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Past Productions 2017-18 2012-2013 2008-2009 A Doll’s House Born Yesterday The History Boys Robert Frost: This Verse Sleuth Deathtrap Business Peter Pan Les Misérables Disney’s The Little The Importance of Being The Year of Magical Mermaid Earnest Thinking Only Yesterday Race Laughter on the 23rd Disgraced No Sex Please, We're Floor Noises Off British The Glass Menagerie Nunsense Take Two 2016-17 Macbeth 2011-2012 2007-2008 A Christmas Carol Romeo and Juliet How the Other Half Trick or Treat Boeing-Boeing Loves Red Hot Lovers Annie Doubt Grounded Les Liaisons Beauty & the Beast Mamma Mia! Dangereuses The Price M. Butterfly Driving Miss Daisy 2015-16 Red The Elephant Man Our Town Chicago The Full Monty Mary Poppins Mad Love 2010-2011 2006-2007 Hound of the Amadeus Moon Over Buffalo Baskervilles The 39 Steps I Am My Own Wife The Mountaintop The Wizard of Oz Cats Living Together The Search for Signs of Dancing At Lughnasa Intelligent Life in the The Crucible 2014-15 Universe A Chorus Line A Christmas Carol The Real Thing Mid-Life! The Crisis Blithe Spirit The Rainmaker Musical Clybourne Park Evita Into the Woods 2005-2006 Orwell In America 2009-2010 Lend Me A Tenor Songs for a New World Hamlet A Number Parallel Lives Guys And Dolls 2013-14 The 25th Annual I Love You, You're Twelve Angry Men Putnam County Perfect, Now Change God of Carnage Spelling Bee The Lion in Winter White Christmas I Hate Hamlet Of Mice and Men Fox on the Fairway Damascus Cabaret Good People A Walk in the Woods Spitfire Grill Greater Tuna Past Productions 2004-2005 2000-2001 The Shrew Tamer You Can’t Take it with Betrayal You My Fair Lady Pride’s Crossing Private Lives A Streetcar Named The Diary of Anne Frank Desire Little Shop of Horrors The Music Man Inherit the Wind 2003-2004 Master Class Don’t Dress for Dinner Three Days of Rain Enigma Variations Big River The Man Who Came to Dinner 1999-2000 Three Days of Rain The Beauty Queen of All My Sons Leenane Ain’t Misbehavin’ To Kill A Mockingbird Rosencrantz & 2002-2003 Guildenstern Are Dead Rough Crossing Oliver! Proof Little Women A Christmas Carol: The Tintypes Musical Wit Copenhagen The Miracle Worker 1998-1999 Stones in His Pockets The Front Page Lettice & Lovage 2001-2002 Diary of a Scoundrel Noises Off Cat On A Hot Tin Roof Art Annie A Moon for the The Velveteen Rabbit Misbegotten Sylvia The Sound of Music Greater Tuna Ovid: Tales of Myth and Magic 1997-1998 Three Tall Women Arcadia Blithe Spirit Cole! Collected Stories Shadowlands The Strange Passenger The Baby Dance Wind in the Willows Alice’s Adventures in Wonderland .

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The Wooster Voice (Wooster, OH), 1974-04-26
The College of Wooster Open Works The oV ice: 1971-1980 "The oV ice" Student Newspaper Collection 4-26-1974 The oW oster Voice (Wooster, OH), 1974-04-26 Wooster Voice Editors Follow this and additional works at: https://openworks.wooster.edu/voice1971-1980 Recommended Citation Editors, Wooster Voice, "The oosW ter Voice (Wooster, OH), 1974-04-26" (1974). The Voice: 1971-1980. 90. https://openworks.wooster.edu/voice1971-1980/90 This Book is brought to you for free and open access by the "The oV ice" Student Newspaper Collection at Open Works, a service of The oC llege of Wooster Libraries. It has been accepted for inclusion in The oV ice: 1971-1980 by an authorized administrator of Open Works. For more information, please contact [email protected]. I csi-..- r 7V7 . tm ill Wayne County3 Virtu can ba fun. I J: Richard T. Gore I PUBLISHED BY THE STUDENTS OF THE COLLEGE OF WOOSTER .VOLUME LXXXIX Wooster, Ohio, Friday, April 26, 1974 Number 21 ' 1 Douglass to go co-ed c ; with humanities program '. By BUI Henley performers In the arts and for Current Events Committee and "persons who have, a strong In- others. ' Douglass Hall, used primarily terest In a philosophical, theo The proposal notes that "we ' n as a freshman men's dorm since logical, historical or aesthetic feel it would be wrong to limit Its construction In 1929, will be-- approach to humane and artis- participation in our program, - come a co--ed humanities tic problems". to people of only one sex." Dr. , 9 program house next year.
