ISSUE 147 – August, 2014

Total Page:16

File Type:pdf, Size:1020Kb

ISSUE 147 – August, 2014 NO. 147 PUBLISHED BY THE CENTRAL CITY Intersection San FRanCISCO STUDY CENTER fights to pull August 2 014 out of crisis $200,000 in debt, group slashes staff, MANOR cuts performances HOUSE DELAYED BY M ARJORIE BEGGS san francisco NTERSECTION FOR THE Arts turns Plumbing 50 next year, a venerable age for any I nonprofit, especially one that has incu- woes, more IN THE SHADOW OF TECH bated thousands of artists in all disciplines, helping them to get their art in front of postpone audiences. But before it hits that milestone, Inter- reopening section has run out of money to fund its most visible operations — resident artists’ PAGE 2 theater and music performances, visual arts exhibitions, and youth and communi- ty education programs. Board Chair Yancy Widmer and then-Interim Executive Director Arthur Combs on May 22 blasted an email to In- tersection’s 16,000 followers: “Our finan- cial situation is deeply challenged, and it has become apparent that the current business model is no longer sustainable.” Intersection had nine staff, but June 1 it furloughed three key program direc- tors and a communications assistant and stopped producing its own works, except for a handful that were already in the pipe- line. The city’s oldest alternative arts space — where James Broughton and Allen Gins- berg read poetry, Spalding Gray did mono- logues and Robin Williams honed his com- edy shticks — is facing an uncertain future. So far, the only good news is that the 124 incubator arts projects are unlikely to be affected. Intersection serves as their fiscal spon- sor, a tax-exempt nonprofit TECH BUS “This may be that manages non-exempt FIRMS' FEE just another organizations’ finances and gives their donors tax-de- KICKS IN path in our ductibility for any contri- butions. It’s a way to launch trajectory.” new arts projects, sustain Tariff triples temporary ones and help ILLUSTRATION LISE STAMPFLI Deborah Cullinan more established ones get with more FORMER EXECUTIVE DIRECTOR firmer organizational foot- It’s been over three years since the Twitter tax break triggered a tech run on the central ing. parking cops city. Now, all of Market Street’s midsection falls under tech’s shadow. But not the Tenderloin. The projects do their own fundraising. Intersection, a fiscal spon- on duty sor since 1977, charges them 8% of the PAGE 3 grants, donations and contributions they receive as an administrative fee. Galeria de la Raza, Litquake and San Francisco Blues SNAPSHOT OF CHANGE Festival are among the groups Intersection has sponsored. “Intersection is fragile right now, but In central city, only the scary all our fiscal sponsor projects are safe,” Widmer told 150 supporters, project staff, board members and funders who TL is resisting gentrification convened July 15 to have “A Community Conversation” about Intersection’s future. BY JONATHAN NEW M AN AND GEOFF L INK Twenty-five years later, traffic was “The money we manage for the projects blocked and the street dug up to build BART. was never in danger.” HE HEALTH AND VITALITY of the Market Street’s midsection — the sev- Randy Rollison, Intersection interim city for 175 years has been measured en-block stretch from Fifth Street to Van T by the pulse of Market Street — the Ness Avenue — saw a four-decade decline, 3-mile-long municipal artery stretching marked by empty buildings and closed from the Embarcadero to Twin Peaks. Early storefronts, from the ’70s till now. settlers called it the Path of Gold when Sier- That same stretch — dubbed Central ra miners with flakes of ore dropping from Market in a bland mix of bureaucratic and their bulging pockets trundled the street’s real estate parlance — has become the mea- plank walkways. sure of San Francisco’s renewed vigor, glow- It survived the 1906 quake and fire and ing from the self-proclaimed civic wisdom proudly supported the great rebuilding, site of tax breaks and economic strategies, ener- of Phelan, Flood and Palace edifices. gized by a concentration of newly located The l920s and ’30s brought playhouses tech companies and their expanding work- and grand movie palaces to the thorough- forces. fare. Some saw the flashing lights of the Market Street, in this early 21st century marquees and called it the Broadway of the decade that is dominated by tech, has tak- West. en on a new identity with a fresh-scrubbed, PHOTO ALLEN WILLNER When Jack Kerouac stumbled from the suburban personality that is rubbing off on Resident artist Aaron Davidman's solo Greyhound station on Seventh in the late the central city. This is a snapshot of that production, “Wrestling Jerusalem,” pre- ’40s he wrote of all-night cafeterias, pinball change three-plus years into the Twitter tax miered at Intersection in March. arcades and a vivid street scene throbbing