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A Strange Loop
A Strange Loop / Who we are Our vision We believe in theater as the most human and immediate medium to tell the stories of our time, and affirm the primacy and centrality of the playwright to the form. Our writers We support each playwright’s full creative development and nurture their unique voice, resulting in a heterogeneous mix of as many styles as there are artists. Our productions We share the stories of today by the writers of tomorrow. These intrepid, diverse artists develop plays and musicals that are relevant, intelligent, and boundary-pushing. Our plays reflect the world around us through stories that can only be told on stage. Our audience Much like our work, the 60,000 people who join us each year are curious and adventurous. Playwrights is committed to engaging and developing audiences to sustain the future of American theater. That’s why we offer affordably priced tickets to every performance to young people and others, and provide engaging content — both onsite and online — to delight and inspire new play lovers in NYC, around the country, and throughout the world. Our process We meet the individual needs of each writer in order to develop their work further. Our New Works Lab produces readings and workshops to cultivate our artists’ new projects. Through our robust commissioning program and open script submission policy, we identify and cultivate the most exciting American talent and help bring their unique vision to life. Our downtown programs …reflect and deepen our mission in numerous ways, including the innovative curriculum at our Theater School, mutually beneficial collaborations with our Resident Companies, and welcoming myriad arts and education not-for-profits that operate their programs in our studios. -
Driving Miss Daisy – Mother &
Driving Miss Daisy 1 In the dark we hear a car ignition turn on, and then a horrible crash. Bangs and booms and wood splintering. When the noise is very loud, it stops suddenly and the lights come up on Daisy Werthan’s living room, or a portion thereof. Daisy, age 72, is wearing a summer dress and high heeled shoes. Her hair, her clothes, her walk, everything about her suggests bristle and feist and high energy. She appears to be in excellent health. Her son, Boolie Werthan 40, is a businessman, Junior Chamber of Commerce style. He has a strong capable air. The Werthans are Jewish, but they have strong Atlanta accents. DAISY. No! BOOLIE. Mama! DAISY. No! BOOLE. Mama! DAISY. I said no, Boolie, and that’s the end of it. BOOLIE. It’s a miracle you’re not laying in Emory Hospital---- or decked out at the funeral home. Look at you! You didn’t even break your glasses. DAISY. It was the car’s fault. BOOLIE. Mama, the car didn’t just back over the driveway and land on the Pollard’s garage all by itself. You had it in the wrong gear. DAISY. I did not! BOOLIE. You put it in reverse instead of drive. The police report shows that. DAISY. You should have let me keep my La Salle. BOOLIE. Your La Salle was eight years old. DAISY. I don’t care. It never would have behaved this way. And you know it. BOOLIE. Mama, cars, don’t behave. They are behaved upon. The fact is you, all by yourself, demolished that Packard. -
Driving Miss Daisy
