Region 6 Chair

Total Page:16

File Type:pdf, Size:1020Kb

Region 6 Chair 1 1 Page Page presents: The Forty-Third Annual Region VI Festival 2010 Arkansas, Louisiana, Missouri, Oklahoma, New Mexico, Texas February 23 to 27, 2010 The Globe News Center and The Amarillo Civic Center Hosted by Amarillo College Presented and Produced by The John F. Kennedy Center for the Performing Arts The Kennedy Center American College Theatre Festival is sponsored by: Stephen and Christine Schwarzman The Kennedy Center Corporate Fund 2 U.S. Department of Education 2 The National Committee Page for the Performing Arts Page Dr. Gerald and Paula McNichols Foundation Greetings from Amarillo! On behalf of Dr. Paul Matney, President of Amarillo College, Sherman Bass, Manager of the Amarillo Civic Center and Globe News Center, and Mindy Bradley, the Amarillo Convention and Visitors Council Director of Convention Services, I welcome you all to the great City of Amarillo and to the Forty-Third Annual Region VI Kennedy Center American College Theatre Festival! Much has gone into the development of bringing this Regional Festival to Amarillo. So many individuals contributed to making the possibility of Amarillo College hosting this event a reality. I hardly know where to start to thank them all. Nevertheless, they deserve tremendous accolades. First, and foremost, I would like to extend my appreciation and convey my immense pride for the small group of people here, at Amarillo College’s Theatre Arts Program, for the titanic undertaking they embraced. Sixteen hard-working and passionate majors, an incredible staff member—Carissa Wilson (get to know her), and Monty Downs, our super faculty member and TD, were invaluable in helping me and Region VI get this festival off the ground. Be looking for us all in our green shirts should you have any questions or concerns. We are here to help! Additional kudos go to Dr. Matney, Mr. Bass, and Ms. Bradley for their commitment to theatrical education in our community and throughout our region. Without their support, this week would simply not be possible. Finally, Amarillo College and Region VI KCACTF wish to give a hearty thanks to the City of Amarillo for offering their facilities and support…we are so lucky that they would allow us to be here! I could gush for days, but this is a festival. It is time to start the festivities. Welcome and have a terrific time in Amarillo! A. Ray Newburg, Jr. Assistant Professor of Theatre Arts, Amarillo College Region VI Texas State Chair Table of Contents KCACTF National Selection Team & Region VI Committee Page 4 Bios of Festival Respondents, Presenters, Committee Page 5 - 21 KCACTF Region VI Schedule Page 22 - 24 Irene Ryan and Acting Page 25 - 29 NCI, Playwriting, & Dramaturgy Page 30 - 32 Design & Technologies Page 33 - 38 Directing Page 39 3 Participating Schools Page 40 3 Region VI Festival History Page 41 Page Maps Page 42 - 46 Page KCACTF National Selection Team Gregg Henry Paul Hustoles Harry Parker Lynne M. Koscielniak Jeanette Farr KCACTF Region VI and Amarillo College would like to welcome and thank the National Selection Team for their dedication to the art of theatre, their continuing commitment to education, and all of their hard work as they travel the eight regions of the KCACTF. KCACTF Region VI Committee Penny Hasekoester, Region VI Chair ....................... Sam Houston State University, Huntsville, TX James Winter, Region VI Vice-Chair ............... Southeastern Louisiana University, Hammond, LA Michelle Ney, Design Chair ................................................ Texas State University, San Marcos, TX Michael Heil, Design Vice-Chair ..................................Texas Christian University, Fort Worth, TX Gretchen Smith, Playwriting Chair ............................... Southern Methodist University, Dallas, TX David Blakely, Playwriting Vice-Chair ............................... Rogers State University, Claremore, OK Chad Winters, Irene Ryan Coordinator ........... Southeastern Louisiana University, Hammond, LA Joy Pace, SDC Coordinator ...................................... McNeese State University, Lake Charles, LA Arthur Adair, Vice SDC Coordinator ................................. Austin Community College, Austin, TX Bruce Cohen, Arkansas Chair ............................................... Arkansas State University at Beebe Bob Stevenson, Arkansas Vice-Chair .................................. University of Arkansas at Fort Smith Raymond Vrazel, Louisiana Chair ............................................ Dillard University, New Orleans, LA Nyalls Hartman, Louisiana Vice-Chair .................................. University of Louisiana at Lafayette Harold Hynick, Missouri Chair ......................................... Missouri Valley College, Marshall, MO Kimberly Weast, Oklahoma Chair .................. Northwestern Oklahoma State University, Alva, OK Laura Byland, Oklahoma Vice-Chair ......................... Oklahoma Baptist University, Shawnee, OK 4 A. Ray Newburg, Jr., Texas Chair .................................................. Amarillo College, Amarillo, TX 4 Chase Waites, Texas Vice-Chair ............................. Lone Star College—Montgomery, Houston, TX Page Page Festival Respondents, Presenters, and Committee Members Arthur Adair (Region VI SDC Vice-Coordinator) Mr. Adair has been hailed as “one of indie theatre’s most exciting auteurs” known for faithful/illuminating “classically-contemporized” staged adaptations of challenging works of drama, including Euripides’ Bacchae, Anton Chekov’s Three Sisters (translation), Eugene O’Neill’s The Emperor Jones, Sophocles’ Oedipus, George Buchner’s Woyzeck, and Bertolt Brecht’s The Private Life of the Master Race, as well as, his own musically-charged, original “theatrical-installations” including Self Discovery in Face of Tragedy, Sound of the Sun, and S-s-s-t-o-n-e-d-d-D: An American Oration. Mr. Adair received his M.F.A. in Theatre Directing from the City University of New York, Brooklyn College and currently serves as Adjunct Professor of theatre at Austin Community College. He is Region VI SDC Vice- Coordinator, Stage Directors and Choreographers Society Student Directing Initiative, director, actor (AEA), playwright, award-winning designer, and 10-year artist-in- residency at La MaMa e.t.c. through 2007. Michael Allen (Design Respondent) is the Chair for Design, Technology and Management for Region II and Deputy Chair of Production and Asst. Professor at Montclair State University. Michael is an AEA Stage Manager and has earned credits in a variety of areas including Performance, Design, Directing, Administration and Production. He has written and directed three children’s plays with the Gifted and Talented Program and adaptation of Snow White entitled An African Tale and an original script Cindy and the Battle of Aspru and last year Robin The Hood. Tracy Armagost (Santa Fe Opera/Design Respondent and Presenter) is the Assistant to the Production Director with The Santa Fe Opera. She began 23 seasons ago as a Properties Carpenter Apprentice, then moved on to the Props Running Crew as an Assistant and then ran the Props Running Crew for 10 years. Her current responsibilities at SFO include overseeing the program for the Technical Apprentices (including recruiting and programming), production scheduling and supervising the onstage rehearsals. Tracy will be conducting a workshop entitled “Behind the Scenes at The Santa Fe Opera”. The workshop will include visuals of the facilities, production designs past, present, and future and discussion about seasonal employment opportunities. Tracy will also be interviewing students for the 2010 Santa Fe Opera season and participating as a Stage Management Fellowship Respondent. Dorothy Baca (Design Workshop Presenter) is a professor and costume designer for the Department of Theatre & Dance. She is an alumna of UNM who returned to New Mexico after twenty-five years of professional work in film and television. She received her MFA from the University of California at Los Angeles. Some of her television credits include Dr. Quinn, Medicine Woman, Major Dad, Charles in Charge, and Murder, She Wrote and the feature cult classic Electric Boogaloo: Breakin’ II. Her stage work includes Bette Midler’s signature character, 5 Delores DeLago, the mermaid who rides on a wheel chair, designed for the Divine Madness 5 World Tour and the stage production at the Majestic Theatre in New York City. Divine Madness was co-designed with David Baca. Since her return to New Mexico, Baca has been fortunate Page Page enough to work on such feature films as Batman and Robin, The Longest Yard, and What Women Want. Baca was the costume supervisor on Suspect