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OSLO Big Winner at the 2017 Lucille Lortel Awards, Full List! by BWW News Desk May
Click Here for More Articles on 2017 AWARDS SEASON OSLO Big Winner at the 2017 Lucille Lortel Awards, Full List! by BWW News Desk May. 7, 2017 Tweet Share The Lortel Awards were presented May 7, 2017 at NYU Skirball Center beginning at 7:00 PM EST. This year's event was hosted by actor and comedian, Taran Killam, and once again served as a benefit for The Actors Fund. Leading the nominations this year with 7 each are the new musical, Hadestown - a folk opera produced by New York Theatre Workshop - and Sweeney Todd: The Demon Barber of Fleet Street, currently at the Barrow Street Theatre, which has been converted into a pie shop for the intimate staging. In the category of plays, both Paula Vogel's Indecent and J.T. Rogers' Oslo, current Broadway transfers, earned a total of 4 nominations, including for Outstanding Play. Playwrights Horizons' A Life also earned 4 total nominations, including for star David Hyde Pierce and director Anne Kauffman, earning her 4th career Lortel Award nomination; as did MCC Theater's YEN, including one for recent Academy Award nominee Lucas Hedges for Outstanding Lead Actor. Lighting Designer Ben Stanton earned a nomination for the fifth consecutive year - and his seventh career nomination, including a win in 2011 - for his work on YEN. Check below for live updates from the ceremony. Winners will be marked: **Winner** Outstanding Play Indecent Produced by Vineyard Theatre in association with La Jolla Playhouse and Yale Repertory Theatre Written by Paula Vogel, Created by Paula Vogel & Rebecca Taichman Oslo **Winner** Produced by Lincoln Center Theater Written by J.T. -
Liana De Camarqo Leão Âk£ MA D, T994
Liana de Camarqo Leão METAVISION& ENTRANCES AND EXífS IN TOM Âk£ MA D, Dissertação apresentada ao Curso de Pós-Graduação em Literaturas de Língua Inglesa, do Setor de Ciências Humanas, Letras e Artes da Universidade Federal do Paraná, para a obtenção do grau dc Mestre cm Letras. Orientador: Proí1. Dr\ Anna Stegh Camati. t994 ACKNOWLEDGMENTS >1 man had need have sound ears to hear himseíffranifij criticised; and as títere are feu' who can endure to hear it without ùeing nett fed, those who hazard the undertaking of it to us manifest a singular effect of friendship; for 'tis . to (ove siticerehj indeed, to venture to wound and off end us, for our ou>ngood. (Montaigne) First of all, I would like to acknowledge the enlightening, patient and constructive guidance I have received, throughout my graduate studies, from my advisor, Dr. Anna Stegh Camati. I also wish to thank the generous commentaries and suggestions of Dr. Thomas Beebee from Pennsylvania State University and Dr. Graham Huggan from Harvard University. I am extremely grateful to Dr. David Shephard, and to my colleague Cristiane Busato, who patiently revised parts of this dissertation. Finally, my affection and gratitude to my husband, Luiz Otávio Leáo, for his support in providing free time for me to study. iii TADLE OF CONTENTS ABSTRACT vi ; RESUMO viii 1 INTRODUCTION: Till« CIUTICO' ANXllfiTY" FOH TOM STOPPARD'B ORIGINALrrY 1 2 THE FRAMEWORK OF ROSENCRANTZ AND OUILDENSTERN ARE DEAD: STOPPARJD'S VISION OF REALITY AS SET OF INTERCHANGEABLE FRAMES 20 3 TWO PRUFROCKEAN SHAKESPEARE CHARACTERS IN SEARCH OF GODOT 50 3.1 ELIOT'S INFLUENCE: A HUNDRED INDECISIONS BEFORE DYING 64 3.2 PIRANDELLO'S INFLUENCE: TWO CHARACTERS IN SEARCH OF THEMSELVES 58 3.3 BECKETT'S INFLUENCE: WAITING FOR A PLOT... -
The Coast of Utopia: Voyage & Shipwreck
SHOTGUN PLAYERS PRESENT The Coast of Utopia: Voyage & Shipwreck Written by Tom Stoppard Directed by Patrick Dooley Berkeley—In a tremendous coup for the biggest little theatre company in town, Shotgun Players has secured the rights to Tom Stoppard’s impressive trilogy. This season Shotgun is producing Part Two: Shipwreck, along with a few special performances of Part One: Voyage, in repertory. In Voyage, we met our young heroes in the first blushes of revolutionary thought and love. Now with Shipwreck we find them in their 30s. The optimism of their early years has hit the rocks of marital infidelity, social anarchy, and a Tsar that has no intention of