break that triggered it. with sailors, hucksters, junkies and whores. ➤ C ONTINUED ON PAGE 6 ➤ C ONTINUED ON PAGE 4 4 months, $400,000 till Manor House reopens BY TOM CARTER owner and baker and farmers’ market purveyor who was looking for a second HE DISCOVERY of faulty plumb- restaurant and accepted the challenge ing and other deficiencies at of providing affordable meals at 210 T the shuttered Manor House Jones St. Restaurant will cause a delay of at least Atkins signed a seven-year lease with four more months and cost upward of TNDC in December, intending to open $400,000 to fix before the once low- a few months later. But during cleanup cost dining haven for hundreds of poor the plumbing problem was discovered. folks in the Tenderloin can reopen. Orlin acknowledged “the great de- Lease-holder John Atkins told The lay” and was eager that the humble eat- Central City Extra that problems had ery open “as soon as possible.” been discovered during an extensive “But once you find one thing cleanup earlier this year. (wrong), it leads to another and another,” “We had plumbing issues,” Atkins she said of the 1926 building. The restau- said at his baked goods stall in Heart of rant had been renovated in 2004. the City Farmers Market. “None of us A more thorough on-site examina- knew what (else) needed to be done.” tion will soon be conducted, then bids The nonprofit developer TNDC brought accepted, a construction contract signed in experts, he said. “They looked at ev- and time-consuming permits pulled. erything” and, lo, more things needed TNDC will cover the “huge cost,” attention. and Atkins won’t be charged rent until “When a restaurant stays closed a the restaurant is ready for business. “We PHOTO LENNY LIMJOCO 2008 certain amount of time, things may have don’t want to burden him with pay- to be done. There will be a renovation. ments.” Robert Mathena and Johnny Martin were among the throngs of Manor It will take four months, start to finish.” But these are details yet to be rene- House regulars when Mimi Yee ran the restaurant that featured affordable meals. Cost estimates range from $200,000 gotiated in a new, long-term lease, she to $400,000, Liz Orlin, TNDC’s chief op- said, adding how happy TNDC is with where it’s located. In recent years, its erating officer, told The Extra. “No one Atkins. cleanliness evaluations from the Depart- Eva Langman anticipated it would take a lot of work,” “We are thrilled to have him, and ment of Public Health inspectors scored [email protected] when Atkins took over the restaurant we’re excited to have him there,” Orlin higher than Manor House did when it or 415.666.5072 last year, she said. “We thought it would said. was open. Atkins’ business card calls it be a relative quick turnaround.” But At- Atkins said he was going to raise a “boutique cafe” that also does cater- Kick your writing up a kins found that the plumbing, grease prices, The Extra reported in March, ing. It features his baked goods, which notch with my support. traps, even the walls posed problems. but that the hikes would be reasonable. he also sells at Heart of the City and the Over a decade’s experience Then TNDC brought in contractors and Yee’s prices, he said, were too low for Alemany Farmers Market. architects to evaluate what needed to be today, reflective of an economy 15 years Atkins doesn’t know if he’ll keep the as freelance writer & editor done. ago. Manor House name. For now, the icon- of poetry, prose and Manor House closed Feb. 18, 2013, “The $3.50 breakfast, no way I can ic restaurant is a darkened shell and its non-fiction, I’ve guided when Mimi Yee, who managed it for 17 do that,” he said. “The variables have $3.50 belly-filling breakfasts and gener- years, serving a sometimes rough crowd gone up. I can’t afford to give it away, but ous $4.95 lunches delivered by quietly progress on memoirs, web six days a week, announced she was I’m not there to gouge anyone.” helpful Chinese American waitresses are content, critical essays & Atkins has a thriving hole-in-the-wall another fading memory of the changing quitting because of the failing health of dissertations. Meticulous, her husband John, the head cook. TNDC restaurant in Cow Hollow called Golo, hood. Chained and padlocked, it sports searched for months for a successor, the name deriving from the first two two signs: “Closed” and “No Dogs Al- well-versed and patient. before findingA tkins, a small-restaurant letters of Gough and Lombard streets, lowed.” HOUSING APPLICATIONS ARE BEING ACCEPTED FOR THE KNOX AND BAYANIHAN HOUSE Did You Receive A Mandatory Retrofit Letter? You Are Running Out Of Time The Knox Bayanihan House Please go to 241 6th Street, San Francisco, CA for applications To Submit Your Screening Form! The TODCO Single Room Occupancy (SRO) Housing Waiting List is open; for the Knox and the Bayanihan House.
