All in the Timing N the Timing N the Timing

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All in the Timing N the Timing N the Timing

ALL IIININ THE TIMING David Ives Playwright : David Ives was born in 1950 and is from South Chicago, Illinois. He attended Northwestern University and Yale School of Drama. Ives is currently living with his wife in New York. Director : Julianna Gibbins Performance date : May 28-31, 1997 Play : Six One-Act Comedies Sure Thing is a classic of contemporary comedy: two people meet in a café and find their way through a conversational minefield as an off-stage bell interrupts their false starts, gaffes, and faux pas on their way to falling in love. The Universal Language brings together Dawn, a young woman with a stutter, and Don, the creator and teacher of Unamunda, a wild comic language. Their lesson sends them off into a dazzling display of hilarious verbal pyrotechnics—and, of course, true love. Variations on the Death of Trotsky shows us the Russian revolutionary on the day of his demise, desperately trying to cope with the mountain-climber’s ax he’s discovered in his head. Words, Words, Words recalls the philosophical adage that three monkeys typing into infinity will sooner or later produce Hamlet , and asks: What would the monkeys talk about at their typewriters? Philip Glass Buys a Loaf of Bread is a parodic musical vignette in trademark Glassian style, with the celebrated composer having a moment of existential crisis in a bakery. The Philadelphia presents a young man in a restaurant who has fallen into “a Philadelphia,” a Twilight-Zone -like state in which he cannot get anything he asks for. His only way out of the dilemma? To ask the opposite of what he wants. David Ives." HarperCollinsPublishers . N.p., n.d. Web. 8 Feb. 2011. http://www.harpercollins.com/authors/20275/David_Ives/index.aspx?authorID=20275. .

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All in the Timing, by David Ives
All in the Timing, by David Ives Sure Thing “Bill” - Aidan Loretz “Betty” - Ava Moss Words, Words, Words “Swift” – Tristen Gray “Milton” - Mattie Mount “Kafka” - Ella Naylor Universal Language “Dawn” - Nita Allen “Don” - Perrion Porter Philip Glass Buys a Loaf of Bread “Woman” - Alison Clodfelter “Man” – Perrion Porter “Baker” – Annie Cowley “Philip Glass”- Christopher Beasley The Philadelphia “Al” –Jessica Dutton “Waitress” – Rori Cummings “Mark” – Christopher Beasley Variations on the Death of Trotsky “Trotsky” – Aidan Loretz “Mrs. Trotsky” – Starr James “Ramon” – Tyshanna Hayes The show runs 90 minutes with no intermission. Director’s Notes Director/Choreographer – Jesse Graham Galas Stage Manager – AE Ray All in the Timing is, at its core, a series of plays Assistant Stage Managers – Ava Moss, Samantha Harriss asking, “What if?” What if you got the chance to Technical Director – Josh Webb start over every time you said the wrong thing? Lights/Set Designer – Josh Webb What if you put some monkeys in a room with Assistant Technical Director – Mike Merluzzi some typewriters…could they really come up with Costume Designers one of the greatest plays ever written? What if “Sure Thing”– Lawson Lee everyone spoke the same language? Would that “Words, Words, Words” – Chevez Smith end all communication breakdowns forever? What “Universal Language” – Cameron McWhorter if you could get inside the mind of composer Philip “Philip Glass Buys a Loaf of Bread” – Jolee Masson Glass…has the smallest act of buying a loaf of “The Philadelphia” – Starr
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The School for Lies
—The Two Gentlemen of Verona, Act I, Scene iii THE SCHOOL FOR LIES Contents Chicago Shakespeare Theater 800 E. Grand on Navy Pier On the Boards 8 Chicago, Illinois 60611 A selection of notable CST 312.595.5600 events, plays and players www.chicagoshakes.com ©2012 Point of View Chicago Shakespeare Theater 12 All rights reserved. Director Barbara Gaines and Playwright David Ives ARTISTIC DIRECTOR: Barbara Gaines discuss The School for Lies EXECUTIVE DIRECTOR: Criss Henderson PICTURED, COVER AND ABOVE: Deborah Hay and Ben Carlson, Cast 21 photo by Bill Burlingham Playgoer’s Guide 22 Profiles 23 Scholar’s Notes 34 Ira Murfin celebrates disjunction—and our delight— in The School for Lies www.chicagoshakes.com 3 unforgettable . Hyatt is proud to sponsor Chicago Shakespeare Theater. We’ve supported the theater since its inception and believe one unforgettable performance deserves another. Experience