Drama & Performance Studies New Books January-June 2021
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Asolo Rep Continues Its 60Th Season with NOISES OFF Directed By
NOISES OFF Page 1 of 7 **FOR IMMEDIATE RELEASE** February 25, 2019 Asolo Rep Continues its 60th Season with NOISES OFF Directed by Comedic Broadway Veteran Don Stephenson March 20 - April 20 (SARASOTA, February 25, 2019) — Asolo Rep continues its celebration of 60 years on stage with Tony Award®-winner Michael Frayn's rip-roaringly hilarious play NOISES OFF, one of the most celebrated farces of all time. Directed by comedic Broadway veteran Don Stephenson, NOISES OFF previews March 20 and 21, opens March 22 and runs through April 20 in rotating repertory in the Mertz Theatre, located in the FSU Center for the Performing Arts. A comedy of epic proportions, NOISES OFF has been the laugh-until-you-cry guilty pleasure of audiences for decades. With opening night just hours away, a motley company of actors stumbles through a frantic, final rehearsal of the British sex farce Nothing On, and things could not be going worse. Lines are forgotten, love triangles are unraveling, sardines are flying everywhere, and complete pandemonium ensues. Will the cast pull their act together on stage even if they can't behind the scenes? “With Don Stephenson, an extraordinary comedic actor and director at the helm, this production of NOISES OFF is bound to be one of the funniest theatrical experiences we have ever presented,” said Asolo Rep Producing Artistic Director Michael Donald Edwards. “I urge the Sarasota community to take a break and escape to NOISES OFF, a joyous celebration of the magic of live theatre.” Don Stephenson's directing work includes Titanic (Lincoln Center, MUNY), Broadway Classics (Carnegie Hall),Of Mice and Manhattan (Kennedy Center), A Comedy of Tenors (Paper Mill Playhouse) and more. -
February 26, 2021 Amazon Warehouse Workers In
February 26, 2021 Amazon warehouse workers in Bessemer, Alabama are voting to form a union with the Retail, Wholesale and Department Store Union (RWDSU). We are the writers of feature films and television series. All of our work is done under union contracts whether it appears on Amazon Prime, a different streaming service, or a television network. Unions protect workers with essential rights and benefits. Most importantly, a union gives employees a seat at the table to negotiate fair pay, scheduling and more workplace policies. Deadline Amazon accepts unions for entertainment workers, and we believe warehouse workers deserve the same respect in the workplace. We strongly urge all Amazon warehouse workers in Bessemer to VOTE UNION YES. In solidarity and support, Megan Abbott (DARE ME) Chris Abbott (LITTLE HOUSE ON THE PRAIRIE; CAGNEY AND LACEY; MAGNUM, PI; HIGH SIERRA SEARCH AND RESCUE; DR. QUINN, MEDICINE WOMAN; LEGACY; DIAGNOSIS, MURDER; BOLD AND THE BEAUTIFUL; YOUNG AND THE RESTLESS) Melanie Abdoun (BLACK MOVIE AWARDS; BET ABFF HONORS) John Aboud (HOME ECONOMICS; CLOSE ENOUGH; A FUTILE AND STUPID GESTURE; CHILDRENS HOSPITAL; PENGUINS OF MADAGASCAR; LEVERAGE) Jay Abramowitz (FULL HOUSE; GROWING PAINS; THE HOGAN FAMILY; THE PARKERS) David Abramowitz (HIGHLANDER; MACGYVER; CAGNEY AND LACEY; BUCK JAMES; JAKE AND THE FAT MAN; SPENSER FOR HIRE) Gayle Abrams (FRASIER; GILMORE GIRLS) 1 of 72 Jessica Abrams (WATCH OVER ME; PROFILER; KNOCKING ON DOORS) Kristen Acimovic (THE OPPOSITION WITH JORDAN KLEPPER) Nick Adams (NEW GIRL; BOJACK HORSEMAN; -
20120906-Ob-Umbrella.Pdf