Recommended publications
  • Download Press Release
    FOR IMMEDIATE RELEASE SHN IS NOW BroadwaySF 2019-2020 Mini-Plan Memberships On Sale Now (San Francisco, CA October 1, 2019) – The preeminent theatrical entertainment company in the Bay Area announced its next Act. As of October 1st, 2019, SHN has changed its name to BroadwaySF. The new name projects a clear and simple promise to live theater lovers around the Bay Area - BroadwaySF will continue to bring Broadway blockbusters and one-of-a-kind theatrical experiences to the Orpheum and Golden Gate Theatres in San Francisco. BroadwaySF’s new website is broadwaysf.com. BroadwaySF 2019-2020 mini-plan memberships are now available. Members receive guaranteed seats and other exclusive benefits to four blockbuster musicals: THE LAST SHIP, starring rock superstar Sting; The Best Musical Tony Award-winning THE BAND’S VISIT; Tina Fey’s hit musical MEAN GIRLS; and the Lincoln Center revival of MY FAIR LADY. Mini-plan members also get first access to THE BOOK OF MORMON and THE SPONGEBOB MUSICAL. The current lineup of productions on sale now at the Orpheum Theatre and Golden Gate Theatre include: HAMILTON - Tickets on sale through January 5, 2020 Orpheum Theatre MADONNA: “Madame X” tour – October 31 – November 4, 2019 Golden Gate Theatre THE SIMON AND GARFUNKEL STORY – October 11-12, 2019 Golden Gate Theatre AN EVENING WITH NEIL DEGRASSE TYSON – October 14, 2019 NOTE: Davies Symphony Hall JONSI AND ALEX SOMERS – “Riceboy Sleeps” – October 14, 2019 Golden Gate Theatre CHAMPIONS OF MAGIC – November 27 – December 1, 2019 Golden Gate Theatre SUMMER: THE DONNA SUMMER MUSICAL – December 3 – December 29, 2019 Golden Gate Theatre SHIN LIM – January 18, 2020 Golden Gate Theatre For more information on all BroadwaySF productions, visit broadwaysf.com Connect with BroadwaySF: broadwaysf.com facebook.com/BroadwaySF/ twitter.com/broadwaysf www.instagram.com/broadwaysf The Magazine About BroadwaySF: BroadwaySF is the preeminent theater entertainment company in the Bay Area, bringing live theatrical experiences to the Orpheum and Golden Gate Theatres in San Francisco.
