Jay Binder C.S.A. Jack Bowdan C.S.A., Mark Brandon C.S.A, Jason Styres C.S.A Joanna Levinger
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Winter Edition VOLUME 6 ISSUE 3
Mise en Scéne Winter Edition VOLUME 6 ISSUE 3 CSUEB Spellers take the stage in Inside this Issue "The 25th Annual Putnam County Spelling Bee" Director, Marc Jacobs, shares his thoughts on this musical comedy Upcoming Shows 2 My first encounter with "The 25th Annual Putnam County Spelling Bee" was with the Post Street Theatre in San Francisco, 10 years ago. This was the first Our Students 3 production after the original Broadway cast, and I had several friends in the show, which was cast locally. One of the cast members was James Monroe Checking In 4 Iglehart (CSUEB Graduate) who had been in previous musicals I had directed in San Jose. James has since gone on to win the Tony Award as the Genie in Disney’s Broadway production of "Aladdin." James was playing 'Comfort Guest Artists 5 Counselor' Mitch Mahoney in "Spelling Bee," and his performance was so perfect that the producers decided to model every subsequent 'Mitch' on James’ performance. Another friend in the show was Aaron Albano, who had Featured Faculty 7 started out as one of the teenagers in my production of The Music Man that I directed in San Jose, and has since gone on to appear on Broadway in The Wiz, Newsies, and currently in Allegiance. The San Francisco company of Information 9 "Spelling Bee" was so successful, that the producers ultimately used those actors to replace the Broadway company once the original actors were ready to leave the show. One of those original actors, Sarah Salzburg ‒ the original “Schwarzy” in ‘Spelling Bee - was the daughter of a good friend of mine. -
The Chronicle
Thursday September 29, 1983 Volume 80, Number 25 Duke University Durham, North Carolina THE CHRONICLE Newsfile Andropov response harsh: Yuri V. Andropov criticized President Reagan's new proposals for limiting medium-range nuclear weapons in Europe as unaccep table. In an unusually strong personal statement, the Soviet leader raised questions about the entire spec trum of Soviet-American relations under the Reagan administration. The response was coupled with a war ning that the deployment of new American missiles in Western Europe, scheduled for December, would be "a step against peace" See page 2. HOUSe invokes act: The evocation of the War Powers Act in Lebanon and authorization ofthe deploy ment of American Marines in Beirut were provided for in legislation approved by the House of Representatives The historic vote marked the first time that a House of Congress has decided to invoke the War Powers Act, which was passed 10 years ago as a congressional move to place constraints upon the war-making powers of a president. The Senate will vote on the resolution Thurs day, and is expected to pass it. Reagan plans Visit: T&lks in Peking ended with Secretary of Defense Caspar W Weinberger announc ing that President Reagan and Premier Zhao Ziyang would exchange official visits next year. He said there had also been progress toward eventual sales of American arms to China. See page 2. Philippine tour uncertain: The scheduling of a visit to China by President Reagan in April raised new questions about whether he should go ahead with Weinberger winds up trip his visit to the Philippines in November, a senior ad Defense secretary Caspar Weinberger, shown here with his Chinese counterpart, Zhang Aiping, wound up a ministration official said. -
Neues Textdokument (2).Txt
Filmliste Liste de filme DVD Münchhaldenstrasse 10, Postfach 919, 8034 Zürich Tel: 044/ 422 38 33, Fax: 044/ 422 37 93 www.praesens.com, [email protected] Filmnr Original Titel Regie 20001 A TIME TO KILL Joel Schumacher 20002 JUMANJI 20003 LEGENDS OF THE FALL Edward Zwick 20004 MARS ATTACKS! Tim Burton 20005 MAVERICK Richard Donner 20006 OUTBREAK Wolfgang Petersen 20007 BATMAN & ROBIN Joel Schumacher 20008 CONTACT Robert Zemeckis 20009 BODYGUARD Mick Jackson 20010 COP LAND James Mangold 20011 PELICAN BRIEF,THE Alan J.Pakula 20012 KLIENT, DER Joel Schumacher 20013 ADDICTED TO LOVE Griffin Dunne 20014 ARMAGEDDON Michael Bay 20015 SPACE JAM Joe Pytka 20016 CONAIR Simon West 20017 HORSE WHISPERER,THE Robert Redford 20018 LETHAL WEAPON 4 Richard Donner 20019 LION KING 2 20020 ROCKY HORROR PICTURE SHOW Jim Sharman 20021 X‐FILES 20022 GATTACA Andrew Niccol 20023 STARSHIP TROOPERS Paul Verhoeven 20024 YOU'VE GOT MAIL Nora Ephron 20025 NET,THE Irwin Winkler 20026 RED CORNER Jon Avnet 20027 WILD WILD WEST Barry Sonnenfeld 20028 EYES WIDE SHUT Stanley Kubrick 20029 ENEMY OF THE STATE Tony Scott 20030 LIAR,LIAR/Der Dummschwätzer Tom Shadyac 20031 MATRIX Wachowski Brothers 20032 AUF DER FLUCHT Andrew Davis 20033 TRUMAN SHOW, THE Peter Weir 20034 IRON GIANT,THE 20035 OUT OF SIGHT Steven Soderbergh 20036 SOMETHING ABOUT MARY Bobby &Peter Farrelly 20037 TITANIC James Cameron 20038 RUNAWAY BRIDE Garry Marshall 20039 NOTTING HILL Roger Michell 20040 TWISTER Jan DeBont 20041 PATCH ADAMS Tom Shadyac 20042 PLEASANTVILLE Gary Ross 20043 FIGHT CLUB, THE David -