Zero, starring Ben Kingsley and Border Town, both filmed in New Mexico. Scott Baker (Design Workshop Presenter) 2010 marks Scott’s 25th year in the lighting business. After graduating with a BFA in Scene and Lighting Design he went on to work numerous technical and design jobs in theatres, casinos, music and corporate venues. In recent years he has moved to sales where he uses his experience and the resources at hand as a Barbizon employee. He appreciates being able to provide an amazing variety of lighting tools to meet designers’ creative needs. David Blakely (Region VI Playwriting Vice-Chair) His plays have been produced in Oklahoma, New Mexico, Iowa, North Carolina, Pennsylvania, Tennessee, Virginia, and Texas. His play, Tales of Shoogilly, the 2003 winner of the Charles M. Getchell Award, was performed at Alvernia University in March, 2009; Laying Felt, was voted "Best of the
Recommended publications
  • California State University, Northridge The
    CALIFORNIA STATE UNIVERSITY, NORTHRIDGE THE PREPARATION OF THE ROLE OF TOM MOODY IN CLIFFORD ODETS' GOLDEN BOY An essay submitted in partial satisfaction of the requirements for the degree of Master of Arts in Theatre by Robert T. Hollander June, 1981 The Essay of Robert T. Hollander is approved: Prof. c(§!g Nieuwenhuysel Dr. Georg~ Gunkle, Committee Chairman California State University, Northridge ii ABSTRACT THE PREPARATION OF THE ROLE OF TOM MOODY IN CLIFFORD ODETS' GOLDEN BOY by Robert T. Hollander Master of Arts in Theatre Golden Boy was first produced by the Group Theatre in New York in 1937. Directed by Harold Clurman, this 1937 production included in its cast names that were to become notable in the American theatre: Luther Adler, Frances Farmer, Lee J. Cobb, Jules (John) Garfield, Morris Carnovsky, Elia Kazan, Howard Da Silva and Karl Malden. Golden Boy quickly became the most successful production 1 in Group Theatre history and was followed in 1939 by the movie of the same name, starring William Holden and Barbara Stanwyck. Since then, there have been countless revivals, including a musical adaptation in 1964 which starred Sammy Davis Jr. Golden Boy certainly merits consideration as one of the classics of modern American drama. 1Harold Clurman, The Fervent Years: The Story of the Group Theatre and the Thirties. (New York: Harcourt, Brace, Jovanovich. A Harvest Book, 1975), p. 211. 1 2 The decision to prepare the character of Torn Moody as a thesis project under the direction of Dr. George Gunkle was made during the spring semester of 1980 at which time I was performing a major role in The Knight of the Burning Pestle, a seventeenth century farce written by Beaumont and Fletcher.
    [Show full text]
  • BACKSTORY: the CREDITS an Actor
    BACKSTORY Your behind-the-scenes look at TimeLine productions YESTERDAY’S STORIES. TODAY’S TOPICS. From Artistic Director PJ Powers a message Dear Friends, that their “Person of the — can influence history is made With his blend of social classic for the ages. You just Year” was You. Me. Us. The through activism, be On behalf of TimeLine’s not only in commentary and might be surprised that the average citizen. it personal, social or entire company, I am government emotional complexity, age in which it was written political. thrilled to welcome you to Admittedly, upon first buildings and Odets revolutionized the really is not our own! our 11th season! Each year hearing that, I thought There are many complex at corporate American theater during As we usher in a second we go through a series of it was a poor excuse for issues — not the least of board tables, but in the The Depression by putting decade of making history at discussions about the issues not choosing a person of which will be a Presidential homes and workplaces of the struggles and longings TimeLine, we’re delighted and types of stories we national prominence — a election — that will demand people like you and me. of everyday citizens on the to share another Odets stage. With Paradise Lost, want explore, and this year single someone who had great thoughtfulness in the We begin our season-long play with you. With much he gives voice to those our deliberations seemed made a sizeable imprint on coming year. Each of us will conversation by revisiting to discuss, I hope our little individuals and exposes a even more extensive and issues of global importance.