    [Show full text]
  • Golden Gate Theatre Technical Information Packet
    GOLDEN GATE THEATRE TECHNICAL INFORMATION PACKET as of February 14, 2020 ♦ GOLDEN GATE THEATRE TECHNICAL SPECIFICATIONS ♦ ♦ Page 1♦ Broadway San Francisco, LLC 1182 Market Street, Suite 200 San Francisco, California 94102 Toll Free Number: (888) 746-1799 Executive Offices Main Line: (415) 551-2075 Executive Office Fax: (415) 431-5052 Audience Services Fax: (415) 581-2121 www.broadwaysf.com Staff Position Telephone Greg Holland Chief Executive Officer (415) 551-2075 Joe Coleman Chief Financial Officer (415) 551-2075 Scott Kane Chief Marketing Officer (415) 551-2075 Regina Guggenheim Vice President, Production & Theatre Operations (415) 551-2054 David Cushing Vice President, Ticketing (415) 551-2069 Brett Baker Vice President, Sales (415) 551-2080 Sean Ray Director of Operations (415) 551-2085 Scott Walton Director of Communications (415) 551-2052 Geoffrey Washburn Director of Administrative Services (415) 551-2060 Caron Dawson Golden Gate House Manager (415) 581-1250 Aaron Lake Golden Gate Asst. House Manager (415) 581-1250 ALL STAFF PHONE NUMBERS ARE PRIVATE AND CONFIDENTIAL. FOR GOLDEN GATE THEATRICAL STAFF AND PRODUCTION CONTACT INFORMATION, PLEASE SEE THE PHONE NUMBERS LISTED BELOW. ♦ GOLDEN GATE THEATRE TECHNICAL SPECIFICATIONS ♦ ♦ Page 2♦ Golden Gate Theatre, 1 Taylor Street, San Francisco, CA 94102 ALL PHONE NUMBERS LISTED ARE PRIVATE AND CONFIDENTIAL THEATRE/HOUSE MANAGERS Area Code (415) – Caron Dawson, House Manager – [email protected] 581-1250 Aaron Lake, Assistant House Manager – [email protected] 581-1250 FAX 775-5677
    [Show full text]
  • Hollywood Pantages Theatre Los Angeles, California
    ® ® HOLLYWOODTHEATRE PANTAGES NAME THEATRE LOS ANGELES, CALIFORNIA 03-277.16-8.11 Charlie Miss Cover.indd Saigon Pantages.indd 1 1 7/2/193/6/19 10:05 3:15 PMAM HOLLYWOOD PANTAGES THEATRE CAMERON MACKINTOSH PRESENTS BOUBLIL & SCHÖNBERG’S Starring RED CONCEPCIÓN EMILY BAUTISTA ANTHONY FESTA and STACIE BONO J.DAUGHTRY JINWOO JUNG at certain performances EYMARD CABLING plays the role The Engineer and MYRA MOLLOY plays the role of Kim. Music by CLAUDE-MICHEL SCHÖNBERG Lyrics by RICHARD MALTBY, JR. & ALAIN BOUBLIL Adapted from the Original French text by ALAIN BOUBLIL Additional lyrics by MICHAEL MAHLER Orchestrations by WILLIAM DAVID BROHN Musical Supervision by STEPHEN BROOKER Lighting Designed by BRUNO POET Projections by LUKE HALLS Sound Designed by MICK POTTER Costumes Designed by ANDREANE NEOFITOU Design Concept by ADRIAN VAUX Production Designed by TOTIE DRIVER & MATT KINLEY Additional Choreography by GEOFFREY GARRATT Musical Staging and Choreography by BOB AVIAN Directed by LAURENCE CONNOR For MISS SAIGON National Tour Casting by General Management TARA RUBIN CASTING GREGORY VANDER PLOEG MERRI SUGARMAN, CSA & CLAIRE BURKE, CSA for Gentry & Associates Executive Producers Executive Producer NICHOLAS ALLOTT & SETH SKLAR-HEYN SETH WENIG for Cameron Mackintosh Inc. for NETworks Presentations Associate Sound Designer Associate Costume Designer Associate Lighting Designers Associate Set Designer ADAM FISHER DARYL A. STONE WARREN LETTON & JOHN VIESTA CHRISTINE PETERS Resident Director Music Director Musical Supervisor Associate Choreographer Associate Director RYAN EMMONS WILL CURRY JAMES MOORE JESSE ROBB SETH SKLAR-HEYN A CAMERON MACKINTOSH and NETWORKS Presentation 4 PLAYBILL 7.16-8.11 Miss Saigon Pantages.indd 2 7/2/19 10:05 AM CAST (in order of appearance) ACT I SAIGON—1975 The Engineer ...................................................................................................RED CONCEPCIÓN Kim ..................................................................................................................