U m b r e l l a By the same author F ICTION The Quantity Theory of Insanity Cock and Bull My Idea of Fun Grey Area Great Apes The Sweet Smell of Psychosis Tough, Tough Toys for Tough, Tough Boys How the Dead Live Dorian Dr Mukti and Other Tales of Woe The Book of Dave The Butt Liver Walking to Hollywood N on- F ICTION Junk Mail Sore Sites Perfidious Man Feeding Frenzy Psychogeography (with Ralph Steadman) Psycho Too (with Ralph Steadman) U m b r e l l a W i l l S e l f First published in Great Britain 2012 Copyright © 2012 by Will Self The moral right of the author has been asserted No part of this book may be used or reproduced in any manner whatever without written permission from the Publishers except in the case of brief quotations embodied in critical articles or reviews ‘Apeman’ by Ray Davies © Copyright 1970 Davray Music Ltd. All rights administered by Sony/ATV Music Publishing. All rights reserved. Used by permission ‘Chirpy Chirpy Cheep Cheep’ (Cassia/Stott) © 1971 Warner Chappell Music Italiana Srl (SIAE). All rights administered by Warner Chappell Overseas Holdings Ltd. All rights reserved ‘Don’t Let It Die’ (Smith) – RAK Publishing Ltd. Licensed courtesy of RAK Publishing Ltd. ‘Sugar Me’ by Barry Green and Lynsey De Paul © Copyright Sony/ATV Music Publishing Ltd. All rights reserved. Used by permission ‘Take Me Back to Dear Old Blighty’ Words and Music by Fred Godfrey, A. J. Mills & Bennett Scott © 1916. Reproduced by permission of EMI Music Publishing Ltd, London W8 5SW Every reasonable effort has been made to trace copyright -
Rock Is Life
Rock Is Life http://www.rock-is-life.com/reviewsinbrief.htm Reviews In Brief (2007) (2006) (2005) (2004) 2007 STARZ Greatest Hits Live MVD Entertainment Group 2007 "The live collection of the 70’s rockers greatest hits seems to capture the band in fine form. The CD is compiled from at least 3 different performances and while I found the sound to be adequate to mediocre, the quality of their material does seem to shine through. While I wouldn’t put the band in my own personal Top 10 of 1970’s rockers, they are pretty good. I think it is a shame I wasn’t musically aware in the 70’s because I probably would have liked the band. They’ve got a lively and energetic sound tied to that particular era and it does keep the ears engaged, even during the first half of the disc where the quality of the recording isn’t even as good as some bootlegs I’ve listened to over the years. The audio quality is the biggest problem I had with the entire disc. I think if you are going to reissue this type of album, you really need to make the sound more Official Site presentable than what a typical bootlegger could accomplish. You want to check out tracks like “Detroit Girls”, “Any Way That You Want It”, and “Cherry Baby” in particular, but surprisingly at least to me, each song is pretty good. Search Amazon: If you like the 70’s rock era, you probably know of the band. You’ll definitely like this release. -
Morel Mushrooms
SPRING EQUINOX EDITION 2020 Inside This Woodland/Prairie Perspectives Issue Natural Resources and Outdoor Recreation Trust Fund Mike Wallace, Director Following is a reprint of an article that was in the February 14, 2020 edition of the Des Moines Register. It was written by Rich Leopold , the Director of the Polk County Conservation Board. I have known Rich for several years, and being in neighboring counties, we deal with many of the same issues, demands, and projects that his department does. His comments are worthy of consideration regarding the proposed Natural Resources and Outdoor Recreation Trust Fund. I would encourage all to contact your legislators in support for this trust fund. Fund the Trust “The date was Aug. 9, Fire Management 2006. A small group of people from across Microhabitat Hacks Iowa gathered at the Neal Smith National Value of Wildlife Refuge Volunteering outside of Prairie City to discuss water quality, agriculture, Year of the Volunteer and natural resources. Events Calendar During the previous Iowa legislature Morel Mushrooms session, John Whitaker, a state Deputy Director representative from Hired Hillsboro with deep ties to Iowa Museum Upgrades agriculture, had inserted a short provision into a House appropriations bill. The language established a committee made up of farmers, hunters, a few legislators of Summer Youth each party, and natural resource professionals. Their task was to study and recommend Program a way to sustainably fund natural resource protection in Iowa. continued on page 2 Published by Dallas County Conservation Board email: [email protected] ♦ www.dallascountyiowa.gov/conservation 1 Woodland/Prairie Perspectives It isn’t done yet, not by a long shot. -
Judy Bowman Casting