    [Show full text]
  • Awake and Sing! Study Guide/Lobby Packett Prepared by Sara Freeman, Dramaturg
    Awake and Sing! Study Guide/Lobby Packett Prepared by Sara Freeman, dramaturg Section I Clifford Odets: A Striving Life Clifford Odets was born in Philadelphia, on July 18, 1906, the son of a working-class Jewish family made good. Louis Odets, his father, had been a peddler, but also worked as a printer for a publishing company. In 1908, Louis Odets moved his family to New York City, where, after a brief return to Philadelphia, he prospered as a printer and ended up owning his own plant and an advertising agency, as well as serving as a Vice President of a boiler company. Odets grew up in the middle-class Bronx, not the Berger’s Bronx of tenements and squalor. Still Odets described himself as a “melancholy kid” who clashed often with his father. Odets quit high school after two years. When he was 17, Odets plunged into the theatre. He joined The Drawing Room Players and Harry Kemp’s Poets’ Theater. He wrote some radio plays, did summer stock, and hit the vaudeville circuit as “The Roving Reciter.” In 1929, he moved into the city because of a job understudying Spencer Tracy in Conflict on Broadway. A year later Odets joined the nascent Group Theatre, having met Harold Clurman and some of the other Group actors while playing bit parts at the Theatre Guild. The Group philosophy became the shaping force of Odets’ life as a writer. Clurman became his best friend and most perceptive critic. Odets wrote the first version of Awake and Sing!, then called I Got the Blues, in 1934.
    [Show full text]
  • 12Th INTERNATIONAL THEATRE FESTIVAL „SLAVIJA 2013” BELGRADE, 9 - 16 March 2013 Svečano Otvaranje XII Međunarodnog Pozorišnog Festivala SLAVIJA 2013
    XII MEĐUNARODNI POZORIŠNI FESTIVAL „SLAVIJA 2013.” BEOGRAD, 9. - 16. mart 2013. 12th INTERNATIONAL THEATRE FESTIVAL „SLAVIJA 2013” BELGRADE, 9 - 16 March 2013 Svečano otvaranje XII međunarodnog pozorišnog festivala SLAVIJA 2013. 9. mart, u 20:00 Formal opening of the 12th edition of the International Theatre Festival SLAVIJA 2013 9 March, at 20:00 Festival otvara glumica RUŽICA SOKIĆ Festival will be opened by the actress RUŽICA SOKIĆ XII MEĐUNARODNI POZORIŠNI FESTIVAL „SLAVIJA“ 2013. Još jednom pozorišno slavlje na Vračaru, još jednom idemo u susret dramska evokacija u komadu Slobodana Šnajdera „Enciklopedija proleću uživajući u pozorištu, jer nam sa raznih meridijana i sa četiri izgubljenog vremena“.Tako se klasika i moderno doba prožimaju na kontinenta – Azije, Afrike, Amerike i Evrope na ovogodišnji Festival festivalu čiji će program obuhvatiti i predstavu o pozorištu „Neka „Slavija“ dovodi sedam pozorišta, koja će, uz jedno domaće, izvesti bude umetnost“ Ronalda Randa i progovoriti o najznačajnijim odabran repertoar dramskih dela. Bez oklevanja se može reći da je taj pozorišnim traganjima u XX veku. Zanimljiva drama bugarskog repertoar dobrim delom u znaku prikazivanja klasike, što zaslužuje autora Elina Rahneva „Pasulj“ iz perspektive svakodnevice dvoje samo pohvalu. Upoznaćemo se sa vavilonskim spevom „Gilgameš“, ostarelih ljudi ukazuje na ljubav kao jedino rešenje sukoba i koji potiče još iz trećeg milenijuma pre nove ere i čiji junak traga za nesporazuma vajkadašnje čovekove egzistencije. Najzad, Nušićev besmrtnošću. Iz grčke
    [Show full text]
  • Welcome to the Twelfth Annual Hawaii International Conference on Arts & Humanities
    Welcome to the Twelfth Annual Hawaii International Conference on Arts & Humanities Aloha! We welcome you to the Twelfth Annual Hawaii International Conference on Arts and Humanities. Over the past decade, this event has offered a unique opportunity for academics and other professionals from around the globe to share their broad array of knowledge and perspectives. The primary goal of the conference is to provide those with cross-disciplinary interests related to arts and humanities to meet and interact with others inside and outside their own discipline. The international aspect of the conference brings a truly diverse variety of viewpoints shaped by different cultures, languages, geography and politics. This diversity is also captured in the Hawaii International Conference’s unique cross- disciplinary approach. The resulting interaction energizes research as well as vocation. With Waikiki Beach, Diamond Head and the vast South Pacific as the backdrop, this venue is an important dimension of this conference. For centuries a stopping place of explorers, Hawaii has historically been enriched by the blend of ideas that have crossed our shores. The Hawaii International Conference on Arts and Humanities continues this tradition in the nurturing spirit of Aloha. Along with its ideal weather and striking beauty, the Hawaiian Islands provide natural elements to inspire learning and dialogue. The 2013 conference was a great success. We hosted more than 450 participants representing more than 26 countries. Thank you for joining the 2014 Hawaii International Conference on Arts and Humanities! The 2015 Hawaii International Conference on Arts and Humanities will be held January 10 – 13, 2015 at the Hilton Hawaiian Village Waikiki Beach Resort in Honolulu, Hawaii.