    [Show full text]
  • Stand Up, Fight Back!
    admin.iatse-intl.org/BulletinRegister.aspx Stand Up, Fight Back! The Stand Up, Fight Back campaign is a way for Help Support Candidates Who Stand With Us! the IATSE to stand up to attacks on our members from For our collective voice to be heard, IATSE’s members anti-worker politicians. The mission of the Stand Up, must become more involved in shaping the federal legisla- Fight Back campaign is to increase IATSE-PAC con- tive and administrative agenda. Our concerns and inter- tributions so that the IATSE can support those politi- ests must be heard and considered by federal lawmakers. cians who fight for working people and stand behind But labor unions (like corporations) cannot contribute the policies important to our membership, while to the campaigns of candidates for federal office. Most fighting politicians and policies that do not benefit our prominent labor organizations have established PAC’s members. which may make voluntary campaign contributions to The IATSE, along with every other union and guild federal candidates and seek contributions to the PAC from across the country, has come under attack. Everywhere from Wisconsin to Washington, DC, anti-worker poli- union members. To give you a voice in Washington, the ticians are trying to silence the voices of American IATSE has its own PAC, the IATSE Political Action Com- workers by taking away their collective bargaining mittee (“IATSE-PAC”), a federal political action commit- rights, stripping their healthcare coverage, and doing tee designed to support candidates for federal office who away with defined pension plans. promote the interests of working men and women.
    [Show full text]
  • Complete and Authentic Advance Vaudeville Routes
    COMPLETE AND AUTHENTIC A DVANCE VAUDEVILLE ROUTES — ~- „ • The St. Louis Theatre, St. Louis, one ¦ "1 ' ***~v l}4r>± v l' •%¦ =o/ the world's most beautiful theatres "f J ;r : ' ' ' j, ; ::- :-^: ^¦'^¦. ¦: * ¦ ^^" x ' • :; which opened its doors November 23; •. '„-; \\ Vt< " ' ^ '^' < 1925, is the.largest playhouse in the y l-v Orpheum Circuit chain, seating 4,100 .. - ~" \ , ^\ '' ' ^f persons. This magnificent theatre f eat ' ' K£?\ '' '\\jr ¦ ~ ) _ arcs DE MILLE-METROPOLITAN H*$»V^ ' ' PICTURES as the backbone o/ its ^jflfflll1 "' -JJ^ii entertainment fm>jjram. *^. ^V .xdttfflvJL^^^^^ : ^^^^P MV^^T y^_ \ *ShV A magnificent IBM entertainment ideal realized 1^»^»M» rp ^^ the the "a.'t^ pVo^ X he finest motion pictures in finest theatres—this is ideal ^^s~~ that has now been realized through the magic linking of DE MILLE* JJHF^ METROPOLITAN PICTURES with KEITH-ALBEE-ORPHEUM w THEATRES. (mM mt Cecil ^ESjBn ^m/ B. De Mille's name needs no introduction to the public The ^5i2 ^^ man who made "The Volga Boatman", "The Ten Commandments" toH&MMth&bif cMi and now "Tne Km8 of Kings" has blazed a trail of glory which glows ,—-^^r~=-\ more brightly with each of his new productions. wn to ¦W^T 111 The Keith-Albee-Orpheum Theatres are kno from coast coast. HKpfflj Their size and beauty and number are symbolic of the place that good in the of the Hffli^H entertainment holds heart American public, and De Mille* Metropolitan Pictures fulfill the promise of the splendid motion pio MAR„d nt.o,ph,CUS HEIMAN Prt t Umcu cUit ture entertainment offered therein.
