DOCSLIB.ORG

Mary Moody Northen 'Theatre

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Mary Moody Northen 'Theatre MARY MOODY NORTHEN 'THEATRE the "NORMAN CONQUESTS" trilogy St EDWARDS UNNERSTIY AUSTIN•TEXAS The arts in motion delight the senses. And comes through play­ move us. With sights as we absorb all their ing a supporting role. and sounds they beauty, we discover the special pride that I [m>l I AUSTIN SOUTH PLAZA HOTEL D 210 luxury guest rooms (20 suites) D Executive Conference Center D Chappie' s Restaurant and Nightclub D Outdoor pool and spa D 9-hole putting green D Remote-control satellite T. V. D In-house guest laundrymat D Guest room refrigerators D Complimentary Airport Limousine South Interregional at Woodward (East of St. Edward's University) ~~IRST(lr'® Phone 448-2444 Reaching further. Doing more. rnJJMlA HOWARD JOHNSON HOTEL ST. EDWARD'S UNIVERSITY MARY MOODY NORTHEN THEATRE ROUND AND ROUND THE GARDEN presents CAST Sarah ............... ....... .. ......... Jennifer Rhodes Reg .... .. .......... ............. Richard Wharton JENNIFER RHODES Annie ..... ........... ................ Laura O'Bar UJ and Tom .............. .................... George Carnes Ruth ............... .. ............... Margaret Connelly RICHARD WHARTON Norman .... .. .... ...... .. ...... .Jack Rogers Understudy to Annie ... ............ ...... Melba Mishler in The action passes in the garden of a Victorian vicarage-type house during a week -end in July. ACT I ROUND AND ROUND Scene 1 Saturday 5:30 p.m. Scene 2 Saturday 9:00 p.m. THE GARDEN 10 minute intermission Act II By Alan Ayckbourn Scene 1 Sunday 11 :00 a.m. Scene 2 Monday 9:00 a.m. Period - The Present Directed By: Jennifer Rhodes, Richard Wharton, and Melba Mishler perform through the MELBA courtesy of Actor 's Equity Association. Round and Round the Garden is produced by special arrangement with MARTINEZ-MISHLER Samuel French. PRODUCTION STAFF DENNIS CHRISTILLES Cl1_7.,i1.tiE.'1- of COSTUME DESIGNER cl/u1.tin JOAN MILLER IMPORTS• JEWELRY• ART MUSIC BOXES STAGE MANAGER LADIES AND MEN 'S COLOGNES EEL SKIN LEATHER GIFTS Cullen J. Ferguson JILL SINGLETARY GREETING CARDS AND GIFTS Regional Manager SAVOY COURT SHOPPING MALL 7801 N. Lamar , Suite A113 JULY 23-AUGUST ·' ·-.4 521 E. 6th ST. Austin, Texas 78752 AUSTIN , T~XAS 78701 512/459-4125 ''THE COMPANY'' DIRECTOR OF THEATRE GUEST ARTISTS Donald W. Seay originated the St. Edward's University Mary Jennifer Rhodes began in New York where she spent five years Moody North en Theatre Summer Resident Company and has served studying, doing summer stock and appeari ng in Off-Broadway pro­ as an Associate Professor and Director of Theatre for four years. He ductions of "THE CRUCIBLE," "MADWOMAN OF CHAILLOT ," and ''DONOGOO.'' Subsequent film and theatr e roles during her has appeared on the Northen stage as Thomas More in "MAN FOR career have taken her from New York to Los Angeles; Kent State , ALL SEASONS'' and as Rubin in ''DARK AT THE TOP OF THE Ohio to Bangkok ; and most recentl y to Mexico City - but she is real­ ST AIRS." Mr. Seay has directed the productions of "GREASE," ly an East Coast lady at heart and was especially happy to be back in "COME BLOW YOUR HORN," "SU MMER AND SMOKE" with New York last Fall where she appeared Off-Broadway, originating the Peter Bergm an, "THE GOOD DOCTOR," "CAMELOT," role of Margaret in a two-character play, "LESTER SIMS RETIRES "FINISHING TOUCHES" with Barbara Bosson, and "EQUUS ." TOMORROW." Before coming to St. Edward 's University, Mr. Seay served as a On the West Coast, her many stage roles include the slain Kitty tenured professor at the University of Wyoming. He also taught at Genovese in William Murray's provo cative ''WITNESSES;'' Lewis John Carlina's two-chara cter play "THE EXERCISE" (teaming with George Murdock); the the University of Minnesota and Gustavus