Sarah Uriarte

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Sarah Uriarte AFTRA, AEA, SAG FILM & TELEVISION UNBREAKABLE KIMMY SCHMIDT Costar Netflix Todd Holland FRONTERA Supporting Independent Film MicHael Berry PRETTY BIRD Principal Independent Film Paul ScHnider LAW & ORDER: CI Guest Star NBC Frank Prinzi THE LIGHT IN THE PIAZZA Franca PBS Live Bartlett Sher BROADWAY END OF THE RAINBOW Judy Belasco THeatre Terry Johnson NEXT TO NORMAL Diana BootH THeatre MicHael Greif THE LIGHT IN THE PIAZZA Franca Vivian Beaumont THeater Bartlett Sher *Outer Critics Circle Award Nomination - Outstanding Featured Actress in a Musical *Drama Desk Award Nomination - Outstanding Featured Actress in a Musical CINDERELLA Cinderella NYC Opera Baayork Lee BEAUTY AND THE BEAST Belle Palace THeatre Robert Jess RotH TABOO Nicola PlymoutH THeatre ChristopHer RensHaw LES MISERABLES Eponine Imperial THeatre J. Caird and T. Nunn THE BOYS FROM SYRACUSE Luciana City Center Encores! Susan ScHulman TENDERLOIN Laura City Center Encores! Walter Bobbie NATIONAL TOURS SUNSET BOULEVARD Betty Susan ScHulman CAROUSEL Julie Jordan Nick Hytner *Drama-League Award - Best Actress in a Musical *Ovation Award Nomination - Outstanding Leading Actress in a Musical LES MISERABLES Eponine/Cosette Caird & Nunn REGIONAL THEATRE THE FULL MONTY Vicki NicHols PittsburgH Civic LigHt Opera Barry Ivan MASTERCLASS Sharon Paper Mill PlayHouse Wendy Goldberg SHOWBOAT Magnolia Goodspeed Opera House Rob Ruggiero JEKYLL & HYDE Emma Casa Mañana Joel Ferrell OKLAHOMA Laurie Sacramento Music Circus Leland Ball A LITTLE NIGHT MUSIC Anne Kennedy Center Mark Brokaw THOROUGHLY MODERN MILLIE Miss DorotHy La Jolla Playhouse MicHael Mayer WEST SIDE STORY Maria St. Louis MUNY Paul Blake VIOLET Violet Laguna Playhouse Sha Newman A LITTLE NIGHT MUSIC Petra Baltimore Center Stage Mark Lamos THE SOUND OF MUSIC Maria AMT Marc Jacobs GUYS AND DOLLS SaraH AMT StepHen Bourneuf CONCERTS SONDHEIM ON SONDHEIM Performer Hollywood Bowl Sarna Lapine, dir. BERNSTIEN'S MASS w/Baltimore SympHony Performer Carnegie Hall Marin Alsop, cond. JUST JUDY w/Cape SympHony Performer Cape Cod, MA Jung-Ho Pak, cond. ORIGINAL CAST RECORDINGS THE LIGHT IN THE PIAZZA BERNSTEIN'S MASS TABOO THE BOYS FROM SYRACUSE TENDERLOIN SKILLS Violin, Skydiving, Dance, Diverse Actress (Spanish heritage) Page 1 of 2 .