Stage by Stage South Bank: 1988 – 1996
Stage by Stage South Bank: 1988 – 1996 Stage by Stage The Development of the National Theatre from 1848 Designed by Michael Mayhew Compiled by Lyn Haill & Stephen Wood With thanks to Richard Mangan and The Mander & Mitchenson Theatre Collection, Monica Sollash and The Theatre Museum The majority of the photographs in the exhibition were commissioned by the National Theatre and are part of its archive The exhibition was funded by The Royal National Theatre Foundation Richard Eyre. Photograph by John Haynes. 1988 To mark the company’s 25th birthday in Peter Hall’s last year as Director of the National October, The Queen approves the title ‘Royal’ Theatre. He stages three late Shakespeare for the National Theatre, and attends an plays (The Tempest, The Winter’s Tale, and anniversary gala in the Olivier. Cymbeline) in the Cottesloe then in the Olivier, and leaves to start his own company in the The funds raised are to set up a National West End. Theatre Endowment Fund. Lord Rayne retires as Chairman of the Board and is succeeded ‘This building in solid concrete will be here by the Lady Soames, daughter of Winston for ever and ever, whatever successive Churchill. governments can do to muck it up. The place exists as a necessary part of the cultural scene Prince Charles, in a TV documentary on of this country.’ Peter Hall architecture, describes the National as ‘a way of building a nuclear power station in the September: Richard Eyre takes over as Director middle of London without anyone objecting’. of the National. 1989 Alan Bennett’s Single Spies, consisting of two A series of co-productions with regional short plays, contains the first representation on companies begins with Tony Harrison’s version the British stage of a living monarch, in a scene of Molière’s The Misanthrope, presented with in which Sir Anthony Blunt has a discussion Bristol Old Vic and directed by its artistic with ‘HMQ’. -
Simon Russell Beale Photo: Charlie Carter
Paddock Suite, The Courtyard, 55 Charterhouse Street, London, EC1M 6HA p: + 44 (0) 20 73360351 e: [email protected] Simon Russell Beale Photo: Charlie Carter Location: London Other: Equity Height: 5'7" (170cm) Eye Colour: Grey Playing Age: 51 - 55 years Hair Colour: Greying Appearance: White Hair Length: Short Stage 2018, Stage, The Lehman Trilogy, The National Theatre, Sam Mendes 2016, Stage, Prospero, The Tempest, Royal Shakespeare Company, Gregory Doran 2015, Stage, Mr Foote, Mr Foote's Other Leg, Hampstead Theatre/Haymarket (transfer), Richard Eyre 2015, Stage, The Dean, Temple, Donmar Warehouse, Howard Davies 2014, Stage, King Lear, King Lear, National Theatre, Sam Mendes 2013, Stage, Acting Captain Terri Dennis, Privates on Parade, Noel Coward Theatre, Michael Grandage 2013, Stage, Roote, The Hothouse, Trafalgar Studios, Jamie Lloyd 2012, Stage, Timon of Athens (Critics' Circle Award 2013), Timon of Athens, National Theatre, Nicholas Hytner 2011, Stage, Jimmy, Bluebird, Atlantic Theatre Company, New York, Gaye Taylor Upchurch 2011, Stage, Stalin, Collaborators, National Theatre, Nicholas Hytner 2010, Stage, Sydney, Deathtrap, Noel Coward Theatre, Matthew Warchus 2010, Stage, Sir Harcourt Courtly, London Assurance, National Theatre, Nicholas Hytner 2009, Stage, Lopahkin, The Cherry Orchard, Brooklyn Academy/World Tour/Old Vic, Sam Mendes 2009, Stage, Leontes, The Winter's Tale, Brooklyn Academy/World Tour/Old Vic, Sam Mendes 2008, Stage, Edward, A Slight Ache, National Theatre, Iqbal Khan 2008, Stage, Landscape, National Theatre, -
“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. -
Programming; Providing an Environment for the Growth and Education of Theatre Professionals, Audiences, and the Community at Large