Adolphus College. His pro­ premier of Oliver Hailey's " RED ROVER, RED ROVER" in which she originated the role of Nell; fessional credits include work with the McCarter Theatre , the Alley and George Furth's "SUPPORTING CAST" where she stood by and went on for Barbara Rush Theatre, the Cincinnati Playhouse in the Park, and the Erie and Joyce Van Patten. Playhouse. Mr. Seay holds an MFA degree from the University of Jennifer recently co-starred with Sherman Hems ley in the soon-to-be released comedy featur e, Minnesota and has completed all the work for his doctor ate except his "BENNY AND BUFORD," in which she plays a flambouyant French mystic/medium. disse rtation. She has guest starred and been featured in many television shows - among them ''LITTLE HOUSE ON THE PRAIRIE ," "GENERAL HOSPITAL ," "LOU GRANT," "JAMES AT 16," "JACQUELINE BOUVIER KENNEDY" and most rec ently in the recurring role as Nicole's Mark Landis, Stage Director for "TABLE MANNERS," has mother on " FAME." Jennifer currently lives in Los Angeles with her dogs, Pete and Priscilla and her Siamese cat, served St. Edward's University as an Assistant Professor and Voice Sammy. She loves to get away to the mountains as often as possible . & Diction coach. Mr. Landis has directed the productions "CAT ON A HOT TIN ROOF '' with George Murdock , ''YOU KNOW I CAN'T Richard Wharton, a Chicago native , toured the United States - HEAR YOU WHEN THE WATER'S RUNNING," "COMPANY OF California to Florida with the National touring company - Alpha­ WAYWARD SAINTS" with Lew Horn, "MAN FOR ALL Omega Players performing in shows such as "THE DRUNKARD" SEASONS," "THE WALL BETWEEN" and "TARTUFFE" with and "LUV." He then joined The Free Street theatre touring com­ Graham Jarvis . Mr. Landis holds an MFA degree from Western Il­ pany based in Chicago as their sign language coordinator. Richard not linois University with an emphasis in Directing. He has worked exten­ only translated the three scripts ''THE THIRD DUCKLING, '' sively in both regional and Summer Stock theatre throughout the "RHYTHM OF THE CITY," and "HIGHER THAN THE RAIN­ Mid-West. In 1978, he was the Director of Educational programs for BOW," but also taught the entire company their parts. Other the Repertory Theatre in St. Louis, where he taught workshops in Chicago acting credits include Cletis in "LONE STAR" for the Travelight Theatre; Scrooge in "A CHRISTMAS CAROL" for Acting, Voice, and Movement. Mr. Landis has appeared in Northen Theatri cal Productions for Children ; Gruff in Steppenwolf Theatre's theatre productions of "SUMMER AND SMOKE" and "WHEN production of "THE LITTLEST ELF"; and recently Le Fleche in YOU COMIN' BACK RED RYDER?" "THE MISER" for the Immediate Theatre Company. He is current ­ ly a member of the Immediate Theatre. Regionally, Richard has performed with the Repertory Theatre of St. Louis in the produ ctions of "A CHRISTMAS TAPESTRY" and "HEDDA Melba Martinez-Mishler, Stage Directo r for "ROUND AND GABLER." "A CHRISTMAS TAPESTRY" is a collection of four Chekov one-act plays . ROUND THE GARDEN," is the Publicity Director/Ti cket Office Richard' s roles included playing the female lead, Natalya, in " THE BOOR" and an 18-minute Manager. After this summer season, Mrs . Mishler will become monologue titled "THE HARMFULNESS OF TOBACCO." His role in "HEDDA GABLER" was Lovborg. Business Manager for the Mary Moody Northen Theatre. Mrs. Richard may also be seen in various films and heard in work by the Nation ::il 0 , dio Theatre. Mishler holds an M.A. degree in Theatre . She has studied the "Live­ ly Arts'' in London, England through Ekerd College and has appeared in numerous theatre productions. Last year, she won an Austin Circle GUEST DIRECT OR of Theatre's best actress award for her performance in ''ROSE TAT­ Lee Adey, stage director for "LIVING TOGE THER ," is the Chair­ TOO.'' As