judy bowman casting FILM & TELEVISION features: SEPARATION dir. William Brent Bell/Yale Productions TRICK dir. Patrick Lussier/Film Bridge International TWELVE dir. Stephen Grimaldi DEAD SOUND dir. Tony Glazer/Choice Films ONE MOMENT w/Danny Aiello dir. Deirdre O’Connor T-11: INCOMPLETE dir. Suzanne Guacci NO ALTERNATIVE w/Harry Hamlin & Kathryn Erbe dir. William Dickerson GOLD STAR w/ Robert Vaughn dir. Victoria Negri (avail on Amazon) HURRICANE BIANCA w/Bianca Del Rio & Rachel Dratch dir. Matt Kugelman/Cranium Ent/Wolfe Films (avail ondemand) LOST CAT CORONA w/Ralph Macchio dir. Anthony Tarsitano/Choice Films (avail on Showtime) THE PLAGUE dir. Christopher Raney THE DWARVES OF DEMREL dir. Christopher Raney LOVE AND EVERYTHING IN BETWEEN dir. Jeremiah Kipp MY FIRST MIRACLE dir. Rudy Luna/Yale Productions ELI MORAN dir. TJ Collins STRANGER IN THE HOUSE dir. Devon Gummersall ADDICTION: A 60s LOVE STORY dir. Tate Steinsiek/Ironclad Pictures COPENHAGEN dir. Mark Raso/Fidelio Films THE WORD dir. Greg Friedle TIGER LILY ROAD dir: Michael Medeiros DRAWING HOME dir. Markus Rupprecht/NY Casting GERTRUDE STEIN’S BREWSIE & WILLIE dir. Rosalind C. Morris BENNY THE BUM writer/dir. Paul Cantagallo PERVERTIGO writer/dir. Jaron Henrie-McCrea BODY/ANTIBODY dirs: Jordan Hoffman & Kerry Dye DUANE INCARNATE writer/dir: Hal Salwen 508 NELSON dir: Joshua B. Hamlin SHORTBUS Casting Associate dir: John Cameron Mitchell NOWHERE TO GO BUT UP Casting Associate dir: Amos Kollek ROAD Casting Associate dir: Leslie McCleave MEAN GIRLS Casting Associate NY Casting SOMETHING'S GOTTA GIVE Casting Associate NY Casting FREAKY FRIDAY Casting Associate NY Casting tv: BIG DOGS Choice Films/Aurelian Films THAT 70s SHOW Casting Associate Carsey-Werner/NY Casting GRACE UNDER FIRE Casting Associate Carsey-Werner/NY Casting MEN BEHAVING BADLY Casting Associate Carsey-Werner/NY Casting WGA AWARDS 2009 presenters & host short films: I LIFE dir. -
Robert Icke, Theatre Director: 'Oresteia? It's Quite Like the Sopranos'
Robert Icke, theatre director: ‘Oresteia? It’s quite like The Sopranos’ The director of the Almeida’s acclaimed Oresteia on being inspired by Kenneth Branagh, Michael Grandage and Tony Soprano Susannah Clapp 23/8/2015 Robert Icke, 29, is one of the theatre’s most explosive talents. He was associate director of Headlong from 2010 to 2013, and is now the associate director of the Almeida. His productions include Mr Burns and 1984, which he co-adapted with Duncan Macmillan. His tremendous Oresteia has just transferred to the West End. Do you have a theatrical background? No, my mum’s a teacher and my dad’s a tax inspector. What turned you on to directing? It was seeing Kenneth Branagh as Richard III, directed by Michael Grandage at Sheffield. I was 14 and my dad dragged me away from my PlayStation. It was a proper Damascene conversion - really electric. There was no language barrier. I wrote to Michael Grandage and asked him how he did that stuff. He said: if you come and see me I’ll try to tell you. This was before I’d ever been near a proper rehearsal room. He gave me all this advice, which I scribbled down and have been living by ever since. Didn’t you direct at a theatre in Stockton-Tees while you were still at school? That’s where I learnt to do it. It was a very depressed area. You weren’t allowed to be boring: the audience there would just have left. I remember the first performance of A Midsummer Night’s Dream when Bottom came on in a donkey’s head with these amazing false teeth made by a local dentist. -
The Seagull Anton Chekhov Adapted by Simon Stephens