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The 200 Plays That Every Theatre Major Should Read
The 200 Plays That Every Theatre Major Should Read Aeschylus The Persians (472 BC) McCullers A Member of the Wedding The Orestia (458 BC) (1946) Prometheus Bound (456 BC) Miller Death of a Salesman (1949) Sophocles Antigone (442 BC) The Crucible (1953) Oedipus Rex (426 BC) A View From the Bridge (1955) Oedipus at Colonus (406 BC) The Price (1968) Euripdes Medea (431 BC) Ionesco The Bald Soprano (1950) Electra (417 BC) Rhinoceros (1960) The Trojan Women (415 BC) Inge Picnic (1953) The Bacchae (408 BC) Bus Stop (1955) Aristophanes The Birds (414 BC) Beckett Waiting for Godot (1953) Lysistrata (412 BC) Endgame (1957) The Frogs (405 BC) Osborne Look Back in Anger (1956) Plautus The Twin Menaechmi (195 BC) Frings Look Homeward Angel (1957) Terence The Brothers (160 BC) Pinter The Birthday Party (1958) Anonymous The Wakefield Creation The Homecoming (1965) (1350-1450) Hansberry A Raisin in the Sun (1959) Anonymous The Second Shepherd’s Play Weiss Marat/Sade (1959) (1350- 1450) Albee Zoo Story (1960 ) Anonymous Everyman (1500) Who’s Afraid of Virginia Woolf Machiavelli The Mandrake (1520) (1962) Udall Ralph Roister Doister Three Tall Women (1994) (1550-1553) Bolt A Man for All Seasons (1960) Stevenson Gammer Gurton’s Needle Orton What the Butler Saw (1969) (1552-1563) Marcus The Killing of Sister George Kyd The Spanish Tragedy (1586) (1965) Shakespeare Entire Collection of Plays Simon The Odd Couple (1965) Marlowe Dr. Faustus (1588) Brighton Beach Memoirs (1984 Jonson Volpone (1606) Biloxi Blues (1985) The Alchemist (1610) Broadway Bound (1986)
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Education Pack
EDUCATION PACK CONTENTS Background …………………………………….. 2 Summary ………………………………………… 3 Characters ………………………………………. 5 Themes …………………………………………… 6 Poetry ……………………………………………… 7 History …………………………………………….. 11 Dramatic Techniques ……………………….. 13 Language …………………………………………. 14 English questions ……………………………… 16 In the rehearsal room ……………………….. 19 Contact details …………………………………. 21 Tour Dates ……………………………………….. 22 1 BACKGROUND This play had its premiere in the Lyttelton Theatre on 18 May 2004. ALAN BENNETT Born on the 9th May 1934 in Leeds, Yorkshire, Bennett attended Leeds Modern school. In 1957 he graduated from Exeter College, Oxford with a first class degree in medieval history. He was a junior lecturer at Magdalen College, Oxford from 1960-62. His career has included acting, writing and directing across the stage, television, film and the radio, with a focus of exploring the lives of ordinary people. In his introduction to The History Boys, Bennett talks of how his own experiences influenced his writing the play. The school the boys attended was very much like his own school, although he was not to learn Irwin’s methods until his final exams at University. But it was the characters with which he began. In an interview for the National Theatre in 2005, he states that whilst the two characters of Irwin and Hector probably do say something about the contrasting methods of the education system, he simply wanted to put these two characters together a see what happened. When asked what he wanted audiences to take away with them in the same interview, Bennett answered: “I’d like the audience to come away wanting to spend more time in the company of the characters in the play. I’d like them to come away having understood and forgiven Hector and even Irwin.