JULY 2017 WELCOME MIKE HAUSBERG Welcome to The Old Globe and this production of King Richard II. Our goal is to serve all of San Diego and beyond through the art of theatre. Below are the mission and values that drive our work. We thank you for being a crucial part of what we do. MISSION STATEMENT The mission of The Old Globe is to preserve, strengthen, and advance American theatre by: creating theatrical experiences of the highest professional standards; producing and presenting works of exceptional merit, designed to reach current and future audiences; ensuring diversity and balance in programming; providing an environment for the growth and education of theatre professionals, audiences, and the community at large. STATEMENT OF VALUES The Old Globe believes that theatre matters. Our commitment is to make it matter to more people. The values that shape this commitment are: TRANSFORMATION Theatre cultivates imagination and empathy, enriching our humanity and connecting us to each other by bringing us entertaining experiences, new ideas, and a wide range of stories told from many perspectives. INCLUSION The communities of San Diego, in their diversity and their commonality, are welcome and reflected at the Globe. Access for all to our stages and programs expands when we engage audiences in many ways and in many places. EXCELLENCE Our dedication to creating exceptional work demands a high standard of achievement in everything we do, on and off the stage. STABILITY Our priority every day is to steward a vital, nurturing, and financially secure institution that will thrive for generations. IMPACT Our prominence nationally and locally brings with it a responsibility to listen, collaborate, and act with integrity in order to serve. -
BRIEF CHRONICLE Artistic Director the Official Newsmagazine of Writers’ Theatre Kathryn M
ISSUE twEnty-nInE MAY 2010 1 A STREETCAR NAMED DESIRE: On Stage Table of ConTenTs Dear Friends .................................................................................................... 3 “DroppeD overboarD… on Stage: A Streetcar Named Desire ...................................................................... 5 The Man. The Play. The Legend. ........................................................ 6 Director's Sidebar .................................................................................... 10 into an ocean Acting Cromer ............................................................................................. 12 Setting the Scene ..................................................................................... 13 Why Here? Why Now? ............................................................................ 14 Announcing the 2010/11 Season ................................................. 16 baCksTage: as blue as Event Wrap Up – Behind-the-Scenes Brunch ........................... 20 Event Wrap Up – Literary Luncheon ............................................ 22 Sponsor Salute ........................................................................................... 24 Tales of a True Fourth Grade Nothing .......................................... 26 Performance Calendar .......................................................................... 29 my first lover’s eyes!” - blanChe, A Streetcar named desire 2 A STREETCAR NAMED DESIRE: On Stage A STREETCAR NAMED DESIRE: On Stage 1 Michael halberstam tHe -
Kevin New CV 8-27-16 Reorganized
CV of Kevin Rigdon 1 Kevin Rigdon 2618 Texas Avenue ¡ Houston, Texas 77003 713.962.4658 ¡ [email protected] Current Positions 1997 - Present Associate Director/Design, Alley Theatre, Houston Responsibilities include: participation in planning and oversight of a 10 play season in two theatres with an annual operating budget of $15M; long range strategic planning; principal resident designer and day-to-day supervision of $46M renovation of the performance facility. 1997 – Present University of Houston School of Theatre & Dance, Houston John and Rebecca Moores Professor of Theatre; Head of MFA Design & Technology Responsibilities include curriculum development of MFA Design & Technology program; recruitment of MFA D&T students; mentorship of MFA D&T students Previous Positions 1974 – 1997 Resident Designer, Steppenwolf Theatre Company, Chicago 1991 - 1996 Adjunct Professor — The Theatre School, DePaul University, Chicago Adjunct Professor — Roosevelt University, Chicago 1994 – 1995 Associate Director, Wisdom Bridge Theatre, Chicago 1989 Guest Artist — Illinois State University, Normal 1981 - 1983 Adjunct Professor — Columbia College, Chicago AWARDS AND HONORS THE ANTOINETTE PERRY AWARD (The Tony Award) 1990 Nomination - Outstanding Lighting Design - The Grapes of Wrath Nomination - Outstanding Scenic Design - The Grapes of Wrath THE AMERICAN THEATRE WING DESIGN AWARD 1995 Nomination - Outstanding Scenic Design - Distant Fires 1990 Award - Outstanding Scenic Design - The Grapes of Wrath Nomination - Outstanding Lighting Design - The Grapes -
Christopher Plummer