director for the Austin's Plays for Living program, she has man of the Directing Area at the University of Minnesota, where he directed eight social plays that have been performed throughout has been a professor for thirteen years. Mr. Adey comes to St. Ed­ Austin's schools, groups, civic organizations, and churches. Last ward's with extensive professional credits in directing, administ ration year, Melba directed her husband's script - "GUARDIAN FOR and acting. Professional directing credits include: seven produc tions JOEY" for the Texas Attorney General's conference on child abuse. for the Chimera Theatre, three productions for Theatre !'Homme Representative directing credits include: "PER IOD OF ADJUST­ Dieu, two melodramas for Stage Players, Inc ., four original scripts for the office of Advanced Drama at the Universitv of Minne sota MENT," "PORTRAIT OF A MADONNA ," "WHO KILLED three children's theatr e productions for tile Pepper mint Tent, fou~ TYLER MOORE?" "SAME TIME NEXT YEAR," and "GIFT OF production s for the Oberlin Summer Theatre , and nine produc tions THE MAGI." for the Paul Bunyan Summer Theatre Playhouse. Before going to the University of Minneso ta, Mr. Adey was a theatre professor at Cornell University, and Southern Colorado State University . As an administrator, he has served as the Executive Director of the Phipps Center for th_e Arts, the Artistic Director/Production Manager for the Stage Coach Players, and Managing Director for the Paul Bunyan Playhouse . We hope you will join us in welcoming Mr. Adey to St. Edward's Universit y and the Austin com­ munity . George Brock is returning for a second season in the Summer Resi­ COMPANYDESIGNER dent Company as a Theatre technician. He has appeared on the Nor­ Dennis Christilles, Designer/Technical Director for "THE NOR­ then stage in the productions of "MAN FOR ALL SEASONS," "A MAN CONQUESTS," is a professor of Dramatic Arts at West COMPANY OF WAYWARD SAINTS," "COME BLOW YOUR Virginia Wesleyan College. This marks Mr. Christilles' second sum­ HORN," "GREASE," and "WHEN YOU COMIN' BACK RED mer with the Summer Resident Company at St. Edward's. He holds RYDER?" an M.A. degree in Theatre and has designed , acted, and directed many theatre productions.
Load more

Recommended publications
  • The Inventory of the Joan Fontaine Collection #570
    The Inventory of the Joan Fontaine Collection #570 Howard Gotlieb Archival Research Center TABLE OF CONTENTS Film and Video 1 Audio 3 Printed Material 5 Professional Material 10 Correspondence 13 Financial Material 50 Manuscripts 50 Photographs 51 Personal Memorabilia 65 Scrapbooks 67 Fontaine, Joan #570 Box 1 No Folder I. Film and Video. A. Video cassettes, all VHS format except where noted. In date order. 1. "No More Ladies," 1935; "Tell Me the Truth" [1 tape]. 2. "No More Ladies," 1935; "The Man Who Found Himself," 1937; "Maid's Night Out," 1938; "The Selznick Years," 1969 [1 tape]. 3. "Music for Madam," 1937; "Sky Giant," 1938; "Maid's Night Out," 1938 [1 tape]. 4. "Quality Street," 1937. 5. "A Damsel in Distress," 1937, 2 copies. 6. "The Man Who Found Himself," 1937. 7. "Maid's Night Out," 1938. 8. "The Duke ofWestpoint," 1938. 9. "Gunga Din," 1939, 2 copies. 10. "The Women," 1939, 3 copies [4 tapes; 1 version split over two tapes.] 11. "Rebecca," 1940, 3 copies. 12. "Suspicion," 1941, 4 copies. 13. "This Above All," 1942, 2 copies. 14. "The Constant Nymph," 1943. 15. "Frenchman's Creek," 1944. 16. "Jane Eyre," 1944, 3 copies. 2 Box 1 cont'd. 17. "Ivy," 1947, 2 copies. 18. "You Gotta Stay Happy," 1948. 19. "Kiss the Blood Off of My Hands," 1948. 20. "The Emperor Waltz," 1948. 21. "September Affair," 1950, 3 copies. 22. "Born to be Bad," 1950. 23. "Ivanhoe," 1952, 2 copies. 24. "The Bigamist," 1953, 2 copies. 25. "Decameron Nights," 1952, 2 copies. 26. "Casanova's Big Night," 1954, 2 copies.
