2019 Summer Season Announcement
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Dstprogram-Ticktickboom
SCOTTSDALE DESERT STAGES THEATRE PRESENTS May 7 – 16, 2021 DESERT STAGES THEATRE SCOTTSDALE, ARIZONA PRESENTS TICK, TICK...BOOM! Book, Music and Lyrics by Jonathan Larson David Auburn, Script Consultant Vocal Arrangements and Orchestrations by Stephen Oremus TICK, TICK...BOOM! was originally produced off-Broadway in June, 2001 by Victoria Leacock, Robyn Goodman, Dede Harris, Lorie Cowen Levy, Beth Smith Co-Directed by Mark and Lynzee 4man TICK TICK BOOM! is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI. www.mtishows.com WELCOME TO DST Welcome to Desert Stages Theatre, and thank you for joining us at this performance of Jonathan Larson’s TICK, TICK...BOOM! The talented casts that will perform in this show over the next two weekends include some DST “regulars” - familiar faces that you have seen here before - as well as actors who are brand new to the DST stage. Thank you to co- directors Mark and Lynzee 4man who were the natural choices to co- direct (and music direct and choreograph) a rock musical that represents our first teen/young adult production in more than a year. They have worked tirelessly with an extremely skilled team of actors, designers, and crew members to bring you this beautiful show, and everyone involved has enjoyed the process very much. We continue our COVID-19 safety protocols and enhanced cleaning measures to keep you and our actors safe. In return, we ask that you kindly wear your mask the entire time you are in the theatre, and stay in your assigned seat. -
ENSEMBLE ACTING: Blocking and Character Development STEP 1
ENSEMBLE ACTING: Blocking and Character Development STEP 1: SCRIPT SELECTION 1. Select scripts that portray three-dimensional characters - “Scenes written to be scenes” often have characters that can feel like cardboard - Try editing a scene from a full-length play for well-rounded characterizations - Most importantly, the characters must change and grow throughout the scene 2. Select scenes that have emotional range - Too much tragedy for 15 minutes can feel tedious – give the audience a break - The most successful scenes will infuse a combination of comedy and drama - If you can make the audience laugh and cry in the same scene, you are golden - Every good scene is like a roller coaster – keep the audience on the roller coaster for 15 minutes 3. Find scenes that match the skill set of your potential actors - Get to know your potential speech team members and find their strengths - It is important to give actors opportunities to show range, but you also want to set them up to be successful - 90% of directing is casting SCRIPT RESOURCES Samuel French www.samuelfrench.com BEST Dramatists Play Service www.dramatists.com Playscripts, Inc. www.playscripts.com Dramatic Publishing www.dramaticpublishing.com Brooklyn Publishers www.brookpub.com Pioneer Drama www.pioneerdrama.com DUBUQUE SENIOR ENSEMBLE ACTING SELECTIONS (2004-Present) ‘Night Mother* Marsha Norman Full Length Play Dramatists A Midsummer Night’s Dream* William Shakespeare Full Length Play Public Domain Battle of Bull Run Always Makes Me Cry* Carole Real Scene David Friedlander -
How to Select a Monologue
HOW TO SELECT A MONOLOGUE AMDA’s student population is diverse and, as an institution, AMDA subscribes to the philosophy that it is not necessary for performers to consider their own ethnicity, skin color, body shape, sexual preference, or gender in choosing material for our placement and scholarship auditions. Choose characters close to you in age (i.e. 1-2 years younger to 5 years older). It is very important to read the play from which your monologue is taken and to know the full name of the playwright. Be prepared to answer questions the adjudicator may have about the play, the scene, or the character. While monologue collections and internet sites may be useful, they cannot substitute for a full comprehension of the play and the character’s emotional arc within it. Be sure to look up—in the play, online or in a dictionary—any vocabulary, pronunciations or references in the monologue with which you are not