she FELLMETH. Understandably so. A father who BAT BOY. Please don’t call me Bat Boy. My name who took to following me. After I finally got a abandoned you in infancy to be raised by bats is Edgar. restraining order she went on that binge in Texas and then — as if that weren’t enough — tried to FELLMETH. -
Southern Comfort
FROM THE NATIONAL ALLIANCE FOR MUSICAL THEAtre’s PresideNT Welcome to our 24th Annual Festival of New Musicals! The Festival is one of the highlights of the NAMT year, bringing together 600+ industry professionals for two days of intense focus on new musical theatre works and the remarkably talented writing teams who create them. This year we are particularly excited not only about the quality, but also about the diversity—in theme, style, period, place and people—represented across the eight shows that were selected from over 150 submissions. We’re visiting 17th-century England and early 20th century New York. We’re spending some time in the world of fairy tales—but not in ways you ever have before. We’re visiting Indiana and Georgia and the world of reality TV. Regardless of setting or stage of development, every one of these shows brings something new—something thought-provoking, funny, poignant or uplifting—to the musical theatre field. This Festival is about helping these shows and writers find their futures. Beyond the Festival, NAMT is active year-round in supporting members in their efforts to develop new works. This year’s Songwriters Showcase features excerpts from just a few of the many shows under development (many with collaboration across multiple members!) to salute the amazing, extraordinarily dedicated, innovative work our members do. A final and heartfelt thank you: our sponsors and donors make this Festival, and all of NAMT’s work, possible. We tremendously appreciate your support! Many thanks, too, to the Festival Committee, NAMT staff and all of you, our audience. -
Remembering St. Thomas More's Vocation Veryl Victoria Miles
Notre Dame Journal of Law, Ethics & Public Policy Volume 20 Article 16 Issue 1 Symposium on Law & Politics as Vocation February 2014 A Legal Career for All Seasons: Remembering St. Thomas More's Vocation Veryl Victoria Miles Follow this and additional works at: http://scholarship.law.nd.edu/ndjlepp Recommended Citation Veryl V. Miles, A Legal Career for All Seasons: Remembering St. Thomas More's Vocation, 20 Notre Dame J.L. Ethics & Pub. Pol'y 419 (2006). Available at: http://scholarship.law.nd.edu/ndjlepp/vol20/iss1/16 This Speech is brought to you for free and open access by the Notre Dame Journal of Law, Ethics & Public Policy at NDLScholarship. It has been accepted for inclusion in Notre Dame Journal of Law, Ethics & Public Policy by an authorized administrator of NDLScholarship. For more information, please contact [email protected]. A LEGAL CAREER FOR ALL SEASONS: REMEMBERING ST. THOMAS MORE'S VOCATION VERYL VICTORIA MILES* The vast majority of the work taking place in most law schools is the preparation of law students for the practice of law; namely, to teach legal theory and doctrine, legal analysis, writing, and advocacy. In sum, the goal of most law schools is to teach the many different skills required in law practice and the profes- sional rules of legal ethics. What appears to be lacking in the preparation of future lawyers are lessons on how to incorporate this vast amount of specialized learning and skill in ways that will be harmonious with the personal, moral, and ethical values that they possessed at the commencement of their legal education. -
Freedom Summer
MISSISSIPPI BURNING THE FREEDOM SUMMER OF 1964 Prepared by Glenn Oney For Teaching American History The Situation • According to the Census, 45% of Mississippi's population is Black, but in 1964 less than 5% of Blacks are registered to vote state-wide. • In the rural counties where Blacks are a majority — or even a significant minority — of the population, Black registration is virtually nil. The Situation • For example, in some of the counties where there are Freedom Summer projects (main project town shown in parenthesis): Whites Blacks County (Town) Number Eligible Number Voters Percentage Number Eligible Number Voters Percentage Coahoma (Clarksdale) 5338 4030 73% 14004 1061 8% Holmes (Tchula) 4773 3530 74% 8757 8 - Le Flore (Greenwood) 10274 7168 70% 13567 268 2% Marshall (Holly Spgs) 4342 4162 96% 7168 57 1% Panola (Batesville) 7369 5309 69% 7250 2 - Tallahatchie (Charleston) 5099 4330 85% 6438 5 - Pike (McComb) 12163 7864 65% 6936 150 - Source: 1964 MFDP report derived from court cases and Federal reports. The Situation • To maintain segregation and deny Blacks their citizenship rights — and to continue reaping the economic benefits of racial exploitation — the white power structure has turned Mississippi into a "closed society" ruled by fear from the top down. • Rather than mechanize as other Southern states have done, much of Mississippi agriculture continues to rely on cheap Black labor. • But with the rise of the Freedom Movement, the White Citizens Council is now urging plantation owners to replace Black sharecroppers and farm hands with machines. • This is a deliberate strategy to force Blacks out of the state before they can achieve any share of political power. -