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Undergraduate Play Reading List
UND E R G R A DU A T E PL A Y R E A DIN G L ISTS ± MSU D EPT. O F T H E A T R E (Approved 2/2010) List I ± plays with which theatre major M E DI E V A L students should be familiar when they Everyman enter MSU Second 6KHSKHUGV¶ Play Hansberry, Lorraine A Raisin in the Sun R E N A ISSA N C E Ibsen, Henrik Calderón, Pedro $'ROO¶V+RXVH Life is a Dream Miller, Arthur de Vega, Lope Death of a Salesman Fuenteovejuna Shakespeare Goldoni, Carlo Macbeth The Servant of Two Masters Romeo & Juliet Marlowe, Christopher A Midsummer Night's Dream Dr. Faustus (1604) Hamlet Shakespeare Sophocles Julius Caesar Oedipus Rex The Merchant of Venice Wilder, Thorton Othello Our Town Williams, Tennessee R EST O R A T I O N & N E O-C L ASSI C A L The Glass Menagerie T H E A T R E Behn, Aphra The Rover List II ± Plays with which Theatre Major Congreve, Richard Students should be Familiar by The Way of the World G raduation Goldsmith, Oliver She Stoops to Conquer Moliere C L ASSI C A L T H E A T R E Tartuffe Aeschylus The Misanthrope Agamemnon Sheridan, Richard Aristophanes The Rivals Lysistrata Euripides NIN E T E E N T H C E N T UR Y Medea Ibsen, Henrik Seneca Hedda Gabler Thyestes Jarry, Alfred Sophocles Ubu Roi Antigone Strindberg, August Miss Julie NIN E T E E N T H C E N T UR Y (C O N T.) Sartre, Jean Shaw, George Bernard No Exit Pygmalion Major Barbara 20T H C E N T UR Y ± M ID C E N T UR Y 0UV:DUUHQ¶V3rofession Albee, Edward Stone, John Augustus The Zoo Story Metamora :KR¶V$IUDLGRI9LUJLQLD:RROI" Beckett, Samuel E A R L Y 20T H C E N T UR Y Waiting for Godot Glaspell, Susan Endgame The Verge Genet Jean The Verge Treadwell, Sophie The Maids Machinal Ionesco, Eugene Chekhov, Anton The Bald Soprano The Cherry Orchard Miller, Arthur Coward, Noel The Crucible Blithe Spirit All My Sons Feydeau, Georges Williams, Tennessee A Flea in her Ear A Streetcar Named Desire Synge, J.M.
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FALLEN MASTERS by MAURIE ALIOFF by Exorcist—Mania, the Wicker Man Tanked at the Box Office
The Cinar story began with a horror movie. Soon after meeting for the first time in New Orleans in the early 1970s, company founders Micheline Charest and Ron Weinberg happened to see the now legendary British picture, The Wicker Man. Impressed by the film's strange power, the two movie lovers also saw an opportunity in it. Written by Anthony Shaffer (Sleuth, Frenzy), and directed by one—shot wonder Robin Hardy, The Wicker Man cooks up a delirious alternate reality that feels like it was made under the influence of a witch's spell. The story focuses on a police investigator (Edward Woodward), who travels to a remote Scottish island where he discovers that the local people, among them an aris- tocrat played by Christopher Lee, are devo- tees of a neo—pagan cult. The oddly named Sergeant Howie, a strictly orthodox Christian who intends to remain a virgin until his wedding night, is horrified by the island's un—Christian hedonism. Released in England on a double bill with Nicolas Roeg's Don't Look Now, and swamped FALLEN MASTERS BY MAURIE ALIOFF by Exorcist—mania, The Wicker Man tanked at the box office. Charest and Weinberg picked up the rights from Warner Bros., stashed a print in their car trunk and travelled the midnight—movie circuit. The Quebecoise (Charest) and the New Yorker (Weinberg) helped turn a unique film into a cult item and for their efforts netted about $250,000. Ironically, the couple's even- tual rise and fall, from hugely successful producers and distributors of wholesome children's shows to industry outcasts accused of fraud, originated with a story about moral righteousness destroyed by amoral devotion to the material world.