THE SEAGULL ANTON CHEKHOV ADAPTED BY SIMON STEPHENS major sponsor & community access partner WELCOME TO THE SEAGULL The artists and staff of Soulpepper and the Young Centre for the Performing Arts acknowledge the original caretakers and storytellers of this land – the Haudenosaunee Confederacy, and Wendat First Nation, and The Mississaugas of the Credit First Nation who are part of the Anishinaabe Nation. We commit to honouring and celebrating their past, present and future. “All around the world and throughout history, humans have acted out the stories that are significant to them, the stories that are central to their sense of who they are, the stories that have defined their communities, and shaped their societies. When we talk about classical theatre we want to explore what that means from the many perspectives of this city. This is a celebration of our global canon.” – Weyni Mengesha, Soulpepper’s Artistic Director photo by Emma Mcintyre Partners & Supporters James O’Sullivan & Lucie Valée Karrin Powys-Lybbe & Chris von Boetticher Sylvia Soyka Kathleen & Bill Troost 2 CAST & CREATIVE TEAM Cast Ghazal Azarbad Stuart Hughes Gregory Prest Marcia Hugo Boris Oliver Dennis Alex McCooeye Paolo Santalucia Peter Sorin Simeon Konstantin Raquel Duffy Kristen Thomson Sugith Varughese Pauline Irina Leo Hailey Gillis Dan Mousseau Nina Jacob Creative Team Daniel Brooks Matt Rideout Maricris Rivera Director Lead Audio Engineer Producing Assistant Anton Chekhov Weyni Mengesha Megan Woods Playwright Artistic Director Associate Production Manager Thomas Ryder Payne Emma Stenning Corey MacVicar Sound Designer Executive Director Associate Technical Director Frank Cox-O’Connell Tania Senewiratne Nik Murillo Associate Director Executive Producer Marketer Gregory Sinclair Mimi Warshaw Audio Producer Producer Thank You To Michelle Monteith, Daren A. -
HAMLET: PRESS RESPONSES Almeida & West End (2017) Shakespeare
HAMLET: PRESS RESPONSES Almeida & West End (2017) Shakespeare www.roberticke.com FINANCIAL TIMES Ian Shuttleworth ★★★★★ I have been privileged to see several first-class Hamlets this century: Simon Russell Beale, Samuel West, David Tennant, Rory Kinnear, Maxine Peake, arguably Lars Eidinger. Andrew Scott is at least as outstanding as any of those, and right now I’m inclined to rank him in front. His Prince is almost always self-aware, but not self-understanding; on the contrary, his keynote is a kind of bemused wonder at goings-on both within and beyond his skin. The great soliloquies seem new-minted, every word a separate question. The playfulness at which Scott so excels (most notably as Moriarty in BBC-TV’s Sherlock) is here kept under a rigorously tight rein. I did not see this production when it opened at the Almeida a few months ago, but my impression is that neither Scott’s nor anyone else’s performance has been ramped up for a venue two and half times the size; the consequent occasional intelligibility problems are far outweighed by the sense of human scale. For this is the glory of Robert Icke’s production. It does not consist of a superlative Prince Hamlet, a clutch of fine supporting performances and a number of sharp directorial ideas stitched together into a plausible fabric; rather, it is whole and entire of itself. Angus Wright’s cool, disciplined Claudius, Juliet Stevenson’s besotted-then-horrified Gertrude, Jessica Brown Findlay’s Ophelia (at first at sea like Hamlet, finally psychologically shattered in a wheelchair), David Rintoul’s doubling of the Ghost and the Player King . -
English 252: Theatre in England 2006-2007 * [Optional Events
English 252: Theatre in England 2006-2007 * [Optional events — seen by some] Wednesday December 27 *2:30 p.m. Guys and Dolls (1950). Dir. Michael Grandage. Music & lyrics by Frank Loesser, Book by Jo Swerling and Abe Burrows. Based on a story and characters of Damon Runyon. Designer: Christopher Oram. Choreographer: Rob Ashford. Cast: Alex Ferns (Nathan Detroit), Samantha Janus (Miss Adelaide), Amy Nuttal (Sarah Brown), Norman Bowman (Sky Masterson), Steve Elias (Nicely Nicely Johnson), Nick Cavaliere (Big Julie), John Conroy (Arvide Abernathy), Gaye Brown (General Cartwright), Jo Servi (Lt. Brannigan), Sebastien Torkia (Benny Southstreet), Andrew Playfoot (Rusty Charlie/ Joey Biltmore), Denise Pitter (Agatha), Richard Costello (Calvin/The Greek), Keisha Atwell (Martha/Waitress), Robbie Scotcher (Harry the Horse), Dominic Watson (Angie the Ox/MC), Matt Flint (Society Max), Spencer Stafford (Brandy Bottle Bates), Darren Carnall (Scranton Slim), Taylor James (Liverlips Louis/Havana Boy), Louise Albright (Hot Box Girl Mary-Lou Albright), Louise Bearman (Hot Box Girl