stepping down. The stakes go up dramatically in this next great duel between the heart and mind. The Coast of Utopia begins performances March 20 and runs through May 5th at The Ashby Stage. Stoppard’s riff on pre-revolutionary Russia begins on a family estate where fervent ideals and fraught expectations are the name of the game. In Voyage, the first part of the amazing Coast of Utopia trilogy, we meet a fervent group of artists, writers and young revolutionaries wrestling with broken hearts along with ideas of art and society: "If something true can be understood about art, something will be understood about liberty, too." Just on the horizon is the hope of revolution. With Shipwreck the story moves to Paris. A circle of Russian émigrés including Alexander and Natalie Herzen, Ivan Turgenev, and Michael Bakunin have relocated to France, seeking inspiration from this birthplace of revolution. Yet both personal and political ideals begin to unravel. -
William and Mary Theatre Main Stage Productions
WILLIAM AND MARY THEATRE MAIN STAGE PRODUCTIONS 1926-1927 1934-1935 1941-1942 The Goose Hangs High The Ghosts of Windsor Park Gas Light Arms and the Man Family Portrait 1927-1928 The Romantic Age The School for Husbands You and I The Jealous Wife Hedda Gabler Outward Bound 1935-1936 1942-1943 1928-1929 The Unattainable Thunder Rock The Enemy The Lying Valet The Male Animal The Taming of the Shrew The Cradle Song *Bach to Methuselah, Part I Candida Twelfth Night *Man of Destiny Squaring the Circle 1929-1930 1936-1937 The Mollusc Squaring the Circle 1943-1944 Anna Christie Death Takes a Holiday Papa is All Twelfth Night The Gondoliers The Patriots The Royal Family A Trip to Scarborough Tartuffe Noah Candida 1930-1931 Vergilian Pageant 1937-1938 1944-1945 The Importance of Being Earnest The Night of January Sixteenth Quality Street Just Suppose First Lady Juno and the Paycock The Merchant of Venice The Mikado Volpone Enter Madame Liliom Private Lives 1931-1932 1938-1939 1945-1946 Sun-Up Post Road Pygmalion Berkeley Square RUR Murder in the Cathedral John Ferguson The Pirates of Penzance Ladies in Retirement As You Like It Dear Brutus Too Many Husbands 1932-1933 1939-1940 1946-1947 Outward Bound The Inspector General Arsenic and Old Lace Holiday Kind Lady Arms and the Man The Recruiting Officer Our Town The Comedy of Errors Much Ado About Nothing Hay Fever Joan of Lorraine 1933-1934 1940-1941 1947-1948 Quality Street You Can’t Take It with You The Skin of Our Teeth Hotel Universe Night Must Fall Blithe Spirit The Swan Mary of Scotland MacBeth -
Othello and Its Rewritings, from Nineteenth-Century Burlesque to Post- Colonial Tragedy
Black Rams and Extravagant Strangers: Shakespeare’s Othello and its Rewritings, from Nineteenth-Century Burlesque to Post- Colonial Tragedy Catherine Ann Rosario Goldsmiths, University of London PhD thesis 1 Declaration I declare that the work presented in this thesis is my own. 2 Acknowledgements Firstly, I want to thank my supervisor John London for his immense generosity, as it is through countless discussions with him that I have been able to crystallise and evolve my ideas. I should also like to thank my family who, as ever, have been so supportive, and my parents, in particular, for engaging with my research, and Ebi for being Ebi. Talking things over with my friends, and getting feedback, has also been very helpful. My particular thanks go to Lucy Jenks, Jay Luxembourg, Carrie Byrne, Corin Depper, Andrew Bryant, Emma Pask, Tony Crowley and Gareth Krisman, and to Rob Lapsley whose brilliant Theory evening classes first inspired me to return to academia. Lastly, I should like to thank all the assistance that I have had from Goldsmiths Library, the British Library, Senate House Library, the Birmingham Shakespeare Collection at Birmingham Central Library, Shakespeare’s Birthplace Trust and the Shakespeare Centre Library and Archive. 3 Abstract The labyrinthine levels through which Othello moves, as Shakespeare draws on myriad theatrical forms in adapting a bald little tale, gives his characters a scintillating energy, a refusal to be domesticated in language. They remain as Derridian monsters, evading any enclosures, with the tragedy teetering perilously close to farce. Because of this fragility of identity, and Shakespeare’s radical decision to have a black tragic protagonist, Othello has attracted subsequent dramatists caught in their own identity struggles. -