distinctive design, extraordinary service and award-winning cuisine at every Hyatt worldwide. For reservations, call or visit hyatt.com. HYATT name, design and related marks are trademarks of Hyatt Corporation. ©2012 Hyatt Corporation. All rights reserved. HCM29411.01.a_Shakespeare_Ad.indd 1 1/26/12 10:24 AM a messaGe from Barbara Gaines Criss Henderson raymond f. mcCaskey Artistic Director Executive Director Chair, Board of Directors DEAR FRIENDS Welcome to Chicago Shakespeare Theater! Over the years, our artists have delighted audiences with plays that are vibrant, accessible and bold in their exploration of contemporary themes through classical literature. Today’s production has provided our artistic collective with the opportunity to flip this model on its head by producing a modern play viewed through a classical lens.
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March 21, 2013 MEDIA CONTACT: Susan Yannetti Public Relations
FOR IMMEDIATE RELEASE: March 21, 2013 MEDIA CONTACT: Susan Yannetti Public Relations Manager [email protected] Phone: 941.351.9010 ext. 4800 Mobile: 941.735.1131 STEAMY NEW COMEDY VENUS IN FUR HEATS UP THE STAGE AT ASOLO REPERTORY THEATRE (SARASOTA, March 21, 2013) — It’s more than just the Florida sun that’s sizzling at Asolo Rep this spring. The must-see hit of the recent Broadway season, Venus in Fur, written by theatrical mastermind David Ives opens in the Historic Asolo Theater Friday, April 5 and runs through April 28, 2013. Two preview performances are scheduled for April 3 and 4. Tea Alagić, an exciting new talent originally from the Czech Republic, directs this wickedly entertaining comedy that explores the complex relationship between an aspiring stage actress and her playwright/director. Venus in Fur is a hot ticket in every sense. This alluring tale of love, lust, and literature illuminates the ultimate battle of the sexes. Vanda is the far-from-typical young actress who arrives to audition for the lead in playwright Thomas’ adaptation of Leopold von Sacher-Masoch’s 1870 erotic novel, “Venus in Furs.” As her audition proceeds, Vanda’s continually shifting personas, accents, moods, expressions and apparent (and not-so-apparent) intentions engage Thomas in an emotionally charged game of cat and mouse. Is art imitating life? Or is it the other way around? As the lines between reality and fantasy become blurred the audience is swept up in Thomas’ seduction. The Broadway production made an instant star of its leading actress, Nina Arianda, who won the Tony Award for Best Actress in 2012.
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Venus in Fur by David Ives
VENUS IN FUR reprint file.qxd 10/7/2014 12:31 PM Page i VENUS IN FUR BY DAVID IVES # # DRAMATISTS PLAY SERVICE INC. VENUS IN FUR reprint file.qxd 10/7/2014 12:31 PM Page 2 VENUS IN FUR Copyright © 2012, David Ives All Rights Reserved CAUTION: Professionals and amateurs are hereby warned that performance of VENUS IN FUR is subject to payment of a royalty. It is fully protected under the copyright laws of the United States of America, and of all countries covered by the International Copyright Union (including the Dominion of Canada and the rest of the British Commonwealth), and of all countries covered by the Pan-American Copyright Convention, the Universal Copyright Convention, the Berne Convention, and of all countries with which the United States has reciprocal copyright relations. All rights, including without limitation professional/amateur stage rights, motion picture, recitation, lecturing, public reading, radio broadcasting, television, video or sound recording, all other forms of mechanical, electronic and digital reproduction, transmission and distribution, such as CD, DVD, the Internet, private and file-sharing networks, information storage and retrieval systems, photocopying, and the rights of translation into foreign languages are strictly reserved. Particular emphasis is placed upon the matter of readings, permission for which must be secured from the Author’s agent in writing. The English language stock and amateur stage performance rights in the United States, its territories, possessions and Canada for VENUS IN FUR are controlled exclusively by DRAMATISTS PLAY SERVICE, INC., 440 Park Avenue South, New York, NY 10016. No professional or nonprofessional performance of the Play may be given without obtaining in advance the written permission of DRAMATISTS PLAY SERVICE, INC., and paying the requisite fee.