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Plays to Read for Furman Theatre Arts Majors
1 PLAYS TO READ FOR FURMAN THEATRE ARTS MAJORS Aeschylus Agamemnon Greek 458 BCE Euripides Medea Greek 431 BCE Sophocles Oedipus Rex Greek 429 BCE Aristophanes Lysistrata Greek 411 BCE Terence The Brothers Roman 160 BCE Kan-ami Matsukaze Japanese c 1300 anonymous Everyman Medieval 1495 Wakefield master The Second Shepherds' Play Medieval c 1500 Shakespeare, William Hamlet Elizabethan 1599 Shakespeare, William Twelfth Night Elizabethan 1601 Marlowe, Christopher Doctor Faustus Jacobean 1604 Jonson, Ben Volpone Jacobean 1606 Webster, John The Duchess of Malfi Jacobean 1612 Calderon, Pedro Life is a Dream Spanish Golden Age 1635 Moliere Tartuffe French Neoclassicism 1664 Wycherley, William The Country Wife Restoration 1675 Racine, Jean Baptiste Phedra French Neoclassicism 1677 Centlivre, Susanna A Bold Stroke for a Wife English 18th century 1717 Goldoni, Carlo The Servant of Two Masters Italian 18th century 1753 Gogol, Nikolai The Inspector General Russian 1842 Ibsen, Henrik A Doll's House Modern 1879 Strindberg, August Miss Julie Modern 1888 Shaw, George Bernard Mrs. Warren's Profession Modern Irish 1893 Wilde, Oscar The Importance of Being Earnest Modern Irish 1895 Chekhov, Anton The Cherry Orchard Russian 1904 Pirandello, Luigi Six Characters in Search of an Author Italian 20th century 1921 Wilder, Thorton Our Town Modern 1938 Brecht, Bertolt Mother Courage and Her Children Epic Theatre 1939 Rodgers, Richard & Oscar Hammerstein Oklahoma! Musical 1943 Sartre, Jean-Paul No Exit Anti-realism 1944 Williams, Tennessee The Glass Menagerie Modern
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1 the Comets of Caroline Herschel (1750-1848)
Inspiration of Astronomical Phenomena, INSAP7, Bath, 2010 (www.insap.org) 1 publication: Culture and Cosmos, Vol. 16, nos. 1 and 2, 2012 The Comets of Caroline Herschel (1750-1848), Sleuth of the Skies at Slough Roberta J. M. Olson1 and Jay M. Pasachoff2 1The New-York Historical Society, New York, NY, USA 2Hopkins Observatory, Williams College, Williamstown, MA, USA Abstract. In this paper, we discuss the work on comets of Caroline Herschel, the first female comet-hunter. After leaving Bath for the environs of Windsor Castle and eventually Slough, she discovered at least eight comets, five of which were reported in the Philosophical Transactions of the Royal Society. We consider her public image, astronomers' perceptions of her contributions, and the style of her astronomical drawings that changed with the technological developments in astronomical illustration. 1. General Introduction and the Herschels at Bath Building on the research of Michael Hoskini and our book on comets and meteors in British art,ii we examine the comets of Caroline Herschel (1750-1848), the first female comet-hunter and the first salaried female astronomer (Figure 1), who was more famous for her work on nebulae. She and her brother William revolutionized the conception of the universe from a Newtonian one—i.e., mechanical with God as the great clockmaker watching over its movements—to a more modern view—i.e., evolutionary. Figure 1. Silhouette of Caroline Herschel, c. 1768, MS. Gunther 36, fol. 146r © By permission of the Oxford University Museum of the History of Science Inspiration of Astronomical Phenomena, INSAP7, Bath, 2010 (www.insap.org) 2 publication: Culture and Cosmos, Vol.