    [Show full text]
  • The Dublin Gate Theatre Archive, 1928 - 1979
    Charles Deering McCormick Library of Special Collections Northwestern University Libraries Dublin Gate Theatre Archive The Dublin Gate Theatre Archive, 1928 - 1979 History: The Dublin Gate Theatre was founded by Hilton Edwards (1903-1982) and Micheál MacLiammóir (1899-1978), two Englishmen who had met touring in Ireland with Anew McMaster's acting company. Edwards was a singer and established Shakespearian actor, and MacLiammóir, actually born Alfred Michael Willmore, had been a noted child actor, then a graphic artist, student of Gaelic, and enthusiast of Celtic culture. Taking their company’s name from Peter Godfrey’s Gate Theatre Studio in London, the young actors' goal was to produce and re-interpret world drama in Dublin, classic and contemporary, providing a new kind of theatre in addition to the established Abbey and its purely Irish plays. Beginning in 1928 in the Peacock Theatre for two seasons, and then in the theatre of the eighteenth century Rotunda Buildings, the two founders, with Edwards as actor, producer and lighting expert, and MacLiammóir as star, costume and scenery designer, along with their supporting board of directors, gave Dublin, and other cities when touring, a long and eclectic list of plays. The Dublin Gate Theatre produced, with their imaginative and innovative style, over 400 different works from Sophocles, Shakespeare, Congreve, Chekhov, Ibsen, O’Neill, Wilde, Shaw, Yeats and many others. They also introduced plays from younger Irish playwrights such as Denis Johnston, Mary Manning, Maura Laverty, Brian Friel, Fr. Desmond Forristal and Micheál MacLiammóir himself. Until his death early in 1978, the year of the Gate’s 50th Anniversary, MacLiammóir wrote, as well as acted and designed for the Gate, plays, revues and three one-man shows, and translated and adapted those of other authors.
    [Show full text]
  • By Jeeves Music: Andrew Lloyd Webber Lyrics: Alan Ayckbourn Book: Alan Ayckbourn Premiere: Tuesday, April 22, 1975
    ------------------------------------------------------------------------------ By Jeeves Music: Andrew Lloyd Webber Lyrics: Alan Ayckbourn Book: Alan Ayckbourn Premiere: Tuesday, April 22, 1975 ------------------------------------------------------------------------------ The Code of the Woosters BERTIE I obey the Code of the Woosters. It's a simple philosophy. When perhaps a chap's in trouble. I respond with alacrity. And if my fellow men have problems Whatever they might be They call on me The sterling Wooster B. For despite This easy nature Come the evening When battle dawns To see a Wooster Grab the livestock by both the horns For when a Wooster's mask of pleasure Becomes a steely stare You'll know he's there He'll never turn a hair What would a chap do without it? How would he get through without it? How could he stay true wihtout the Code of the Woosters? If you're at sea, I shall be there, even put off tea to be there Woosters have swum oceans for the Code of Allegiance duly owed to the Wooster Code What a load If a girl Is in the doldrums Not a paddle To her name I'll be there Though frankly speaking Womanizing's not my game But if she's really in a lather Wild eyed and hat askew He'll see her through Old you know who... Whenever it calls, can't ignore it, even give up Ascot for it Woosters have died gladly for the code of For that rugged, heavy load called the Wooster Code What a load Take my card In case you need me, if you're jousting a losing cause Like the chap Who wins the double I can rattle The natural laws So if you're eaten up with anguish I'll snatch you from its jaws No second's pause From one sincerely yours..