    [Show full text]
  • The Sphinx of the Charles: a Year at Harvard with Harry Parker Free
    FREE THE SPHINX OF THE CHARLES: A YEAR AT HARVARD WITH HARRY PARKER PDF Toby Ayer | 200 pages | 01 Oct 2016 | ROWMAN & LITTLEFIELD | 9781493026531 | English | Guilford, United States The Sphinx of the Charles: A Year at Harvard with Harry Parker by Toby Ayer Five decades of Harvard oarsmen returned to the Charles on Saturday morning for a ceremonial row past Newell Boathouse to pay homage to Harry Parker, their master and commander who died in June after a final triumphant season. This is such a compelling experience. Nearly 40 eights, fours, quads, doubles, and singles formed an upstream procession past the imposing Victorian edifice where Parker had occupied a tiny corner office The Sphinx of the Charles: A Year at Harvard with Harry Parker They came together, as well, in Sydney and London, where other Crimson rowers took to the water for a salute. There was a five-ringed reunion as well. Vyacheslav Ivanov, the legendary Soviet sculler who won three gold medals in the single and competed against Parker in the Olympic final, flew in from Moscow and paddled out in a double with Don Spero, his American rival in Jim Dietz, the Northeastern grad who sculled in two Games, was back on the river. So was the Olympic eight that Parker coached. When his former oarsmen talked about Parker, it was with equal parts affection, admiration, and awe. A five-minute chat was a filibuster from the man they called The Sphinx. Parker never gave a pep talk. As the procession was coming to an end, three of his more recent varsities broke off to race each other to the bridge.
    [Show full text]
  • A Feel for the Water Rowing Association National Champion- for the First Time in Half a Century
    ranging from facilities improvements to the class that stepped into their shoes a possible second-round pick. The senior’s community engagement to support and is preparing to move on. The man who prospects will clarify through a series of encouragement from the administration. brought them to Cambridge has not. Just pre-draft workouts and camps he is ex- “It’s very meaningful,” the observer said, how far the next generation of Harvard pected to participate in this spring. “just to tell him that you’re glad he’s here.” basketball players goes depends in large The women’s basketball team finished There will always be offers, though, and part on what happens next. the season with four straight wins to even Harvard’s future basketball facilities re- its record at 14-14 overall and 7-7 in the main an open question. Several years ago, Tidbits Ivy League. The Crimson was led by Temi Harvard announced plans to build a new The criMson has received a host of post- Fagbenle ’15, an All-Ivy Second Team se- basketball arena as part of its Allston de- season accolades: Moundou-Missi became lection; she averaged 14.4 points and 10.4 velopment, but it has yet to reveal a specif- the first Ivy League Defensive Player of rebounds per game. Erin McDonnell ’15, ic timeline for construction. Amaker said the Year in program history and was also who averaged 12.9 points per game and hit that the program has taken some “won- a Second Team All-Ivy selection (joined the game-winning three-pointer on senior derful growth steps” in terms of communi- by Chambers); Saunders was a unanimous night, and AnnMarie Healy ’16, who aver- ty support—but like any coach, he wants selection to the All-Ivy First Team.