    [Show full text]
  • 2016Fallpreview Final.Pdf
    THEATRE BAY AREA 2016 TABLE OF CONTENTS San Francisco - p. 1 East Bay - p. 9 South Bay - p. 15 North Bay - p. 20 Beyond the Bay - p. 23 World Premiere Children’s Show SAN FRANCISCO 3Girls Theatre Company 13th Floor Z Below 470 Florida St. Joe Goode Annex Entanglement 401 Alabama St. (By AJ Baker; dir. Louis Parnell) 11/17-12/17 Next Time, I’ll Take the Stairs 12/8-18 42nd Street Moon Eureka Theatre 215 Jackson St. Marines’ Memorial Theatre 609 Sutter St. Baker Street Rotimi Agbabiaka in Brava Theatre (By M. Grudeff, R. Jessel & J. Coopersmith; Center’s production of Type/Caste. Photo: Shot in the City Eureka Theatre 11/2-20 The Hard Problem Described in the press as “Brilliantly (By Tom Stoppard; dir. Carey Perloff) written and choreographed, often Scrooge in Love 10/19-11/13 brain-achingly funny, this Alice and (By L. Grossman, K. Blair & D. Poole; dir. Wonderland journey is a whirlwind of Dyan McBride & Dave Dobrusky) A Christmas Carol mischievous non sequiturs - marvelous Marines’ Memorial Theatre (By Carey Perloff & Paul Walsh; adptd. and memorable.” Next Time, I’ll Take 12/7-24 from Charles Dickens; dir. Domenique The Stairs follows the multi-storied Lozano) adventures of Otis, Ivy, Norris, Arthur 11/25-12/24 and Rabbit as they tumble down the American Conservatory Theater elevator shaft into a world where down A Thousand Splendid Suns is up, up is nowhere, and long-forgotten Geary Theater (By Ursula Rani Sarma; adptd. from childhood monsters are waiting with 415 Geary St. Khaled Hosseini; dir.
    [Show full text]
  • So Much for Tradition. Harvey Fierstein Stars in Fiddler on the Roof
    THEATER REVIEW So Much For Tradition. Harvey Fierstein Stars in Fiddler On The Roof. By Erika Milvy | Feb 05, 2010 You might think that clamor about who should marry whom is coming from the San Francisco federal courthouse, where same sex marriage is currently on trial. You might think that the debate about traditional values and societal stability is coming from the attorneys arguing over Proposition 8. But it's not. It's coming from the Golden Gate Theater where Tevye is weighing these selfsame issues in the new production of Fiddler on the Roof. You might think the voices raised in hatred and intimidation against the Jewish people are those of the actors playing the Cossacks who rampage the shtetl of Anatevka in the pogrom at the end of Act I. But no again. Those are members of the congregation of The Westboro Baptist Church of Kansas standing in front of the Jewish Community Center, the Jewish Museum and even Brandeis Hillel Elementary School, wielding placards that say "God Hates Jews." (Their tour of San Francisco had included Thursday's performance of Fiddler on the Roof but apparently, they were a no show.) Their schedule also includes the Federal courthouse, Jewish News Weekly and a student production of Rent. Lest anyone think we've come a long way from Anatevka, Pastor Fred Phelps and his church are here to tell us otherwise. (See Laughing Squid's coverage of San Francisco's clever counter protest.) But this symmetry is more trenchant than the show itself. I wish I could tell you that the new national tour of Fiddler on the Roof, which opened Wednesday, January 27, gut­punches us anew with its wrenching depiction of lives at the crossroads of old ideals and new ideas.