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|||GET||| All in the Timing Six One-Act Comedies 1St Edition
ALL IN THE TIMING SIX ONE-ACT COMEDIES 1ST EDITION DOWNLOAD FREE David Ives | 9780822213963 | | | | | StageAgent Distance Learning Hub The writing is not only very funny, it has density of thought and precision of poetry … All in the Timing is by a master of fun. Monologues from Plays. By the time we get to the end of the play, the bell ringing has forged a model love at first sight — it just takes a long time to get there. Ives is a mordant comic who has put the play back in playwright … A wondrous wordmaster. Buy It Now. Notes: A recent republishing of All in the Timing features an additional 8 one-acts. Two people meet in a cafe and find their way through a conversational minefield as an offstage bell interrupts their false starts, gaffes, and faux pas on the way to falling in love. About this product. Research Playwrights, Librettists, Composers and Lyricists. Words, Words, Words is particularly suitable for schools and play contests. Cheshire, CT. Any Condition Any Condition. Add to cart. Show More Show Less. Search all audition songs. This volume includes Sure Thing and Words, Words, Wordswhich are ideal choices for high school drama contests and one-act festivals. Philadelphia, PA. Finally, after the fourth bell ring, she says that she is not waiting for All in the Timing Six One-Act Comedies 1st edition, and the conversation progresses from there. Shows All in the Timing. All in the Timing guide sections. See all 15 - All listings for this product. Gain full access to show guides, character breakdowns, auditions, monologues and more! Wade Bradford, M.
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Newton Grisham Library Play Script List -By Author
Newton Grisham Library Play Script List -by Author BIN # PLAY # TITLE AUTHOR # MEN # WOMEN # CHILDREN OTHER 73 1570 Manhattan Class Company Class 1 Acts 1991-1992 161 2869 The Boys from Siam Connolly, John Austin 2 161 2876 Fugue Thuna, Lee 3 5 74 1591 Acrobatics Aaron, Joyce; Tarlo, Luna 96 1957 June Groom Abbot, Rick 3 6 99 2016 Play On! Abbot, Rick 3 7 103 2080 Turn For The Nurse, A Abbot, Rick 5 5 30 699 Three Men On A Horse Abbott, G. And J.C. Holm 11 4 34 802 Green Julia Ableman, Paul 2 133 2457 Tabletop Ackerman, Rob 5 1 86 1793 Batting Cage, The Ackermann, Joan 1 3 86 1798 Marcus Is Walking Ackermann, Joan 3 2 88 1825 Off The Map Ackermann, Joan 3 2 101 2051 Stanton's Garage Ackermann, Joan 4 4 10 227 Farewell, Farewell Eugene Ackland, Rodney; Vari, John 3 6 84 1776 Lighting Up The Two-Year Old Aerenson, Benjie 3 167 2970 Dark Matters Aguirre-Sacasa, Roberto 3 1 168 2982 King of Shadows Aguirre-Sacasa, Roberto 2 2 169 2998 The Muckle Man Aguirre-Sacasa, Roberto 5 2 169 3007 Rough Magic Aguirre-Sacasa, Roberto 7 5 doubling 101 2054 Edgar Lee Masters' Spoon River Anthology Aidman, Charles 3 2 101 2054 Spoon River Anthology Aidman, Charles [Adapt. By] 3 2 149 2686 Green Card Akalaitis, JoAnne 6 5 10 221 Fragments Albee, Edward 4 4 19 436 Marriage Play Albee, Edward 1 1 26 604 Seascape Albee, Edward 2 2 30 705 Tiny Alice Albee, Edward 4 1 34 800 The Zoo Story and The Sandbox: Two Short Plays Albee, Edward 34 800 Sandbox, The Albee, Edward 3 2 44 1066 Counting the Ways and Listening: Two Plays Albee, Edward 44 1066 Counting The Ways
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The Liar the Articles in This Study Guide Are Not Meant to Mirror Or Interpret Any Productions at the Utah Shakespeare Festival