    [Show full text]
  • The Group Theatre: a Reflection of the Theatre in the Thirties
    Oberlin Digital Commons at Oberlin Honors Papers Student Work 1972 The Group Theatre: A Reflection of the Theatre in the Thirties Abby Eiferman Schor Oberlin College Follow this and additional works at: https://digitalcommons.oberlin.edu/honors Part of the English Language and Literature Commons Repository Citation Schor, Abby Eiferman, "The Group Theatre: A Reflection of the Theatre in the Thirties" (1972). Honors Papers. 756. https://digitalcommons.oberlin.edu/honors/756 This Thesis is brought to you for free and open access by the Student Work at Digital Commons at Oberlin. It has been accepted for inclusion in Honors Papers by an authorized administrator of Digital Commons at Oberlin. For more information, please contact [email protected]. THE GROUP THEATRE: A REFLECTION OF THE THEATRE IN THE THIRTIES Abby Ruth Eiferman April 29, 1972 S~ng us a song of social significance Or you can sing until you're blue Let meaning shine in every line Or we wonat love you. 1 This snatch of. lyrics, sung in the International Ladies Garment Workers. Union revue Pins and Needles of 1937 captures an<~ important aspect of the literary spirit of the 1930' s. This decade was marked by a tendency of artists towards political and social commitment, a time when the reconstruction of American .. socie~y,~nq. the menace of Fascism was a cause celebre to which artists 90u1.d rally. American artists had always been interested in chang!!lgsociety, or at least exposing the evils they perceived. "but the 1930' s saw a new kind of commitment and dedication.
    [Show full text]
  • Ky; Okf”Kzd Izfrosnu
    2013-14 tokgjyky usg# fo’ofo|ky; Jawaharlal Nehru University okf”kZd izfrosnu 44 Annual Report Contents THE LEGEND 1 ACADEMIC PROGRAMMES AND ADMISSIONS 5 UNIVERSITY BODIES 10 SCHOOLS AND CENTRES 19-302 School of Arts and Aesthetics (SA&A) 19 School of Biotechnology (SBT) 35 School of Computational and Integrative Sciences (SCIS) 40 School of Computer & Systems Sciences (SC&SS) 45 School of Environmental Sciences (SES) 51 School of International Studies (SIS) 60 School of Language, Literature & Culture Studies (SLL&CS) 101 School of Life Sciences (SLS) 136 School of Physical Sciences (SPS) 154 School of Social Sciences (SSS) 162 Centre for the Study of Law & Governance (CSLG) 281 Special Centre for Molecular Medicine (SCMM) 292 Special Centre for Sanskrit Studies (SCSS) 297 ACADEMIC STAFF COLLEGE 303 STUDENT’S ACTIVITIES 312 ENSURING EQUALITY 320 LINGUISTIC EMPOWERMENT CELL 324 UNIVERSITY ADMINISTRATION 327 CAMPUS DEVELOPMENT 331 UNIVERSITY FINANCE 332 OTHER ACTIVITIES 334-341 Gender Sensitisation Committee Against Sexual Harassment 334 Alumni Affairs 336 Jawaharlal Nehru Institute of Advanced Studies 336 International Collaborations 340 CENTRAL FACILITIES 342-370 University Library 342 University Science Instrumentation Centre 358 Advanced Instrumentation Research Facility 360 University Employment Information & Guidance Bureau 370 JNU Annual Report 2012-13 iii FACULTY PUBLICATIONS 371-463 FACULTY RESEARCH PROJECTS 464-482 ANNEXURES 483-574 MEMBERSHIP OF UNIVERSITY BODIES 483 University Court 483 Executive Council 489 Academic Council 490 Finance Committee 495 TEACHERS 496 Faculty Members 496 Emeritus/Honorary Professors 509 Faculty Members Appointed 510 Faculty Members Confirmed 512 Faculty Members Resigned 512 Faculty Members Retired Compulsorily 513 Faculty Members Retired Superannuation 513 Faculty members Re-employed 513 RESEARCH SCHOLARS 514-574 Ph.D.