familiar. AVOID SELECT • Material that you do not fully • Age-appropriate material, understand emotionally or choosing monologues with intellectually characters that you could portray • Overt sexual references today or five years from now • Excessive profanity • Pieces that contrast in style, • Portraying victims or period or tone (i.e. comedy perpetrators of violence, vs. drama, classical vs. addiction, or abuse contemporary or contrasting • Monologues from films characters) • Material from the internet that is • Material sourced from published not sourced from a published play plays • Monologues for which you feel a personal connection NOTE: Your personal favorites may not be the material that best serves you. -
DAVID CAPARELLIOTIS Caparelliotis Casting /212-575-1987 [email protected]
DAVID CAPARELLIOTIS Caparelliotis Casting /212-575-1987 [email protected] CASTING DIRECTOR (selected) Holler If Ya Hear Me (Todd Kreidler) Palace Theatre/Broadway dir. Kenny Leon (upcoming) Casa Valentina (Harvey Fierstein) Freidman Theatre/ Broadway dir. Joe Mantello (upcoming) Commons of Pensacola (Amanda Peet) Manhattan Theater Club dir. Lynne Meadow The Snow Geese (Sharr White) Freidman Theatre/ Broadway dir. Daniel Sullivan All New People (Zach Braff) Second Stage Theatre dir. Peter DuBois Water By The Spoonful (Quiara Hudes) Second Stage Theatre dir. Davis McCallum My Name Is Rachel Corrie Minetta Lane/Off-Broadway dir. Alan Rickman Complicit (Joe Sutton) Old Vic/London dir. Kevin Spacey Orphans (Lyle Kessler) Schoenfeld Theatre/ Broadway dir. Daniel Sullivan Lonely I’m Not (Paul Weitz) Second Stage Theatre dir. Trip Cullman Tales of the City: the musical American Conservatory Theatre dir: Jason Moore Romantic Poetry (John P. Shanley) MTC/Off-Broadway dir: John P. Shanley Trip to Bountiful (Horton Foote) Sondheim Theatre/ Broadway dir. Michael Wilson Dead Accounts (Theresa Rebeck) Music Box Theatre/ Broadway dir. Jack O’Brien Fences (August Wilson) Cort Theatre/Broadway dir. Kenny Leon Sweet Bird of Youth (T. Williams) Goodman Theatre/ Chicago dir. David Cromer The Other Place (Sharr White) Freidman Theatre/ Broadway dir. Joe Mantello Seminar (Theresa Rebeck) Golden Theatre/ Broadway dir. Sam Gold Grace (Craig Wright) Court Theatre/ Broadway dir. Dexter Bullard Bengal Tiger … (Rajiv Josef) Richard Rodgers/ Broadway dir. Moises Kaufman Stick Fly (Lydia Diamond) Cort Theatre/ Broadway dir. Kenny Leon The Columnist (David Auburn) Freidman Theatre/Broadway dir. Daniel Sullivan The Royal Family (Ferber) Freidman Theatre/ Broadway dir. -
George Gershwin Alone May 30 – June 10, 2012
FOR IMMEDIATE RELEASE Contact: Joyce Linehan for ArtsEmerson, 617-282-2510, [email protected] ArtsEmerson: The World On Stage PRESENTS HERSHEY FELDER AS GEORGE GERSHWIN ALONE MAY 30 – JUNE 10, 2012 High resolution photos available on request Press opening is Wednesday, May 30 at 7 p.m. Please respond to this email with requests. (BOSTON) ArtsEmerson: The World On Stage presents Hershey Felder’s George Gershwin Alone . Hot on the heels of the Boston premiere of his Maestro: Leonard Bernstein , Felder will reprise his one-man George Gershwin show. Performances will take place May 30 – June 10, 2012 at the Paramount Center (559 Washington Street, in Boston’s Theatre District). Tickets, from $25 – $89, go on sale to members on April 27 and to the public on April 28. They can be purchased at www.artsemerson.org or by phone at (617) 824-8400. Steinway concert artist, composer and actor Hershey Felder spent five years researching George Gershwin’s life and works. He spoke with family members, biographers and Gershwin intimates and secured the rights from the late composer’s estate to develop a solo performance. Felder used Gershwin’s personal correspondences, original manuscripts, and personal belongings to construct a one- man show in which he brings George Gershwin to life. Audiences will experience with the actor Gershwin’s childhood, parents and siblings, as well as his musical triumphs and defeats. Not only is Felder’s appearance strikingly similar to Gershwin’s, but Felder drew on old radio archives to recreate Gershwin’s voice. He also used songs, letters and conversations to recreate the life and times of the great American composer. -