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Dancing at Lughnasa
1 Dancing at Lughnasa ACT ONE When the play opens MICHAEL is standing downstage left in a pool of light. The rest of the stage is in darkness. Immediately MICHAEL begins speaking slowly bring up the lights on the rest of the stage. Around the stage and at a distance from MICHAEL the other characters stand motionless in formal tableau. MAGGIE is at the kitchen window (right). CHRIS is at the front door. KATE at extreme stage right. ROSE and GERRY sit on the garden seat. JACK stands beside ROSE. AGNES is upstage left. They hold these positions while MICHAEL talks to the audience. MICHAEL. When I cast my mind back to that summer of 1936 different kinds of memories offer themselves to me. We got our first wireless set that summer – well, a sort of set; and it obsessed us. And because it arrived as August was about too begin, my Aunt Maggie – She was the joker of the family – she suggested we give it a name. She wanted to call it Lugh* after the old Celtic God of the Harvest. Because in the old days August the First was La Lughnasa, the feast day of the pagan god, Lugh; and the days and weeks of harvesting that followed were called the Festival of Lughnasa. But Aunt Kate – she was a national schoolteacher and a very proper woman --she said it would be sinful to christen an inanimate object with any kind of name, not to talk of a pagan god. So we just called it Marconi because that was the name emblazoned on the set.
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Dancing at Lughnasa School of Theatre and Dance Illinois State University
Illinois State University ISU ReD: Research and eData School of Theatre and Dance Programs Theatre and Dance Fall 2013 Dancing At Lughnasa School of Theatre and Dance Illinois State University Follow this and additional works at: https://ir.library.illinoisstate.edu/sotdp Part of the Theatre and Performance Studies Commons Recommended Citation School of Theatre and Dance, "Dancing At Lughnasa" (2013). School of Theatre and Dance Programs. 46. https://ir.library.illinoisstate.edu/sotdp/46 This Book is brought to you for free and open access by the Theatre and Dance at ISU ReD: Research and eData. It has been accepted for inclusion in School of Theatre and Dance Programs by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. steve-o from MTV's Jackass October 5th Donnie Baker & Chick McGee from The Bob & Tom Show October 11th - 12th ,-----._-=,--::::a----, Ryan Stout from Chelsea Lately October 18th - 19th AI Jackson from Comedy Central October 24th - 26th Adam Ray from the hit movie "The Heat" November 14th - 16th • • f - I Drew lastings \ ~ ,, from The Bob and Tom Show ':. i ' November 22nd - 23rd • - ~ Jamie Kennedy from Malibu's Most Wanted December 5th - 7th 108 E Market Street Bloomington, IL I Phone: 309-287-7698 www.laughbloomington.com ONE E SCHOOL OF illlfi~~ ~ . Jllu,ouSrnrc u,,n••rnty AN if?\\Q\111~~ Center for the Performing Arts - Illinois State University November 1-2 & 5-9, 7:30 p.m. Matinee: November 3, 2:00 p.m. Dancing At Lughnasa by Brian Friel Director ..............................................................................................................
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Objects in Tom Stoppard's Arcadia
Cercles 22 (2012) ANIMAL, VEGETABLE OR MINERAL? OBJECTS IN TOM STOPPARD’S ARCADIA SUSAN BLATTÈS Université Stendhal—Grenoble 3 The simplicity of the single set in Arcadia1 with its rather austere furniture, bare floor and uncurtained windows has been pointed out by critics, notably in comparison with some of Stoppard’s earlier work. This relatively timeless set provides, on one level, an unchanging backdrop for the play’s multiple complexities in terms of plot, ideas and temporal structure. However we should not conclude that the set plays a secondary role in the play since the mysteries at the centre of the plot can only be solved here and with this particular group of characters. Furthermore, I would like to suggest that the on-stage objects play a similarly vital role by gradually transforming our first impressions and contributing to the multi-layered meaning of the play. In his study on the theatre from a phenomenological perspective, Bert O. States writes: “Theater is the medium, par excellence, that consumes the real in its realest forms […] Its permanent spectacle is the parade of objects and processes in transit from environment to imagery” [STATES 1985 : 40]. This paper will look at some of the parading or paraded objects in Arcadia. The objects are many and various, as can be seen in the list provided in the Samuel French acting edition (along with lists of lighting and sound effects). We will see that there are not only many different objects, but also that each object can be called upon to assume different functions at different moments, hence the rather playful question in the title of this paper (an allusion to the popular game “Twenty Questions” in which the identity of an object has to be guessed), suggesting we consider the objects as a kind of challenge to the spectator, who is set the task of identifying and interpreting them.