    [Show full text]
  • Talking Theatre Extract
    Richard Eyre TALKING THEATRE Interviews with Theatre People Contents Introduction xiii Interviews John Gielgud 1 Peter Brook 16 Margaret ‘Percy’ Harris 29 Peter Hall 35 Ian McKellen 52 Judi Dench 57 Trevor Nunn 62 Vanessa Redgrave 67 NICK HERN BOOKS Fiona Shaw 71 London Liam Neeson 80 www.nickhernbooks.co.uk Stephen Rea 87 ix RICHARD EYRE CONTENTS Stephen Sondheim 94 Steven Berkoff 286 Arthur Laurents 102 Willem Dafoe 291 Arthur Miller 114 Deborah Warner 297 August Wilson 128 Simon McBurney 302 Jason Robards 134 Robert Lepage 306 Kim Hunter 139 Appendix Tony Kushner 144 John Johnston 313 Luise Rainer 154 Alan Bennett 161 Index 321 Harold Pinter 168 Tom Stoppard 178 David Hare 183 Jocelyn Herbert 192 William Gaskill 200 Arnold Wesker 211 Peter Gill 218 Christopher Hampton 225 Peter Shaffer 232 Frith Banbury 239 Alan Ayckbourn 248 John Bury 253 Victor Spinetti 259 John McGrath 266 Cameron Mackintosh 276 Patrick Marber 280 x xi JOHN GIELGUD Would you say the real father—or mother—of the National Theatre and the Royal Shakespeare Company is Lilian Baylis? Well, I think she didn’t know her arse from her elbow. She was an extraordinary old woman, really. And I never knew anybody who knew her really well. The books are quite good about her, but except for her eccentricities there’s nothing about her professional appreciation of Shakespeare. She had this faith which led her to the people she needed. Did she choose the actors? I don’t think so. She chose the directors. John Gielgud Yes, she had a very difficult time with them.
    [Show full text]
  • List of Plays Performed at UW Oshkosh 1980-1989
    List of Plays Performed at UW Oshkosh 1980-1989 The Robber Bridegroom You’re a Good Man Charlie Brown Book and Lyrics: Alfred Uhry Book, Music, and Lyrics: Clark Gesner Director: Don Burdick Director: Kathleen Wieting Performance dates: February 19-24, Performance dates: NoVember 20-23, 1980 1980 Look Back in Anger The Threepenny Opera Playwright: John Osborne Book and Lyrics: Bertolt Brecht Director: Randy Haal Director: Don Burdick Performance dates: March 18-22, Performance dates: February 12-14 & 1980 19-21, 1981 Medea Experiments in Puppetry Playwright: Euripides Director: Dorlis Grubidge Director: Dorlis Grubidge Performance dates: February 28 – Performance dates: April 19 – May 4, March 1, 1981 1980 Blithe Spirit Puppets, Possible & Impossible Playwright: Noel Coward Director: Dorlis Grubidge Director: Randy Haasl Performance dates: May 22-25, 1980 Performance dates: March 19-21 & 26-28, 1981 California Suite Playwright: Neil Simon The Fantasticks Director: Don Burdick Book and Lyrics: Tome Jones Performance dates: June 24-28, 1980 Director: Jeannie Muson Schweiss Performance dates: April 7-11, 1981 How the Other Half Loves Playwright: Alan Ayckbourn The Claude Kipnis Mime Company Director: Dorlis Grubidge Performance: April 12, 1981 Performance dates: October 9-11 & 16-18, 1980 Let Us Entertain You A puppet production The Madwoman of Chaillot Director: Dorlis Grubidege Playwright: Jean Giraudoux Performance: May 27-29, 1981 Director: Gloria Link Performance dates: October 30 – Side by Side by Sondheim NoVember 1 & NoVember 6-8,
    [Show full text]
  • Habeas Corpus
    41st Season • 394th Production SEGERSTROM STAGE / OCTOBER 15 - NOVEMBER 21, 2004 David Emmes Martin Benson PRODUCING ARTISTIC DIRECTOR ARTISTIC DIRECTOR presents HABEAS CORPUS BY Alan Bennett SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN COMPOSER/SOUND DESIGN/MUSICAL DIRECTOR Christopher Acebo Shigeru Yaji Geoff Korf Paul James Prendergast DIALECT COACH CHOREOGRAPHER PRODUCTION MANAGER STAGE MANAGER Philip D. Thompson Ken Roht Jeff Gifford *Randall K. Lum DIRECTED BY Bill Rauch HONORARY PRODUCERS Haskell & White LLP Presented by special arrangement with Samuel French, Inc. Habeas Corpus • SOUTH COAST REPERTORY P1 CAST OF CHARACTERS (In order of appearance) Arthur Wicksteed .................................................................... Hal Landon Jr.* Mrs. Swabb ...................................................................................... Jane Carr* Muriel Wicksteed ................................................................ Caitlin O’Connell* Dennis Wicksteed ................................................... Christopher Liam Moore* Constance Wicksteed .......................................................... Kate A. Mulligan* Canon Throbbing ................................................................ Daniel T. Parker* Sir Percy Shorter ........................................................................... Patrick Kerr* Lady Rumpers .................................................................... Lynnda Ferguson* Felicity Rumpers ..................................................................... Lynsey