Theater Review: the Mathematician's Proof, Volume 48, Number 6
rev-saul.qxp 5/30/01 10:38 AM Page 596 Theater Review The Mathematician’s Proof Reviewed by Mark Saul Right you are—if you think you are. —Luigi Pirandello Proof So much for misconception. There is also A play by David Auburn some factual basis for the comparison. In many Directed by Daniel Sullivan ways, mathematics is a young man’s profession Walter Kerr Theatre (the gender-specific language is used consciously New York, NY here). Gauss is said to have remarked that his best ideas had occurred to him by the time he Mathematicians are rarely seen on the Broadway was nineteen— this from the man whose credo stage, and mathematics itself even less often. So was pauca sed matura (few but ripe). it is some cause for celebration that David Auburn’s It is the ripeness, the bringing to fruition of cal- play Proof, having been on Broadway for several low genius, that the public does not usually ap- months, has just won a Pulitzer Prize. The piece preciate. We have the examples of Hadamard and gives us a new look at the role mathematics plays Ahlfors, of Mac Lane and Gelfand, and numerous in all our lives. others whose energy and creativity endured well Why are mathematicians so often perceived by into their eighth or ninth decade. We have great ex- the general public as immature? The image of the positions of mathematics in which the ideas are mathematician is, too often, that of a nerd, a given the polish of long use. Perhaps most im- social misfit, a person obsessed with his (usually portant, we have the common but unseen phe- not her!) own insights, one who has not yet learned nomenon of the mathematician as teacher, lead- to take notice of those with other interests. -
Creating an Audience for Community Theatre: a Case Study of Night of the Living Dead at the Roadhouse Theatre
CREATING AN AUDIENCE FOR COMMUNITY THEATRE: A CASE STUDY OF NIGHT OF THE LIVING DEAD AT THE ROADHOUSE THEATRE Robert Connick A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2007 Committee: Ron Shields, Advisor Steve Boone Eileen Cherry Chandler © 2007 Robert M. Connick All Rights Reserved iii ABSTRACT Ronald Shields, Advisor The Roadhouse Theatre for Contemporary Art, located in Erie, Pennsylvania, combines theatre and film as their primary form of artistic development in the Erie community. Through hosting film festivals and adapting film scripts for the stage, the Roadhouse brings cinematic qualities into its theatrical productions in an effort to reach a specific market in Erie. This study focused on the Roadhouse’s production history and highlights one particular work that has developed from there into a production available for national publication and distribution: Lori Allen Ohm’s stage adaptation of Night of the Living Dead. The success of this play provided the Roadhouse with criteria to meet four aspects that Richard Somerset-Ward lists as necessary for successful community theatres. This study examined how Night of the Living Dead developed at the Roadhouse Theatre and the aspects of the script that have made it successful at other theatres across the country. By looking at themes found in the script, I presented an argument for the play’s scholarly relevance. By creating a script with national interest and relevance, Lori Allen Ohm and the Roadhouse Theatre created an historical legacy that established the theatre as one that reached its local audience while also providing something new and worthwhile to American theatre as a whole. -
2020 Summer Announcement