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THE BECKETT CIRCLE LE CERCLE DE BECKETT O N E W S L E T T E R O F T H E S a M U E L B E C K E T T S O C I E T Y Los Dias Felices in Buenos Aires
THE BECKETT CIRCLE LE CERCLE DE BECKETT O N e w s l e t t e r o f t h e S a m u e l B e c k e t t S o c i e t y Los dias felices in Buenos Aires Arthur Nauzyciel’s production of Los dias fe- lices with Marilú Marini in the role of Winnie Winnie (Marilú was not a typical production of Beckett’s play. Marini) hoists It did not feature, in the manner of Madeleine her parasol in Renaud, an ethereal old lady juggling with her Arthur Nauzyciel’s parasol and other possessions. Nor did it at- production of Los tempt to copy, as I have seen more than once, dias felices. the inimitable Billie Whitelaw performing an excitable, accelerated, earthy, slightly vulgar Winnie and going through a broad gamut of voices that made a music of their own. Marini’s Winnie was, rather, a poised and well-spoken suburbanite who went about her everyday business in a most casual way. So much so that after the first few minutes I feared that a rather boring evening was ahead. She looked like an average well-to-do Argentinian housewife, with a conventional coiffure and make-up, who was musing ineffectually about life in her beautiful garden. The stage-light- In This Issue: ing, however was almost unbearable, and her mound suggested a desert. As Marilú plodded John Paul Riquelme on on through the text, her facial expressions and Beckett and her voice grew in intensity. Words started to Kenner take on meanings of which she herself seemed Photo Credit: Elán Bachini Credit: Photo Performances in: at first unaware, but which would gradually Brooklyn force her to confront the pointlessness of (her) Buenos Aires life.
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Announcing a VIEW from the BRIDGE
FOR IMMEDIATE RELEASE, PLEASE “One of the most powerful productions of a Miller play I have ever seen. By the end you feel both emotionally drained and unexpectedly elated — the classic hallmark of a great production.” - The Daily Telegraph “To say visionary director Ivo van Hove’s production is the best show in the West End is like saying Stonehenge is the current best rock arrangement in Wiltshire; it almost feels silly to compare this pure, primal, colossal thing with anything else on the West End. A guileless granite pillar of muscle and instinct, Mark Strong’s stupendous Eddie is a force of nature.” - Time Out “Intense and adventurous. One of the great theatrical productions of the decade.” -The London Times DIRECT FROM TWO SOLD-OUT ENGAGEMENTS IN LONDON YOUNG VIC’S OLIVIER AWARD-WINNING PRODUCTION OF ARTHUR MILLER’S “A VIEW FROM THE BRIDGE” Directed by IVO VAN HOVE STARRING MARK STRONG, NICOLA WALKER, PHOEBE FOX, EMUN ELLIOTT, MICHAEL GOULD IS COMING TO BROADWAY THIS FALL PREVIEWS BEGIN WEDNESDAY EVENING, OCTOBER 21 OPENING NIGHT IS THURSDAY, NOVEMBER 12 AT THE LYCEUM THEATRE Direct from two completely sold-out engagements in London, producers Scott Rudin and Lincoln Center Theater will bring the Young Vic’s critically-acclaimed production of Arthur Miller’s A VIEW FROM THE BRIDGE to Broadway this fall. The production, which swept the 2015 Olivier Awards — winning for Best Revival, Best Director, and Best Actor (Mark Strong) —will begin previews Wednesday evening, October 21 and open on Thursday, November 12 at the Lyceum Theatre, 149 West 45 Street.
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