    [Show full text]
  • Stage Center Theatre JANUARY 2011
    SEASON 2010-2011 VOLUME 5 ISSUE 3 Stage Center Theatre JANUARY 2011 UPCOMIN G EVENTS MAIN STAGE 7:30PM From the Theatre Archives Reservations: (773) 442-4274 th Early 20 Century Theatre Companies Emma’s Child The Washington Square Players February 17-19, 24-26, March 3-5 Created in 1915 by amateurs, The Washington Square Players began producing one-act plays by Chekhov, Musset, Akins, Moeller and other obscure playwrights of the time in a Bleacher Bums small theatre seating of only 40 patrons. They moved to a 600 seat theatre and produced April 14-16, 21-23, 28-30 O’Neil’s In the Zone. The group disbanded in 1918, but re-formed in 1919 as The Theatre Guild. Some of the actors that performed with The Washington Square Players were Ro- As You Like It land Young, Rollo Peters, Frank Conroy, Helen Westley, and Katherine Cornel l. June 9-11, 16-18, 23-25 You Can’t Take It With The Theatre Guild You Founded in 1919 by Theresa Helburn, Philip Moeller, and Lawrence Langer (among oth- July 21-23, 28-30, August ers), The Theatre Guild was one of the first and most influential “Off-Broadway” theatre 4-6 companies in New York City during the first half of the 20th Century. The Theatre Guild had its heyday between the World Wars (1919-1939). In its first few years the majority of STUDIO SERIES 7:30PM F109 its work was in European expressionism. Later it provided an outlet for the work of such artists as Eugene O’Neil, Robert Sherwood, Maxwell Anderson, and Sidney Howard.
    [Show full text]
  • Chapter 2 20Th Century
    THE SPORT OF ROWING To the readers of www.row2k.com With this excerpt from The Sport of For our excerpts during the spring rac- Rowing, Two Centuries of Competition, we ing season, we are concentrating on the ca- return to www.row2k.com after a few weeks reers of two of recent American rowing his- off. tory’s most influential figures: Harry These have been very productive weeks Parker and Allen Rosenberg. These two for the book. We have recently announced have been bitter rivals since 1964, and there- that the publisher of our book is the River & in lies a tale. We begin with a short excerpt. Rowing Museum in Henley-on-Thames in England, and we have further announced The following .pdf is in the format in- that the limited collector edition will go on tended for the final printed book. The color sale to the public starting on Wednesday you see will be duplicated in the limited col- April 6, 2011, just two days from today, ex- lector edition. This excerpt is from the third clusively on the rowing mall of row2k.com. of the four volumes. There will be just 300 sets printed, and only 250 will ever be sold. Of those, nearly Incidentally, all the excerpts that have 200 have already been reserved, so I encour- appeared on row2k during the last six age anyone interested in purchasing one of months have since been revised as we work the remaining sets of the collector edition to steadily toward publication. The most re- visit the rowing mall early on April 6.
    [Show full text]
  • PARADISE LOST by Clifford Odets Directed by Louis Contey
    PARADISE LOST by Clifford Odets directed by Louis Contey STUDY GUIDE prepared by Maren Robinson, Dramaturg Table of Contents Clifford Odets: Early Influences ...................................................... 3 Clifford Odets and Paradise Lost ..................................................... 4 American Utopianism ...................................................................... 5 The Group Theatre: Utopia and Its Discontents ........................... 6 The Great Depression ...................................................................... 9 The Current Middle-Class Crisis .................................................... 9 1930s Currency ............................................................................... 11 The Playwriting of Clifford Odets ................................................. 11 The Legacy of Clifford Odets ......................................................... 12 Timeline ........................................................................................... 13 Discussion Questions ..................................................................... 17 Projects for Students ...................................................................... 18 Resources ........................................................................................ 19 2 Clifford Odets: Early Influences “Dear American friend. That miserable patch of event, that mélange of nothing, while you were looking ahead for something to happen, that was it! That was life! You lived it!” — Clifford Odets, 1963 Clifford
    [Show full text]