1 Press Contacts: Katie B. Watts Press Manager (413) 448-8084 x15 [email protected] Becky Brighenti Director of Marketing & Public Relations (413) 448-8084 x11 [email protected] For Immediate Release: Thursday, February 13 at 5pm Berkshire Theatre Group Announces 2020 Summer Season Including Three World Premieres The Fitzpatrick Main Stage World Premiere of An American Musical Event Letters to the President Beloved Tony Award-Nominated Musical Featuring Music by Stephen Schwartz Godspell The Unicorn Theatre Telling Stories: Two Solo Performers Dogs of Rwanda World Premiere of The R Word Neil Simon’s Tony Award-Nominated Musical They’re Playing Our Song Tara L. Wilson Noth’s World Premiere Drama B.R.O.K.E.N. code B.I.R.D. switching Directed by Pulitzer Prize and Tony Award-Winner David Auburn Chekhov’s Masterpiece Uncle Vanya Casting Sneak-Peek Below C.P. Taylor’s Touching and Humorous And a Nightingale Sang 2 The Colonial Theatre Beloved Tony Award-Winning Family Friendly Musical Peter Pan Pittsfield, MA – Berkshire Theatre Group (BTG) and Kate Maguire (Artistic Director, CEO) are thrilled to announce Berkshire Theatre’s 2020 Summer Season, with a casting sneak-peek. BTG will be releasing a complete season cast announcement at a later date. Maguire says, “The 2020 summer season marks ten years since the announcement of the historic merger between The Colonial Theatre and Berkshire Theatre Festival. The time has gone by so quickly, and it has been marked by some major achievements. Not only have the organizations come together with a central mission to serve our greater community, but we have exceeded our own expectations.” Maguire continues, “We are now meeting 13,000 school children through our extensive education program. -
Philosophy Documentation Center. 004.16 In2 Ince, D
Documentation Res philosophica. Charlottesville, VA : Philosophy Documentation Center. 004.16 In2 Ince, D. (Darrel). The computer : a very short introduction / Darrel Ince. Oxford : Oxford University Press, 2011. 005.1 B728 Bradley, Aaron R. Programming for engineers : a foundational approach to learning C and Matlab / by Aaron R. Bradley. Berlin ; Springer 2011. 005.1 R235 Reas, Casey. Form+code in design, art, and architecture / Casey Reas, Chandler McWilliams, LUST. New York : Princeton Architectural Press, c2010. 150.1952 B935 After Freud left : a century of psychoanalysis in America / edited by John Burnham. 150.9 B4382 Benjafield, John G. Psychology : a concise history / John G. Benjafield. Oxford : Oxford University Press, 2012. 150.922 P587 Portraits of pioneers in developmental psychology / editors, Wade E. Pickren, Donald A. Dewsbury, Michael Wertheimer. New York, NY : Psychology Press, 2012. 152.14 Ad19 The science of social vision / edited by Reginald B. Adams, Jr. ... [et al.]. New York : Oxford University Press, 2011. 153.4 C912 Cummins, Denise D. Good thinking : seven powerful ideas that influence the way we think / Denise D. Cummins. Cambridge : Cambridge University Press, 2012. 153.42 F772 Forshaw, Mark. Critical thinking for psychology : a student guide / Mark Forshaw. Hoboken : Wiley-Blackwell, 2012. 153.9 G173fa Gardner, Howard, 1943- Five minds for the future / Howard Gardner. Boston, Mass. : Harvard Business School Press, c2008. 155.24 H223 Harford, Tim, 1973- Adapt : why success always starts with failure / Tim Harford. New York : Farrar, Straus and Giroux, 2011. 155.3 G694 Goss, Phil, 1961- Men, women, and relationships, a post-Jungian approach : gender electrics and magic beans / Phil Goss. -
“Proof” by David Auburn
“Proof” by David Auburn Study Guide prepared by Elaina LeRoux and Brenda Paro David Auburn Photo by: Joan Marcus www.epic-rep.com/Bios/DavidAuburn.gif David Auburn was born in Chicago, Illinois on November 30, 1969 and studied political philosophy at the University of Chicago. His writing career began when he joined a comedy troupe as an extracurricular activity and began contributing sketches to the group’s repertoire. Auburn graduated in 1991 and was offered a writing fellowship by Amblin Productions, a Los Angeles-based company owned by filmmaker Steven Spielberg. Auburn took the opportunity and moved to Los Angeles to perfect his craft. After the fellowship ended, he moved on to New York, where he attended the Julliard School’s playwriting program. He began to write plays in earnest and had several of them produced by small New York theaters throughout the following years. Along with his short plays and “Proof,” Auburn is best known as the author of “Skyscraper,” a darkly comedic play that ran off-Broadway in 1997. He was the screenwriter for the movie version of “Proof” in 2005, as well as for the movie “The Lake House” in 2006, starring Keanu Reeves and Sandra Bullock. Auburn debuted as a movie director with “The Girl in the Park,” starring Sigourney Weaver, Kate Bosworth, and Keri Russell, in 2008. Information for this section was compiled from the following sources: http://www.enotes.com/proof/biography http://www.greenmanreview.com/live/live_proof_1103.html http://www.bookrags.com/studyguide-proofauburn/bio.html 1 History of “Proof” “Proof” was originally produced by the Manhattan Theatre Club on May 23, 2000, and directed by Daniel J. -