COPYRIGHTED MATERIAL FOR RESEARCH USE ONLY: MAY NOT BE DUPLICATED 2012.3.75 MAKING OF THE MOVIE DRIVING MISS DAISY (Transcript of television program The Real Miss Daisy, produced by WAGA-TV, Channel 5, Atlanta, and broadcast in 1990 on public television.) ANNOUNCER VOICE-OVER, with animated numeral 5 rotating and coming to a stop in the center of the screen: Your regular PBS programming will not be seen tonight so that we may bring you the following special program. ANNOUNCER VOICE-OVER: This program is presented as part of WAGA-TV’s year-long project, A World of Difference, in cooperation with the Anti-Defamation League of B’nai Brith and underwritten by Georgia Power Company and the Milken Foundation. ANNOUNCER VOICE-OVER, with title displayed onscreen: The Real Miss Daisy, brought to you by True Value Hardware, your store of first choice. ANNOUNCER (LISA CLARK) VOICE-OVER, with still shot of the three principal actors in Driving Miss Daisy: Dan Aykroyd, Jessica Tandy, and Morgan Freeman: This is the story about the story of three people and the world in which they lived. Screen changes from actors’ photograph to video of three presenters, WAGA-TV journalists: Jim Kaiserski on left, Lisa Clark in center, Ken Watts on right, standing next to vintage black Cadillac [the same one used in the film?] in front of WAGA-TV studios in Atlanta. JIM KAISERSKI: It’s a story about people, it’s a story about places, it’s a story about events that were real and some that weren’t. KEN WATTS: But reality isn’t the important point; truth is. -
AUDIENCE INSIGHTS the Story Oftoulouse-Lautrec a Newmusical TABLE of CONTENTS
GOODSPEED MUSICALS AUDIENCE INSIGHTS the story oftoulouse-lautrec A NewMusical TABLE OF CONTENTS MY PARIS Character Summary & Show Synopsis.........................................................................................3 The Norma Terris Theatre July 23 - Aug 16, 2015 Meet the Writers...................................................................................................................................4 _________ Director’s Vision....................................................................................................................................7 Music and Lyrics by CHARLES AZNAVOUR Author’s Notes.......................................................................................................................................8 Book by “Goodspeed to Produce...” Excerpt from The Day.....................................................................9 ALFRED UHRY Toulouse-Lautrec: Balancing Two Worlds.................................................................................10 English Lyrics and His Paris.................................................................................................................................................12 Musical Adaptation by JASON ROBERT BROWN Impressionist Impressions.............................................................................................................13 Resources......................................................................................................................14 Lighting Design by DON HOLDER Costume Design -
Nathan and Julie Gunn and Friends an Evening On
PHOTO BY SHARKEY PHOTOGRAPHY SHARKEY BY PHOTO NATHAN AND JULIE GUNN AND FRIENDS AN EVENING ON BROADWAY Saturday, October 6, 2018, at 7:30pm Foellinger Great Hall PROGRAM NATHAN AND JULIE GUNN AND FRIENDS AN EVENING ON BROADWAY FEATURING PRODUCTION CREDITS Molly Abrams Sarah Wigley, dramatic coordinator Lara Semetko-Brooks Elliot Emadian, choreography Colleen Bruton Michael Williams, lighting Elliot Emadian Alec LaBau, audio Olivia Gronenthal Madelyn Gunn, production assistant Ryan Bryce Johnson Adeline Snagel, stage manager Nole Jones Savanna Rung, assistant stage manager Gabrielle LaBare J.W. Morrissette Logan Piker Andrew Turner Rachel Weinfeld ORCHESTRA Zachary Osinski, flute Emma Olson, oboe J. David Harris, clarinet Robert Brooks, saxophone Ronald Romm, trumpet Robert Sears, trumpet Michael Beltran, trombone Trevor