    [Show full text]
  • Terry Helgesen Collection
    152 N. York St., 2nd Floor, Elmhurst, IL 60126 historictheatres.org Finding Aid for the TERRY HELGESEN COLLECTION Acc. #: xx-005 Future Additions Expected: No Finding Aid creation: August 17, 2010 Size: 10.5 linear feet (approx.) Abstract The Terry Helgesen Collection contains 26 oversize scrapbooks, some correspondence, several draft chapters of a book on theatres, and an oil painting of a young Terry Helgesen. The scrapbooks consist of photographs and drawings of theatres collected by THS member Terry Helgesen with his descriptions of the theatres and other information such as number of seats, architect, opening and closing dates, renovation and demolition dates, and other notable facts. Background Information Terry Helgesen (1914-1995) was a pianist who played on stage in the waning days of presentation houses (a short stage show followed by a movie) as well as in nightclubs. Terry was also a THS Founding member and the 1979 Member of the Year. He was born in Seattle, WA but his family moved to Santa Barbara, CA when he was still very young. He was tutored in piano by Roger Clerbois and Joseph Hoffman, among others. Terry entered vaudeville (variety entertainment with a mixture of comedy, song and dance) in a “tyke” act called “Terry and Ty” with Terry playing a miniature piano and Ty doing a quick-step. Though Terry started as part of an act, he later changed to accompaniment and played on the Orpheum, Fanchon & Marco and Publix circuits. During his travels he sought out newspapers and photographers who had images of theatres which he purchased and assembled into scrapbooks.
    [Show full text]
  • A Study of the Lyric in Musical Theatre
    2084: A Study of the Lyric in Musical Theatre Sarah Courtis This dissertation is presented for the degree of Doctor of Philosophy, Murdoch University, Perth, 2019. 1 2 I declare that this dissertation is my own account of my research and contains as its main content work, which has not previously been submitted for a degree at any tertiary education institution. _______________________Sarah Courtis Sarah Courtis 3 Acknowledgements This document is the culmination of five years of research and a lifetime of dedication to an art form and general practice. The years spent studying have been hard but inspiring, as I negotiated the life of a researcher with the daily struggles of having a chronic illness. This work was generated through perseverance and the continual support of the people around me. My first, and undying, gratitude to my supervisors: Associate Professor Jenny de Reuck and Doctor David Moody. Jenny, you supported me through many trials and tribulations, providing me with positivity and a safe space to express myself and try new approaches. Words cannot express my gratitude. David, your numerous edits and illuminating discussions shall remain with me, always. You kept me grounded and reminded me not to take myself too seriously. Thank you both for your patience. Secondly, I would like to thank all of the people who participated in and enriched my creative practice. To the cast and crew of 2084 (both the workshop and final product): you helped make the show what it is. To Dr Melissa Merchant I am deeply indebted for mentoring me through life as an academic and for all the good advice I promptly ignored: perhaps the next generation will be wiser.
    [Show full text]
  • Mrs. Lewis C. Lawson
    MRS. LEWIS C. LAWSON PRESENTS MISS MAXINE CUTLIP IN PIANO RECITAL ASSISTED BY MISS MARINE LAWRENCE, SOPRANO AND MISS BLANCHE CORDELL, READER WEWOKA, JUNE TWENTY SEVENTH Humoresque____ ____.__ -_ __-_-__Rachmaninoff Perpetual Motion----------------Mac Dowell Beading—(a), Sundried ______Edna E. Ferber (b)—Hagar___ __;---------•------------- FantasiaC Minor ------------------- Bach TheLark________________________ Balakirkew Vocal Solo—The Wind's In the South-__ _________________John Prindle Scott Rhapsodie No. 2:-______________________Liszt p STARTING SUNDAY Matinees Wednesday and Saturday Direct from Chicago Run and En Route to Broadway for the Summer Satires of 1920 with FANCHON and MARCO and MOST BEAUTIFULS r] A 24^r IN THE WORLDORLD^ ^ ^r A MUSICAL REVUE PEPPY PLUYM Tailored 1lttire for the Fashionable Woman Lines into which char- acter is wrought by un- paralleled tailoring art, fitting that subtly incor- p o rates distinction—a PLUYM tailored Street or Riding Habit is a work, a dress achieve- m e n t, an indisputable prototype of fashion ex- quisiteness. SPRING Sport, Tailored and Formal Suits--- Wraps Riding Habits of Model Perfection The personal supervision of Mr. L. Karchem in the production and LUCILLE HARMON fitting of your with the "Satires of 1920," opening at garments the New National Theatre, Sundayl Night, May 15. Matinees Wednesday and PLUYM Saturday. 1220 Connecticut Ave. Phone Franklin 4149 THE NEW AND MODERN FAR EAST RESTAURANT An Oriental4 Restaurant of the Highest Character—Excellent Service—Best Chinese Cooking—Separate Rooms for Ladies—Special Attention to AFTER THEATRE PARTIES MR. DER DOO, Proprietor, 415 13th STREET Across the Street From This Theatre Phone Franklin 2645 TELEPHONE BENJAMIN D.