Objectivity Lies: the Rhetoric of Anthropology,” in the Rhetoric of the Human Sciences: Language and Argument in Scholarship and Public Affairs, Eds
ABSTRACT HUMANITIES JONAS-FOWLER, JOYCELYN J. B.A. CLARK ATLANTA UNIVERSITY, 1996 M.P.A. TROY STATE UNIVERSITY, 2005 IS THIS BLACK ENOUGH FOR YOU? A COMPARATIVE ANALYSIS OF AFRICAN-AMERICAN FAMILIES PORTRAYED IN BLACK FAMILY TELEVISION COMEDIES BETWEEN 1980 AND 2000 Committee Chair: Charmayne Patterson, Ph.D. Dissertation dated May 2018 Research shows that black people watch more television than any other race of people, and, given that television is the most influential media tool, the content of what may affect an audience’s behavior and beliefs deserves analysis. This study examines the black family, alleged pathology, strengths that are specifically associated with them, its portrayal on television, and how television is used as a tool for socialization and influence. A content analysis of the top thirty black family shows that appeared on major network television between 1980 and 2000 was conducted to determine if the family framed was portrayed realistically. Each show analyzed was found to portray some characteristic of strong black families, attributes some media and social critics had not previously recognized or acknowledged. This study suggests that further research is warranted from black family, cultural, and media scholars, as well as social policy and i program makers, and on how television influences entire cultures to shift socially and economically. ii IS THIS BLACK ENOUGH FOR YOU? A COMPARATIVE ANALYSIS OF AFRICAN-AMERICAN FAMILIES PORTRAYED IN BLACK FAMILY TELEVISION COMEDIES BETWEEN 1980 AND 2000 A DISSERTATION SUBMITTED TO THE FACULTY OF CLARK ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY BY JOYCELYN JONAS-FOWLER DEPARTMENT OF HUMANITIES ATLANTA, GEORGIA MAY 2018 © 2018 JOYCELYN JONAS-FOWLER All Rights Reserved ACKNOWLEDGMENTS I thank God for his favor and blessings and for being a God of thousands of chances. -
Drama Winners the First 50 Years: 1917-1966 Pulitzer Drama Checklist 1966 No Award Given 1965 the Subject Was Roses by Frank D
The Pulitzer Prizes Drama Winners The First 50 Years: 1917-1966 Pulitzer Drama Checklist 1966 No award given 1965 The Subject Was Roses by Frank D. Gilroy 1964 No award given 1963 No award given 1962 How to Succeed in Business Without Really Trying by Loesser and Burrows 1961 All the Way Home by Tad Mosel 1960 Fiorello! by Weidman, Abbott, Bock, and Harnick 1959 J.B. by Archibald MacLeish 1958 Look Homeward, Angel by Ketti Frings 1957 Long Day’s Journey Into Night by Eugene O’Neill 1956 The Diary of Anne Frank by Albert Hackett and Frances Goodrich 1955 Cat on a Hot Tin Roof by Tennessee Williams 1954 The Teahouse of the August Moon by John Patrick 1953 Picnic by William Inge 1952 The Shrike by Joseph Kramm 1951 No award given 1950 South Pacific by Richard Rodgers, Oscar Hammerstein II and Joshua Logan 1949 Death of a Salesman by Arthur Miller 1948 A Streetcar Named Desire by Tennessee Williams 1947 No award given 1946 State of the Union by Russel Crouse and Howard Lindsay 1945 Harvey by Mary Coyle Chase 1944 No award given 1943 The Skin of Our Teeth by Thornton Wilder 1942 No award given 1941 There Shall Be No Night by Robert E. Sherwood 1940 The Time of Your Life by William Saroyan 1939 Abe Lincoln in Illinois by Robert E. Sherwood 1938 Our Town by Thornton Wilder 1937 You Can’t Take It With You by Moss Hart and George S. Kaufman 1936 Idiot’s Delight by Robert E. Sherwood 1935 The Old Maid by Zoë Akins 1934 Men in White by Sidney Kingsley 1933 Both Your Houses by Maxwell Anderson 1932 Of Thee I Sing by George S.