Mimi), Anna Woodside (Hot Box Girl Tallulha Bloom), Verity Bentham (Hotbox Girl Dolly Devine), Ashley Hale (Hotbox Girl Cutie Singleton/Havana Girl), Claire Taylor (Hot Box Girl Ruby Simmons). Dance Captain: Darren Carnall. Swing: Kate Alexander, Christopher Bennett, Vivien Carter, Rory Locke, Wayne Fitzsimmons. Thursday December 28 *2:30 p.m. George Gershwin. Porgy and Bess (1935). Lyrics by DuBose Heyward and Ira Gershwin. Book by Dubose and Dorothy Heyward. Dir. Trevor Nunn. Design by John Gunter. New Orchestrations by Gareth Valentine. Choreography by Kate Champion. Lighting by David Hersey. Costumes by Sue Blane. Cast: Clarke Peters (Porgy), Nicola Hughes (Bess), Cornell S. John (Crown), Dawn Hope (Serena), O-T Fagbenie (Sporting Life), Melanie E. -
The Performativity of Performance Documentation
THE PERFORMATIVITY OF PERFORMANCE DOCUMENTATION Philip Auslander onsider two familiar images from the history of performance and body art: one from the documentation of Chris Burden’s Shoot (1971), the notori- ous piece for which the artist had a friend shoot him in a gallery, and Yves CKlein’s famous Leap into the Void (1960), which shows the artist jumping out of a second-story window into the street below. It is generally accepted that the first image is a piece of performance documentation, but what is the second? Burden really was shot in the arm during Shoot, but Klein did not really jump unprotected out the window, the ostensible performance documented in his equally iconic image. What difference does it make to our understanding of these images in relation to the concept of performance documentation that one documents a performance that “really” happened while the other does not? I shall return to this question below. As a point of departure for my analysis here, I propose that performance docu- mentation has been understood to encompass two categories, which I shall call the documentary and the theatrical. The documentary category represents the traditional way in which the relationship between performance art and its documentation is conceived. It is assumed that the documentation of the performance event provides both a record of it through which it can be reconstructed (though, as Kathy O’Dell points out, the reconstruction is bound to be fragmentary and incomplete1) and evidence that it actually occurred. The connection between performance and docu- ment is thus thought to be ontological, with the event preceding and authorizing its documentation. -
Types & Forms of Theatres
THEATRE PROJECTS 1 Credit: Scott Frances Scott Credit: Types & Forms of Theatres THEATRE PROJECTS 2 Contents Types and forms of theatres 3 Spaces for drama 4 Small drama theatres 4 Arena 4 Thrust 5 Endstage 5 Flexible theatres 6 Environmental theatre 6 Promenade theatre 6 Black box theatre 7 Studio theatre 7 Courtyard theatre 8 Large drama theatres 9 Proscenium theatre 9 Thrust and open stage 10 Spaces for acoustic music (unamplified) 11 Recital hall 11 Concert halls 12 Shoebox concert hall 12 Vineyard concert hall, surround hall 13 Spaces for opera and dance 14 Opera house 14 Dance theatre 15 Spaces for multiple uses 16 Multipurpose theatre 16 Multiform theatre 17 Spaces for entertainment 18 Multi-use commercial theatre 18 Showroom 19 Spaces for media interaction 20 Spaces for meeting and worship 21 Conference center 21 House of worship 21 Spaces for teaching 22 Single-purpose spaces 22 Instructional spaces 22 Stage technology 22 THEATRE PROJECTS 3 Credit: Anton Grassl on behalf of Wilson Architects At the very core of human nature is an instinct to musicals, ballet, modern dance, spoken word, circus, gather together with one another and share our or any activity where an artist communicates with an experiences and perspectives—to tell and hear stories. audience. How could any one kind of building work for And ever since the first humans huddled around a all these different types of performance? fire to share these stories, there has been theatre. As people evolved, so did the stories they told and There is no ideal theatre size. The scale of a theatre the settings where they told them.