Christopher Plummer "An actor should be a mystery," Christopher Plummer Introduction ........................................................................................ 3 Biography ................................................................................................................................. 4 Christopher Plummer and Elaine Taylor ............................................................................. 18 Christopher Plummer quotes ............................................................................................... 20 Filmography ........................................................................................................................... 32 Theatre .................................................................................................................................... 72 Christopher Plummer playing Shakespeare ....................................................................... 84 Awards and Honors ............................................................................................................... 95 Christopher Plummer Introduction Christopher Plummer, CC (born December 13, 1929) is a Canadian theatre, film and television actor and writer of his memoir In "Spite of Myself" (2008) In a career that spans over five decades and includes substantial roles in film, television, and theatre, Plummer is perhaps best known for the role of Captain Georg von Trapp in The Sound of Music. His most recent film roles include the Disney–Pixar 2009 film Up as Charles Muntz, -
Guest Artists
Guest Artists George Hamilton, Broadway and Film Actor, Broadway Actresses Charlotte D’Amboise & Jasmine Guy speaks at a Chicago Day on Broadway speak at a Chicago Day on Broadway Fashion Designer, Tommy Hilfiger, speaks at a Career Day on Broadway SAMPLE BROADWAY GUEST ARTISTS CHRISTOPHER JACKSON - HAMILTON Christopher Jackson- Hamilton – original Off Broadway and Broadway Company, Tony Award nomination; In the Heights - original Co. B'way: Orig. Co. and Simba in Disney's The Lion King. Regional: Comfortable Shoes, Beggar's Holiday. TV credits: "White Collar," "Nurse Jackie," "Gossip Girl," "Fringe," "Oz." Co-music director for the hit PBS Show "The Electric Company" ('08-'09.) Has written songs for will.i.am, Sean Kingston, LL Cool J, Mario and many others. Currently writing and composing for "Sesame Street." Solo album - In The Name of LOVE. SHELBY FINNIE – THE PROM Broadway debut! “Jesus Christ Superstar Live in Concert” (NBC), Radio City Christmas Spectacular (Rockette), The Prom (Alliance Theatre), Sarasota Ballet. Endless thanks to Casey, Casey, John, Meg, Mary-Mitchell, Bethany, LDC and Mom! NICKY VENDITTI – WICKED Dance Captain, Swing, Chistery U/S. After years of practice as a child melting like the Wicked Witch, Nicky is thrilled to be making his Broadway debut in Wicked. Off-Broadway: Trip of Love (Asst. Choreographer). Tours: Wicked, A Chorus Line (Paul), Contact, Swing! Love to my beautiful family and friends. BRITTANY NICHOLAS – MEAN GIRLS Brittany Nicholas is thrilled to be part of Mean Girls. Broadway: Billy Elliot (Swing). International: Billy Elliot Toronto (Swing/ Dance Captain). Tours: Billy Elliot First National (Original Cast), Matilda (Swing/Children’s Dance Captain). -
Contact: Kirstin M. Franko/Julia Suszynski [email protected]; 202-600-4055
Contact: Kirstin M. Franko/Julia Suszynski [email protected]; 202-600-4055 ARENA STAGE AT THE MEAD CENTER FOR AMERICAN THEATER ANNOUNCES THE 2010/11 INAUGURAL SEASON FOR NEW THREE-THEATER CAMPUS With more than 45 projects in homecoming season, Arena Stage returns to campus as a national center for the production, presentation, development and study of American theater (Washington, D.C.) Arena Stage Artistic Director Molly Smith announces the D.C.-based pioneering theater company’s 60th season filled with award-winning artists and projects to celebrate the grand opening of Arena Stage at the Mead Center for American Theater. The 2010/11 inaugural season includes eight full productions, seven presentations from the National Endowment for the Arts New Play Development Program and public readings from all 30 of Edward Albee’s works, totaling at least 45 projects produced and presented by Arena Stage in the inaugural year at the Mead Center. With the opening next fall, Arena Stage will fully become a national center for production, presentation, development and study of American theater. “The moment we have been waiting for has arrived—we are heading home,” shares Artistic Director Molly Smith. “After 11 years of planning and two and a half years of construction, the beautiful new Mead Center for American Theater will be ready to welcome audiences and artists this fall.” The new campus includes the renovation of the two existing performance spaces, the Fichandler Stage and the Kreeger Theater, and the creation of the 200-seat Arlene and Robert Kogod Cradle—a venue dedicated to cradling risk surrounding new or radically re-envisioned productions of American theater.