    [Show full text]
  • Other Half PR
    CONTACT: Nancy Richards – 917-873-6389 (cell) /[email protected] MEDIA PAGE: www.northcoastrep.org/press FOR IMMEDIATE RELEASE, PLEASE: NORTH COAST REP SERVES UP BANQUET OF FUN IN HOW THE OTHER HALF LOVES By Sir Alan Ayckbourn Performances Beginning Wednesday, April 11, 2018 Running Through Sunday, May 6, 2018 Now extended by popular demand to May 13, 2018 Directed by Geoffrey Sherman Solana Beach, CA Britain’s comic genius, Sir Alan Ayckbourn, has penned a fast-paced and hilariously funny theatrical feast that stands as a classic modern comedy. With the precision of a master chef, Sir Ayckbourn mixes three very different marriages into a pot, simmering with sex, jealousy, and liberally spiced with ingenious stagecraft. Full of clever, razor-sharp dialogue and impeccable split-second timing, HOW THE OTHER HALF LOVES is a treat you won’t want to miss. Find out why The London Daily Mail called this “a delicious, jolly good show.” Geoffrey Sherman directs Jacqueline Ritz,* James Newcomb,* Sharon Rietkerk,* Christopher M. Williams,* Noelle Marion,* and Benjamin Cole. The design team includes Marty Burnett (Scenic Design), Matthew Novotny (Lighting Design), Aaron Rumley (Sound), Elisa Benzoni (Costumes), and Holly Gillard (Prop Design). Cindy Rumley* is the Stage Manager. *The actor or stage manager appears through the courtesy of Actors’ Equity Association, the union of professional actors and stage managers in the United States. For background information and photos, go to www.northcoastrep.org/press. HOW THE OTHER HALF LOVES previews begin Wednesday, April 11. Opening Night on Saturday, April 14, at 8pm. There will be a special talkback on Friday, April 20, with the cast and artistic director.
    [Show full text]
  • Seattle Theatre Group Encore Arts Seattle
    MAY 2016 May 27–Jun 26, 2016 Photo Hayley by Photography Young ES066 covers.indd 1 3/24/16 2:27 PM April 2016 Volume 12, No. 6 Paul Heppner Publisher COLLECTABLE Susan Peterson Design & Production Director Ana Alvira, Robin Kessler, COURSES Shaun Swick, Stevie VanBronkhorst Production Artists and Graphic Design Located at Chihuly Garden and Glass, Mike Hathaway Sales Director Collections Café offers artistically Brieanna Bright, inspired dishes amid Dale Chihuly’s Joey Chapman, Ann Manning Seattle Area Account Executives personal collections. The perfect setting Marilyn Kallins, Terri Reed for lunch, dinner or weekend brunch. San Francisco/Bay Area Account Executives Brett Hamil Online Editor Jonathan Shipley Associate Online Editor Ad Services Coordinator Carol Yip Sales Coordinator COLLECTIONSCAFE.COM 305 HARRISON ST / SEATTLE WA Leah Baltus 206.753.4935 Editor-in-Chief Paul Heppner Publisher Dan Paulus Art Director Jonathan Zwickel Senior Editor Gemma Wilson Associate Editor Amanda Manitach Visual Arts Editor Paul Heppner President Mike Hathaway Vice President Genay Genereux Accounting Sara Keats Marketing Coordinator Ryan Devlin Events / Admin Coordinator Corporate Office 425 North 85th Street Seattle, WA 98103 p 206.443.0445 f 206.443.1246 [email protected] 800.308.2898 x105 www.encoremediagroup.com Encore Arts Programs is published monthly by Encore Media Group to serve musical and theatrical events in the Puget Sound and San Francisco Bay Areas. All rights reserved. ©2016 Encore Media Group. Reproduction without written permission is prohibited. 2 ENCORE STAGES ENCORE ARTS NEWS VISIT EncoreArtsSeattle.com Women Painters of Washington WPW Gallery at the Columbia Center Showcasing art by women since 1930 Snap or Snapped by Kathie Bliss 701 5th Ave #310, M-F 11-4 TICKETS FROM $ 20 CND Q & A with Sarah Rose Davis The actor on singalong music, “second breakfast” and knowing yourself.