Thompson, violin Amanda Ramey, violin Jacqueline Scavetta, viola Jordan Gunn, cello Lawrence Gray, bass Mary Duplantier, harp Ricardo Flores, percussion Julie Jordan Gunn, piano 2 Kurt Weill, music Street Scene (1946) Langston Hughes, lyrics Ice Cream Sextet Elmer Rice, book Ryan Bryce Johnson, Molly Abrams, Nole Jones, Gabrielle LaBare, Elliot Emadian, Andrew Turner Wouldn’t You Like to Be on Broadway? Lara Semetko-Brooks, Nathan Gunn What Good Would the Moon Be? Lara Semetko-Brooks, J.W. Morrissette Moon Faced, Starry Eyed Logan Piker, Elliot Emadian Frank Loesser, music and lyrics Guys and Dolls (1950) Jo Swerling and Abe Burrows, book Fugue for Tin Horns Nathan Gunn, Andrew Turner, Nole Jones Adelaide’s Lament Colleen Bruton Sit Down, You’re Rocking the Boat Nole Jones, Andrew Turner, Ryan Bryce Johnson, Elliot Emadian, Logan Piker Richard Rodgers, music Carousel (1945) Oscar Hammerstein II, book and lyrics Bench Scene Rachel Weinfeld, Nathan Gunn Carrie/Mr. -
Ruth Prawer Jhabvala's Adapted Screenplays
Absorbing the Worlds of Others: Ruth Prawer Jhabvala’s Adapted Screenplays By Laura Fryer Submitted in fulfilment of the requirements of a PhD degree at De Montfort University, Leicester. Funded by Midlands 3 Cities and the Arts and Humanities Research Council. June 2020 i Abstract Despite being a prolific and well-decorated adapter and screenwriter, the screenplays of Ruth Prawer Jhabvala are largely overlooked in adaptation studies. This is likely, in part, because her life and career are characterised by the paradox of being an outsider on the inside: whether that be as a European writing in and about India, as a novelist in film or as a woman in industry. The aims of this thesis are threefold: to explore the reasons behind her neglect in criticism, to uncover her contributions to the film adaptations she worked on and to draw together the fields of screenwriting and adaptation studies. Surveying both existing academic studies in film history, screenwriting and adaptation in Chapter 1 -- as well as publicity materials in Chapter 2 -- reveals that screenwriting in general is on the periphery of considerations of film authorship. In Chapter 2, I employ Sandra Gilbert’s and Susan Gubar’s notions of ‘the madwoman in the attic’ and ‘the angel in the house’ to portrayals of screenwriters, arguing that Jhabvala purposely cultivates an impression of herself as the latter -- a submissive screenwriter, of no threat to patriarchal or directorial power -- to protect herself from any negative attention as the former. However, the archival materials examined in Chapter 3 which include screenplay drafts, reveal her to have made significant contributions to problem-solving, characterisation and tone. -
10 Years of Lave & Shows
Outline of the LAVE (Life And Values Education) PROGRAMS developed for NCSY by Rabbi Dr. N. Amsel (2002) Below is the outline of the NCSY LAVE Programs. Each lesson consists of a description of the video, goals of the lesson, a step-by-step Q&A and sources in English and Hebrew. For more information about this program, contact Rabbi Nachum Amsel TOPIC TRIGGER VIDEO YEAR I 1. Relationship to Elders and Sensitivity to All Others The Shopping Bag Lady 2. Choices and Priorities in Judaism The Bill Cosby Show 3. Tzedaka, Chesed and Charity: What’s the Difference? Clown 4. Prejudice By and Against Jews Barney Miller 5. Business Ethics and Stealing Archie Bunker: Brings home drill 6. Personal Antisemitism and the Jewish Reaction Archie Bunker: JDL YEAR II 1. Jewish Identity Archie Bunker: Stephanie’s Jewish 2. Snitching: Right or Wrong? One Day At a Time 3. Jewish Prayer and Self-Actualization Taxi 4. Shul Vandalism: The New Antisemitism? Archie Bunker 5. Lashon Hara and the Jewish Concept of Speech Facts of Life YEAR III 1. Israel and Jewish Identity (Double Lesson) Cast a Giant Shadow: (First scene) 2. Cheating and Honesty Better Days 3. Death and Shiva in Judaism Facts of Life 4. The Jewish Attitude to Wealth and Money Twilight Zone 5. Understanding the Palestinian Uprising 48 Hours: (20 minute clip) 6. Being Different and Being Jewish Molly's Pilgrim YEAR IV 1. The Jewish Attitude to Senility Grandma Never Waved Back 2-3. Bad Things Happen to Good People: Some Jewish Approaches Webster 4. Jewish Attitudes to the Mentally Handicapped Kate and Allie 5. -
ASF 2015 Study Materials for by Alfred Uhry
ASF 2015 Study Materials for Welcome to 1947 1972 1876 Driving Miss Daisy by Alfred Uhry Director John Manfredi Study Materials written by Susan Willis Set Design John Manfredi ASF Dramaturg Costume Design Elizabeth Novak [email protected] Lighting Design Tom Rodman Contact ASF: 1.800.841-4273, www.asf.net ASF/ 1 Driving Miss Daisy by Alfred Uhry Welcome—Let's Take A Drive Together Alfred Uhry is almost as good a chauffeur as Hoke Coleburn. He transports us not only through the span of 25 years in the lives of three characters but also through the transformation of an entire era in the South. He negotiates Characters these changes with smooth, effortless turns, with Daisy Werthan, a widow aged pungent, realistic dialogue, and with detailed 72 to 97 during play character development. To be subject to Uhry’s Boolie Werthan, her son, aged dramatic drive is pure pleasure. 40 to 65 during play Driving Miss Daisy is a memory play, almost Hoke Coleburn, Miss Daisy's a scrapbook of moments. In it Uhry depicts a chauffeur, aged 60 to 85 world he knows well, the world of Atlanta and during play the Reform Jewish community he grew up in, Uhry on the Play and the South the world that shaped him and which he has “I thought somebody should tell what the Setting: Atlanta, Georgia, evoked in shaping this play. Uhry not only creates South was really like,” Alfred Uhry claims as he between 1948 and 1973, memorable onstage characters, but intriguing describes his impetus for writing the play: and on Alabama highways offstage characters as well, for who does not I was tired of all these stereotypes—that white to Mobile enjoy imagining Boolie’s wife Florine or Idella people were running around being openly with her fabled coffee? hostile and rude toward black people, and The strength of Uhry's story, as he realizes, that black people were standing there with is what he calls its truth. -
Duncan Stewart, CSA and Benton Whitley, CSA, Casting Directors
Duncan Stewart, CSA and Benton Whitley, CSA, Casting Directors/Partners Paul Hardt, Christine McKenna-Tirella, CSA Casting Director Ian Subsara, Emily Ludwig Casting Assistant Resume as of 3.15.2019 _________________________________________________________________ CURRENT & ONGOING: HADESTOWN Theater, Broadway – Walter Kerr Theater March 2019 – Open Ended Mara Isaacs, Hunter Arnold, Dale Franzen (Prod.) Rachel Chavkin (Dir.), David Newmann (Choreo.) By: Anais Mitchell CHICAGO THE MUSICAL Theater, Broadway – Ambassador Theater May 2008 – Open Ended Barry and Fran Weissler (Prod.) Walter Bobbie (Dir.), Ann Reinking (Choreo.) By: John Kander & Fred Ebb CHICAGO THE MUSICAL Theater, West End – Phoenix Theater March 2018 – Open Ended Barry and Fran Weissler (Prod.) Walter Bobbie (Dir.), Ann Reinking (Choreo.) By: John Kander & Fred Ebb ZOEY’S EXTRAORDINARY PLAYLIST NBC Lionsgate TV Pilot March 2019 Richard Shepard (Dir.), Austin Winsberg (Writer) NY Casting AUGUST RUSH Theater, Regional – Paramount Theater January 2019 – June 2019 Paramount Theater (Prod.) John Doyle (Dir.), JoAnn Hunter (Choreo.) By: Mark Mancina, Glen Berger, David Metzger PARADISE SQUARE: An American Musical Theater, Regional – Berkeley Repertory Theatre December 2018 – March 2019 Garth Drabinsky (Prod.) ________________________________________________________________________ 1 Stewart/Whitley 213 West 35th Street Suite 804 New York, NY 10001 212.635.2153 Moisés Kaufman (Dir.), Bill T. Jones (Choreo.) By: Marcus Gardley, Jason Howland, Larry Kirwan, Craig Lucas, Nathan -