Insights A Study Guide to the Utah Shakespeare Festival The Liar The articles in this study guide are not meant to mirror or interpret any productions at the Utah Shakespeare Festival. They are meant, instead, to be an educational jumping-off point to understanding and enjoying the plays (in any pro- duction at any theatre) a bit more thoroughly. Therefore the stories of the plays and the interpretative articles (and even characters, at times) may differ dramatically from what is ultimately produced on the Festival’s stages. The Study Guide is published by the Utah Shakespeare Festival, 351 West Center Street; Cedar City, UT 84720. Bruce C. Lee, publications manager and editor; Clare Campbell, graphic artist. Copyright © 2018, Utah Shakespeare Festival. Please feel free to download and print The Study Guide, as long as you do not remove any identifying mark of the Utah Shakespeare Festival. For more information about Festival education programs: Utah Shakespeare Festival 351 West Center Street Cedar City, Utah 84720 435-586-7880 www.bard.org. Cover Art for The Liar by Cully Long. The Liar Contents Information on the Play Synopsis 4 Characters 4 Information on the Playwright About the Playwrights: The Liar 5 Scholarly Articles on the Play Seventeeth Century Fake News 7 Utah Shakespeare Festival 3 351 West Center Street • Cedar City, Utah 84720 • 435-586-7880 Synopsis In 1643, a charming young law student named Dorante arrives in Paris in search of a wife. He hires Cliton, a manservant who cannot tell a lie. Dorante, on the other hand, cannot tell the truth.
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Iago Parla Unamunda: Understanding a Nonsense Language
Iago Parla Unamunda: Understanding a nonsense language By Emily Gasser Swarthmore College Abstract If you walked into a room and were greeted by an exclamation of “Velcro! Police, comintern. Harvardyu?”, how would you respond? Probably with a puzzled look, possibly followed by, “Fine thanks, and you?” Much research has been done in how the human mind understands a known language. But though nonsense languages have a rich literary history, there is much less written on how we understand and process nonsense languages, those for which there is little or no existing mental framework. This thesis explores how this sort of linguistic input might be processed and understood, focusing in particular the case of Unamunda, the nonsense language created by David Ives in his short play “The Universal Language” (1994). Unamunda consists of a combination of English words assigned new meanings, proper nouns (also assigned new meanings), plays on foreign words and phrases, and nonsense words. Its syntax is very nearly that of English, with occasional variations on word order. Though no one listening to Unamunda being spoken onstage has any prior familiarity with its lexicon or grammar, it is still possible to understand the utterances with little extra effort. After an overview of some theories and models of some various aspects of word recognition, including the effects of context on lexical decision-making, the clues to meaning supplied by syntactic structures, and phonotactic neighborhood activation, I move on to a discussion of my own experiment, in which subjects were asked to translate written, spoken, and video segments of Unamunda into English.* Introduction A guy goes into a restaurant, sits down, and orders Eggs Benedict.