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“Kiss Today Goodbye, and Point Me Toward Tomorrow”
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Missouri: MOspace “KISS TODAY GOODBYE, AND POINT ME TOWARD TOMORROW”: REVIVING THE TIME-BOUND MUSICAL, 1968-1975 A Dissertation Presented to The Faculty of the Graduate School At the University of Missouri In Partial Fulfillment Of the Requirements for the Degree Doctor of Philosophy By BRYAN M. VANDEVENDER Dr. Cheryl Black, Dissertation Supervisor July 2014 © Copyright by Bryan M. Vandevender 2014 All Rights Reserved The undersigned, appointed by the dean of the Graduate School, have examined the dissertation entitled “KISS TODAY GOODBYE, AND POINT ME TOWARD TOMORROW”: REVIVING THE TIME-BOUND MUSICAL, 1968-1975 Presented by Bryan M. Vandevender A candidate for the degree of Doctor of Philosophy And hereby certify that, in their opinion, it is worthy of acceptance. Dr. Cheryl Black Dr. David Crespy Dr. Suzanne Burgoyne Dr. Judith Sebesta ACKNOWLEDGEMENTS I incurred several debts while working to complete my doctoral program and this dissertation. I would like to extend my heartfelt gratitude to several individuals who helped me along the way. In addition to serving as my dissertation advisor, Dr. Cheryl Black has been a selfless mentor to me for five years. I am deeply grateful to have been her student and collaborator. Dr. Judith Sebesta nurtured my interest in musical theatre scholarship in the early days of my doctoral program and continued to encourage my work from far away Texas. Her graduate course in American Musical Theatre History sparked the idea for this project, and our many conversations over the past six years helped it to take shape.
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Sony Centre for the Performing Arts
SONY CENTRE FOR THE PERFORMING ARTS Executive Summary to Staff Reports Outlining Strategic Plan & Budget for 2014-15 BACKGROUND: At its meeting of September 26, 2011, City Council considered the Core Service Review completed by KPMG and authorized the City Manager to issue a Request for Expression of Interest (“REOI”) to determine the options for sale, lease, operation or other arrangement in respect of the three major civic theatres, including the Sony Centre. (http://app.toronto.ca/tmmis/viewAgendaItemHistory.do?item=2011.EX10.1.) The report can be found on pages 101-108: http://www.toronto.ca/legdocs/mmis/2011/ex/bgrd/backgroundfile-39626.pdf On September 29, 2011, the Mayor established a Task Force – Arts & Theatres. The Task Force examined the role that the civic theatres play in the city’s culture, economy and community. The Task Force recommended essential criteria for each of the three theatres for the REOI, along with other recommendations for consideration. An REOI was issued by the City in May 2012 to consider options for the future of the civic theatres, including the Sony Centre. The options were to include the sale, lease, operations or any other arrangements for any or all of the three theatres to meet the City’s cultural, social and economic goals. At its meeting held on November 27, 28 and 29, 2012 City Council adopted Item EX25.5 concerning the results of the REOI. At that time, City Council recognized the St. Lawrence Centre for the Arts and the Toronto Centre for the Arts as community cultural assets and directed the Boards of these two theatres, in consultation with the General Manager, Economic Development and Culture, to develop long term strategic and five- year business plans that ensure creative, cost effective and sustainable operations, minimize the City's tax funding, include performance measures for its service to the community, and provide for operating and capital reserves.
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A Lively Theatre There's a Revolution Afoot in Theatre Design, Believes
A LIVELY THEatRE There’s a revolution afoot in theatre design, believes architectural consultant RICHARD PILBROW, that takes its cue from the three-dimensional spaces of centuries past The 20th century has not been a good time for theatre architecture. In the years from the 1920s to the 1970s, the world became littered with overlarge, often fan-shaped auditoriums that are barren in feeling and lacking in intimacy--places that are seldom conducive to that interplay between actor and audience that lies at the heart of the theatre experience. Why do theatres of the 19th century feel so much more “theatrical”? And why do so many actors and audiences prefer the old to the new? More generally, does theatre architecture really matter? There are some that believe that as soon as the house lights dim, the audience only needs to see and hear what happens on the stage. Perhaps audiences don’t hiss, boo and shout during a performance any more, but most actors and directors know that an audience’s reaction critically affects the performance. The nature of the theatre space, the configuration of the audience and the intimacy engendered by the form of the auditorium can powerfully assist in the formation of that reaction. A theatre auditorium may be a dead space or a lively one. Theatres designed like cinemas or lecture halls can lay a dead hand on the theatre experience. Happily, the past 20 years have seen a revolution in attitude to theatre design. No longer is a theatre only a place for listening or viewing.
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MARTIN PAKLEDINAZ, Costume Designer
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Christopher Annas-Lee
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Hould Ward Final Document 2013 Resume
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