October 2019
October 2019 Hazelton Place Retirement Residence - Independent Calendar Sunday Monday Tuesday Wednesday Thursday Friday Saturday ACTIVE AGING WEEK (AAW) OCT Carefirst Exercises Outings Day Carefirst Exercises 10:00 Energizing 1-7th 1 10:00 Computer Training- How 2 SMOOTHIE BREAKFAST- Ask for 3 9:30 RR Ping Pong 4 Exercises [MR] 5 Outings Day Shop on the Internet one! 10:00 Ink Art [AS] 10:45 Go4Life Walking Club 11:00 Hand Therapy [AS] 10:00 Energizing Exercises [MR] 9:30 Outing- Dufferin Mall (SU) 11:15 Sing-Along [P] 1:30 AAW Musical Brain Fun Falls Prevention 10:30 Java Music Club [MT] 11:45 10:00 Energizing Exercises [MR] 11:45 Falls Prevention [MR] 1:30 AAW- Wellness Wednesday [MR] [MR] 10:30 OUTING- Stratford Festival – Billy 10:30 Java Music Club [MT] 1:30 Tennis Club - Balloon Elliot the Musical (Su) 2:00 AAW- What the Health? 2:00 Movie Matinee - One Flew 10:30 Yoga with Karusia [MR] Badminton [MR] 10:30 Tai Chi with Eti [MR] Documentary [MT] 11:00 Outing- Loblaws (SU) Over the Cuckoo's Nest 2:00 AAW- Supersize Me! 11:15 Go4Life Walking Club 2:15 Community Brain Gym [MR] 11:15 Go4Life Walking Club (1975) [MT] Documentary [MT] 1:30 AAW- Classical Stretch and 3:00 Afternoon Tea Social [LL] 11:30 AAW- How to Walk with a Walker 2:15 Watercolours [AS] 2:15 Life Stories Social [STG] Breathing [MR] 3:00 Ecumenical Communion [STG] by Karusia [MR] 3:00 AAW Physical and Mental 3:00 AAW- Classical Stretch and 2:00 Chair Volleyball [MR] 4:00 Ideas Exchange - My Recent Trip 1:30 Word Categories with Gerry [MT] Health Trivia [MR] 2:00 Poetry Club [MT] Around Great Slave Lake, NWT Meet Me at the MoMA Breathing [MR] 2:00 3:00 Afternoon Tea Social [LL] 3:00 Afternoon Tea Social [LL] by Mary Lyon [MT] Discussion- A.Y. -
Best Picture Winners: Ordered from Most to Least Surprising
Best Picture winners: ordered from most to least surprising Year Actual Winner Prob Predicted Winner Prob Ratio 1948 Hamlet 0.01 Johnny Belinda 0.97 0.01 2004 Million Dollar Baby 0.01 The Aviator 0.97 0.01 1981 Chariots of Fire 0.01 Reds 0.88 0.01 2016 Moonlight 0.02 La La Land 0.97 0.02 1967 In the Heat of the Night 0.02 The Graduate 0.94 0.02 1956 Around the World in 80 Days 0.02 The King and I 0.82 0.02 1951 An American in Paris 0.02 A Place in the Sun 0.76 0.03 2005 Crash 0.03 Brokeback Mountain 0.91 0.03 1943 Casablanca 0.03 The Song Of Bernadette 0.90 0.03 1998 Shakespeare in Love 0.10 Saving Private Ryan 0.89 0.11 2015 Spotlight 0.06 The Revenant 0.56 0.11 1952 The Greatest Show on Earth 0.07 The Quiet Man 0.53 0.13 1992 Unforgiven 0.10 The Crying Game 0.72 0.14 2006 The Departed 0.10 Babel 0.69 0.14 1968 Oliver! 0.13 The Lion in Winter 0.77 0.17 1977 Annie Hall 0.13 The Turning Point 0.58 0.22 2012 Argo 0.17 Lincoln 0.37 0.46 1941 How Green Was My Valley 0.21 Sergeant York 0.42 0.50 2001 A Beautiful Mind 0.23 The Fellowship of the Ring 0.40 0.58 1969 Midnight Cowboy 0.35 Anne of the Thousand Days 0.49 0.71 1995 Braveheart 0.30 Apollo 13 0.40 0.75 1945 The Lost Weekend 0.33 The Bells Of St. -
A.I. Artifical Intelligence About a Boy Abraham Lincoln: Vampire Hunter
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