    [Show full text]
  • By Alan Ayckbourn Rep and SF Opera Among Others Including Managing Director of the Center Repertory Nine for Center Rep
    DAVE MAIER (Fight Director) has SCOTT DENISON (Managing Director) has impact on the quality of Center REP’s choreographed violence for several Center been the General Manager for the Lesher productions and has greatly enhanced the REP productions including Red Speedo, Center for the Arts since it opened 28 years experience for Center REP’s audiences. Baskerville, Born Yesterday, and Mirandolina. ago and has worked for the Arts in this area Grant-making decisions are based on the CENTER REPERTORY COMPANY He is the resident fight director at California for over 45 years. Scott has directed over vision of Dean and Margaret Lesher who felt Michael Butler, Artistic Director Scott Denison, Managing Director Shakespeare Theatre and San Francisco Opera. 150 productions, including The Wizard of Oz, quality education, diverse art programs, and His work has been seen at many bay area the musical hit Cinderella, Disney’s Beauty healthy children and families are the building theaters including Berkeley Rep, American and the Beast, Hairspray, The Music Man, blocks of a strong and vibrant community. Conservatory Theatre, Magic Theatre, Marin Les Misérables and for the past 20 seasons Theatre Company, Ubuntu Theatre Project Center REP’s A Christmas Carol as well as ABOUT CENTER REPERTORY COMPANY and Shotgun Players. He is recognized as all Fantasy Forum productions since 1970. a Master Fight Director with Dueling Arts He created and produces the annual Shellie Center REP is the resident, professional International and has won several awards for Awards now celebrating 40 years. Scott has theatre company of the Lesher Center for the his work including the 2018 Theatre Bay Area also designed lights for over 250 productions, Arts.
    [Show full text]
  • May 7 Happy Mothers Day This May Be the Strangest Mothers Day We've Experienced, but I Wish All the Women of South Orange
    May 7 Happy Mothers Day This may be the strangest Mothers Day we’ve experienced, but I wish all the women of South Orange and Maplewood a happy, relaxing day. SOMA on the Move Tired of walking around your block? Check out the SOMA on the Move maps, featuring interesting sights around our towns. See the new map of the Springfield Ave murals, enjoy the outdoor art of South Orange Village, and historic and interesting buildings in both downtowns. Click here for the maps to view or print: https://www.somatwotownsforallages.org/soma-on-the-move If you would like a printed version mailed to you, call (973) 558-0863 or email [email protected]. ​ Please note: when out walking, you do not need to wear a face mask while walking unless you cannot maintain a 6-foot distance from other people. It is safer to walk without the mask, which can restrict your breathing while exercising. Have your mask in your pocket and ready to put on when needed. Andrew Lloyd Webber’s The Shows Must Go On! This weekend, enjoy Alan Ayckbourn and Andrew Lloyd Webber's musical comedy extravaganza, By Jeeves! Inspired by the works of P. G. Wodehouse. Starting at 2pm ​ ​ today, the play will be available on Youtube through Sunday. Click here and enjoy! https://www.youtube.com/watch?v=jWWB2U3mntQ Shop Locally As we heed government warnings, practice social distancing, and stay at home, many local restaurants, shops and services are finding creative ways to bring their business offerings to you. From curbside pick-up and virtual shopping to online music lessons and daily workout sessions, there are still numerous ways to support the independent businesses that make our shopping areas so special.