The Death of Postfeminism : Oprah and the Riot Grrrls Talk Back By
The death of postfeminism : Oprah and the Riot Grrrls talk back by Cathy Sue Copenhagen A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in English Montana State University © Copyright by Cathy Sue Copenhagen (2002) Abstract: This paper addresses the ways feminism operates in two female literary communities: the televised Oprah Winfrey talk show and book club and the Riot Grrrl zine movement. Both communities are analyzed as ideological responses of women and girls to consumerism, media conglomeration, mainstream appropriation of movements, and postmodern "postfeminist" cultural fragmentation. The far-reaching "Oprah" effect on modem publishing is critiqued, as well as the controversies and contradictions of the effect. Oprah is analyzed as a divided text operating in a late capitalist culture with third wave feminist tactics. The Riot Grrrl movement is discussed as the potential beginning of a fourth wave of feminism. The Grrrls redefine feminism and femininity in their music and writings in zines. The two sites are important to study as they are mainly populated by under represented segments of "postfeminist" society: middle aged women and young girls. THE DEATH OF "POSTFEMINISM": OPRAH AND THE RIOT GRRRLS TALK BACK by Cathy Sue Copenhagen A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in English MONTANA STATE UNIVERSITY Bozeman, MT May 2002 ii , ^ 04 APPROVAL of a thesis submitted by Cathy Sue Copenhagen This thesis has been read by each member of a thesis committee and has been found to be satisfactory regarding content, English Usage, format, citations, bibliographic style, and consistency, and is ready for submission to the College of Graduate Studies. -
The Voting Rights Act and Mississippi: 1965–2006
THE VOTING RIGHTS ACT AND MISSISSIPPI: 1965–2006 ROBERT MCDUFF* INTRODUCTION Mississippi is the poorest state in the union. Its population is 36% black, the highest of any of the fifty states.1 Resistance to the civil rights movement was as bitter and violent there as anywhere. State and local of- ficials frequently erected obstacles to prevent black people from voting, and those obstacles were a centerpiece of the evidence presented to Con- gress to support passage of the Voting Rights Act of 1965.2 After the Act was passed, Mississippi’s government worked hard to undermine it. In its 1966 session, the state legislature changed a number of the voting laws to limit the influence of the newly enfranchised black voters, and Mississippi officials refused to submit those changes for preclearance as required by Section 5 of the Act.3 Black citizens filed a court challenge to several of those provisions, leading to the U.S. Supreme Court’s watershed 1969 de- cision in Allen v. State Board of Elections, which held that the state could not implement the provisions, unless they were approved under Section 5.4 Dramatic changes have occurred since then. Mississippi has the high- est number of black elected officials in the country. One of its four mem- bers in the U.S. House of Representatives is black. Twenty-seven percent of the members of the state legislature are black. Many of the local gov- ernmental bodies are integrated, and 31% of the members of the county governing boards, known as boards of supervisors, are black.5 * Civil rights and voting rights lawyer in Mississippi. -
Women's History Month for All Employees
DiversityInc For All Employees MEETING IN A BOX Women’s History Month WOMEN’S HISTORY MONTH TIMELINE 1789 U.S. Constitution is ratified. The first woman presidential candidate, 1955 First lesbian organization in U.S., terms “persons,” “people” and for the Equal Rights Party Daughters of Bilitis, is founded “electors” allow for interpretation of those beings to include men and 1916 Jeannette Rankin of Montana 1963 Equal Pay Act is passed by Congress women becomes first woman elected to to close gender pay gap Congress 1837 Oberlin College in Ohio becomes first 1963 Betty Friedan’s The Feminine coeducational college in the U.S. 1920 19th Amendment gives women right Mystique is published to vote 1839 Mississippi becomes first state 1964 Title VII of Civil Rights Act of 1964 to grant married women right to 1924 Miriam Ferguson (Texas) and Nellie prohibits employment discrimination hold property in their own names, Tayloe Ross (Wyoming) become first on basis of race, color, religion, independent of their husbands women elected governor national origin or sex 1967 Muriel Siebert becomes first woman to own a seat on the New York Stock Exchange 1972 Title IX bans gender discrimination in federally funded education programs 1972 Katharine Graham of The Washington Post Co. becomes first woman CEO 1843 1849 1872 1916 of a Fortune 500 company 1840 Catherine Brewer becomes first 1932 Amelia Earhart becomes first woman woman to receive a bachelor’s to fly solo across Atlantic degree, from Georgia Female College (now Wesleyan College) in Macon, 1932