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THE NATURAL Her Director
out for an Off Broadway production of a BACKSTAGE CHRONICLES new play by David Ives, “Venus in Fur,” the story of a fierce and funny psychosex- ual power struggle between an actress and THE NATURAL her director. Arianda had fallen in love with the heroine of the play, Vanda, an Nina Arianda: Broadway’s new star. aspiring actress, who—in a scenario fa- miliar to Arianda—arrives at a rehearsal BY JOHN LAHR hall to audition for a part she has no chance of getting. In Vanda’s case, it was a part in an adaptation of Leopold von Sacher-Masoch’s classic about the erotic forms of hate, “Venus in Furs.” “Am I too late? I’m too late, right? Fuck. Fuck!” Vanda says as she arrives onstage, hoping to read for the role of Vanda von Dunayev, an emancipated nineteenth-century Con- tinental woman. The dramatic pitch of Vanda’s opening line captured Arianda’s imagination. “I’d never read something and been so enthralled by where a charac- ter could go,” she told me recently. “The humor is what always gets me. The com- mitment she has to what she’s doing or saying. There’s no comment. She lives it.” The actress who plays Vanda is re- quired to metamorphose from a twenty- first-century street-smart New Yorker into the nineteenth-century European cosmopolitan of the Sacher-Masoch play- within-the-play, and even have the emo- tional extravagance to suggest the goddess Aphrodite, who emerges as a sort of fab- ulous eleven-o’clock number.
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Schutz Theatre FT June 2021
THE W. STANLEY SCHUTZ THEATRE COLLECTION: THE COLLEGE OF WOOSTER PRODUCTIONS FINDING TOOL Denise Monbarren June 2021 FINDING TOOL SCHUTZ COLLECTION Box 1 #56 Productions: 1999 X-Refs. Flyers, Pamphlets AARON SLICK FROM PUNKIN CRICK Productions: 1960 X-Refs. Clippings [about] Flyers, Pamphlets Photographs Playbills Postcards ABIE’S IRISH ROSE Productions: 1945, 1958 X-Refs. Clippings [about] Photographs [of] Playbills Postcards ABOUT WOMEN Productions: 1997 Flyers, Pamphlets Invitations ACT OF MADNESS Productions: 2003 Flyers, Pamphlets THE ACTING RECITALS Productions: 2003, 2004 Flyers, Pamphlets Playbills ADAIR, TOM X-Refs. ADAM AND EVA Productions: 1922 X-Refs. Playbills AESOP’S FALABLES Productions: 1974 X-Refs. Correspondence [about] Flyers, Pamphlets Itineraries Notes Photographs [of] Playbills AFRICAN-AMERICAN PERFORMING ARTS FESTIVAL Productions: [n.d.] Playbills AGAMEMNON Productions: 2003 X-Refs. THE AGES OF WOMAN Productions: 1964 Playbills AH, WILDERNESS Productions: 1966, 1987 X-Refs. Photographs [of] Playbills ALABAMA Productions: 1918 X-Refs. Playbills Box 2 ALCESTIS Productions: [1955] X-Refs. Playbills ALICE IN WONDERLAND Productions: 1955, 1974 X-Refs. Artwork [about] Correspondence [about] Flyers, Pamphlets Invitations Itineraries Notes ALL IN THE TIMING Productions: 2002 X-Refs. Flyers, Pamphlets See Oversized location Press Releases ALL MY SONS Productions: 1968, 2006 X-Refs. Correspondence [about] Flyers, Pamphlets See Oversized location Invitations Photographs [of] Playbills Postcards Press Releases ALL THE COMFORTS OF HOME Productions: 1912 X-Refs. Playbills ALLARDICE, JAMES See PEACOCK IN THE PARLOR ALMOST, MAINE Productions: 2017 X-Refs. Correspondence [about] Flyers, Pamphlets See Oversized location Press Releases Box 3 AMADEUS Productions: [1985] X-Refs. Playbills AMAHL AND THE NIGHT VISITORS Productions: 1969 See also: HELP, HELP, THE GLOBOLINKS! X-Refs.