    [Show full text]
  • Casting, Stigma, and Difference in Broadway Musicals Since "A Chorus Line" (1975)
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 5-2019 Broadway Bodies: Casting, Stigma, and Difference in Broadway Musicals Since "A Chorus Line" (1975) Ryan Donovan The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/3084 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] BROADWAY BODIES: CASTING, STIGMA, AND DIFFERENCE IN BROADWAY MUSICALS SINCE A CHORUS LINE (1975) by RYAN DONOVAN A dissertation submitted to the Graduate Faculty in Theatre and Performance in partiaL fulfiLLment of the requirements for the degree of Doctor of PhiLosophy, The City University of New York 2019 © 2019 RYAN DONOVAN ALL Rights Reserved ii Broadway Bodies: Casting, Stigma, and Difference in Broadway MusicaLs Since A Chorus Line (1975) by Ryan Donovan This manuscript has been read and accepted for the Graduate Faculty in Theatre and Performance in satisfaction of the dissertation requirement for the degree of Doctor of PhiLosophy. ________________ ______________________________________ Date David Savran Chair of Examining Committee ________________ ______________________________________ Date Peter EckersaLL Executive Officer Supervisory Committee: Jean Graham-Jones ELizabeth WolLman THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Broadway Bodies: Casting, Stigma, and Difference in Broadway MusicaLs Since A Chorus Line (1975) by Ryan Donovan Advisor: David Savran “You’re not fat enough to be our fat girl.” “Dance like a man.” “Deaf people in a musicaL!?” These three statements expose how the casting process for Broadway musicaLs depends upon making aesthetic disquaLifications.
    [Show full text]
  • for IMMEDIATE RELEASE Pasadena Symphony Association Pasadena Symphony & POPS Contact: Marisa Mccarthy Mmccarthy@Pasaden
    FOR IMMEDIATE RELEASE Pasadena Symphony Association Pasadena Symphony & POPS Contact: Marisa McCarthy [email protected] (626) 793-7172 ext. 13 For artist images, click HERE. June 29, 2017 STRAIGHT FROM BROADWAY - THE MIDTOWN MEN BRING MUSIC FROM JERSEY BOYS AND BEYOND TO THE ARBORETUM Pasadena, CA - The Pasadena POPS continue their popular outdoor summer concert series with The Midtown Men singing Music from Jersey Boys and Beyond on Saturday, July 15 at the LA County Arboretum. They took Broadway by storm in one of the biggest hits of all time. Now, The Midtown Men bring their Broadway talent, top-shelf choreography and unique onstage chemistry to the Arboretum to deliver a blast from the past celebrating the music that defined the '60s, led by Resident Pops Conductor Larry Blank. With hits from not only the Four Seasons, but the Beatles, Motown and more, they’ll belt out old favorites like “Can’t Take My Eyes Off of You,” “Get Ready,” “Can’t Buy Me Love” and more, in electrifying and soulful, one-of-a-kind concert experience. This sensational production reunites Four Stars from the original cast of Broadway’s Jersey Boys. Tony Award winner Christian Hoff, Michael Longoria, Daniel Reichard and Tony Award nominee J. Robert Spencer shared the Broadway stage for over 1,000 performances of the mega-hit production. Now as The Midtown Men, they have thrilled crowds on concert stages and symphony halls across the continent, and have delighted television audiences with performances on "Good Morning America," “The Late Show with David Letterman” and "Access Hollywood" to name a few.
    [Show full text]