    [Show full text]
  • House & Garden
    2008-2009 SEASON / WELCOME TO C T3 PEOPLE HOUSE & GARDEN A couple of months ago I had asked Jae Alder, BOARD OF DIRECTORS 'Hey! Who's directing House and Garden?' He CHAIRSonja J. McGill LIAISON, CITY OF DALLAS CULTURAL COMMISSION looked at me fora full fiveseconds, and then he TailimSong said 'Um ....You are.' BOARD MEMBERS JacAlder, Nancy Cochran, Roland ll[VirginiaDykes, David G. Luther, Patsy Here are the reasons I didn't completely freakout. P. Yung Micale, Jean M. Nelson,Shanna Nugent, It's all about trust. Valerie W. Pelan, Eileen Rosenblum, PhD, Enika 1) I trust myself Anybody that knows Eves = Absurd Person Sh1gular - that sort Schulze, John & Bonnie Strauss, AnnStuart, PhD, Katherine Ward, Karen Washington, Linda R. me knows I am constantly working on of thing. So I figure he has this whole Zimmerman multiple projects at the same time. I 'being in two places at one time' concept HONORARY BOARD MEMBERS GaryW. Grubbs, do this because I have artistic needs. down cold. And if you are going to trust Elizabeth Rivera, JanetSpencer Shaw Like paying my rent. So directing what anybody to do their homework and CORPORATE ADVISORY COUNCIL amounts to two full length productions get the mechanics of a tricky conceit TNS PARTNERS Jim Chambers simultaneously? A walk in the park ... like this worked out, it's going to be ALLIE BETH ALLMAN &ASSOCIATES Ayckbourn. I knew I could trust this Bill & MarsueWilliams 2) I trust Jae. He is my mentor. He GABLES RESIDENTIAL Cindy Davis whole schlemeil to work. And it does. usually knows how to match up a HEALTH SEARCH, LLC Dodie Butler A Class Act Thank God.
    [Show full text]
  • Directing Ayckbourn (And Contemporary British Comedy) in an American Context: Establishing ‘True Brit’ in the Early Rehearsal Process
    International Journal of Arts and Humanities Vol. 3 No. 5; October 2017 Directing Ayckbourn (and Contemporary British Comedy) in an American Context: Establishing ‘True Brit’ in the Early Rehearsal Process Paul C. Castagno, Ph.D Professor of Theatre UNC-Wilmington, USA Paul Elsam, Ph.D Senior Lecturer Theatre Teesside University, UK ―England and America are two countries divided by a common language.‖ Attributed to George Bernard Shaw ―Englishmen never, ever say what they mean – [that‘s why] most of my writing is so oblique.‖ Alan Ayckbourn in conversation, Instituit Francaise, 26 April 2014 American directors face major challenges staging contemporary British plays. The director must consider appropriate accents and vocal placement, variants in posture or movement predicated on class distinctions, while deciphering ―loaded‖ textual referents that bundle implicit meanings for the British but remain opaque to most American audiences. All of this must be prepared in advance to instill confidence and direction from the beginning of the rehearsal process. Experienced directors working with professional casts will have a reliable dramaturgical process in place, although as Alan Ayckbourn pointedly observes, capturing the essential ―Englishness‖ of his plays most often proves elusive for American casts and directors. This problem is exacerbated for the neophyte director, the MFA director in training, or the faculty director working with undergraduate acting students. This article provides strategies for capturing this elusiveness with particular focus on the faculty director. By sharing our outcomes, we hope to provide a template that will be helpful for directors charged with producing a contemporary British play with American actors. These outcomes stem from an applied research workshop between Paul Castagno, Ph.D, a professor at the University of North Carolina--Wilmington, and Paul Elsam, Ph.D a professional actor and senior lecturer at Teesside University in the UK.
    [Show full text]