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All in the Timing a Collection of 6 One-Act Plays Written by David Ives
Greetings! All the details you need to know about the show and how to potentially see the show are here, so read on if you’re interested! All in the Timing A collection of 6 One-Act Plays written by David Ives Performing live Friday May 14 @ 4:00 pm Performing live and livestreamed Saturday & Sunday May 15 & 16 @ 2:00 pm Tickets: Performed outdoors in the Carney Amphitheatre for family of the cast/crew and Bellarmine staff only. Sorry we can’t open up tickets to the general public and the student body, but you are welcome to livestream it FOR FREE on the 15th/16th. Email [email protected] saying which date you’ll attend, and the link will be emailed to you ~2 hours before each performance. If you are faculty/staff or a current Bellarmine student, you do not need to send Mr. Marcel and email; the link to the livestream will go out to all Staff & Current Students. Run time is approximately one hour and 40 minutes, no intermission. Show details… Our Very Talented and Funny Cast: Quinn Dembecki, ‘22 Josh Frojelin, ‘21 Nate Lanier, ‘22 Erick Moreno, ‘21 Sadie Meyercord, ‘21 Jamie Penilla, ‘22 Leo Scola, ‘23 Anna Young, ‘23 Michael Young, ‘21 Assistant Directors: Nathan Janda ’23 and Enrique Aguilar ’23 Stage Manager: Fernando Salvador Francisco, ‘21 Stage Crew: Addison Ruiz ’21, Simon Dodge ’22, Liam Saunders ’22, Jakob Lokteff ’22, Tyler Tran ’22, Ben McPheeters ’22, Nicholas Sinn ’22, Adam Ajluni ‘23 Poster Design: Keshav Singh ‘22 Director: Russ Marcel Tech Director: Gregg Carlson Costume Designer: Kathleen O’Brien Director’s Note Written by David Ives between 1987-1994, these 6 separate one-act plays were not meant to be performed outdoors, but we happen to have a unique opportunity to produce a Bellarmine Theatre show in the Carney Amphitheatre.
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Download 2012–2013 Catalogue of New Plays
Cover Spread 1213.ai 7/24/2012 12:18:11 PM Inside Cover Spread 1213.ai 7/24/2012 12:14:50 PM NEW CATALOGUE 12-13.qxd 7/25/2012 10:25 AM Page 1 Catalogue of New Plays 2012–2013 © 2012 Dramatists Play Service, Inc. Dramatists Play Service, Inc. A Letter from the President Fall 2012 Dear Subscriber, This year we are pleased to add over 85 works to our Catalogue, including both full length and short plays, from our new and established authors. We were particularly fortunate with nominations and awards that our authors won this year. Quiara Alegría Hudes won the Pulitzer Prize with WATER BY THE SPOONFUL, and the two runners-up were John Robin Baitz’s OTHER DESERT CITIES and Stephen Karam’s SONS OF THE PROPHET. The Play Service also represents three of the four 2012 Tony nominees for Best Play, including the winner, Bruce Norris’ CLYBOURNE PARK, Jon Robin Baitz’s OTHER DESERT CITIES and David Ives’ VENUS IN FUR. All four of the Tony nominations for Best Revival are represented by the Play Service: DEATH OF A SALESMAN (the winner), THE BEST MAN, MASTER CLASS and WIT. Other new titles include Rajiv Joseph’s BENGAL TIGER AT THE BAGHDAD ZOO, David Henry Hwang’s CHINGLISH, Katori Hall’s THE MOUNTAINTOP, Nina Raines’ TRIBES and Paul Weitz’s LONELY, I’M NOT. Newcomers to our Catalogue include Simon Levy, whose masterful adaptation of THE GREAT GATSBY is the only stage version to be authorized by the Fitzgerald Estate; Erika Sheffer, with her vivid portrait of an immigrant family in RUSSIAN TRANSPORT; Sarah Treem, with her absorbing and thought-provoking THE HOW AND THE WHY; and Tarell Alvin McCraney, with the three plays of his critically acclaimed BROTHER/SISTER TRILOGY.
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