News from the Department: 2005–09
Volume 7, Number 1 Spring 2009 Theatre News at Middlebury: Seventh Sequel! Doug Sprigg News from the Department: 2005–09 In 2007, the Department bade reluctant farewell to Doug Sprigg, Isabel R. Mettler ’39 Professor Emeritus of Theatre, who retired after 33 years, many of them spent as Chair of the Theatre Program. In October 2008, Doug gave a lecture entitled ‘Holding the Mirror Up to Nature: The Dialectic of a Divided Consciousness in the Performance of Shakespeare and Chekhov’ as part of his professorship, and was celebrated with a dinner at the President’s home. Doug’s influence lives on in his students and in the memory of his many productions. On March 8, 2008, the Center for the Arts was rededicated as the Mahaney MIDDLEBURY Center for the Arts, in honor of supporter Kevin Mahaney, alum and parent. THEATRE REUNION! Despite a ferocious ice storm, the evening attracted many student and community members. Theatre presented an evening of scenes, entitled Curtain WEDNESDAY, MAY 27 Up!, hosted by Alex Draper ’88, with alums including Greg Naughton ’90, NEW YORK CITY at ANGUS McINDOE Matt Saldivar ’92, Christian Parker ’93, Nina Silver ’93, Aidan Sullivan ’95, 8:00 p.m. Megan Byrne ’96.5, Michael Wrynn Doyle ’98, Alex Cranmer ’99, Rich Price 258 West 44th Street ’99.5, Sarah Peters ’03.5, David Moan ’04, Dan Pruksarnukal ’04, Cassidy Freeman ’04.5, Julia Proctor ’06.5, Lauren Turner Kiel ’07, Allison Corke ’08, It’s the Grand Reunion of ALL Rishabh Kashyap ’08, Willie Orbison ’08, Stephanie Strohm ’08, Alec Strum THEATRE STUDENTS from the Richard & Cheryl years, aka, “Alex ’08, Jordan Tirrell-Wysocki ’08, Justine Katzenbach ’08.5, Lucy Faust ’09, Draper to the Present Time.” So here’s Jimmy Wong ’09.5, Cassidy Boyd ’10, Peter Hoffman ’10, John Glouchevitch what you can do to help: PLEASE ’10.5, and guests, honorary alum Jim Ryan and visiting lecturer Vanessa FORWARD THIS TO ALL MIDD Mildenberg, appearing in a wide selection of work from Midddlebury and THEATER TYPES! Clearly my list PTP stages. -
Thursday 17 January 2019 National Theatre: February
Thursday 17 January 2019 National Theatre: February – July 2019 Inua Ellams’ Barber Shop Chronicles will play at the Roundhouse, Camden for a limited run from July as part of a UK tour Gershwyn Eustache Jnr, Leah Harvey and Aisling Loftus lead the cast of Small Island, adapted by Helen Edmundson from Andrea Levy’s prize-winning novel, directed by Rufus Norris in the Olivier Theatre Justine Mitchell joins Roger Allam in Rutherford and Son by Githa Sowerby, directed by Polly Findlay Phoebe Fox takes the title role of ANNA in Ella Hickson and Ben and Max Ringham’s tense thriller directed by Natalie Abrahami Further casting released for Peter Gynt, directed by Jonathan Kent, written by David Hare, after Henrik Ibsen War Horse will return to London as part of the 2019 UK and international tour, playing at a new venue, Troubadour Wembley Park Theatre, for a limited run in October Olivier Theatre SMALL ISLAND adapted by Helen Edmundson based on the novel by Andrea Levy Previews from 17 April, press night 1 May, in repertoire until 10 August Andrea Levy’s epic, Orange Prize-winning novel bursts into new life on the Olivier Stage. A cast of 40 tell a story which journeys from Jamaica to Britain through the Second World War to 1948, the year the HMT Empire Windrush docked at Tilbury. Adapted for the stage by Helen Edmundson Small Island follows the intricately connected stories of two couples. Hortense yearns for a new life away from rural Jamaica, Gilbert dreams of becoming a lawyer, and Queenie longs to escape her Lincolnshire roots. -
A Portrayal of Gender and a Description of Gender Roles in Selected American Modern and Postmodern Plays
East Tennessee State University Digital Commons @ East Tennessee State University Electronic Theses and Dissertations Student Works 5-2002 A Portrayal of Gender and a Description of Gender Roles in Selected American Modern and Postmodern Plays. Bonny Ball Copenhaver East Tennessee State University Follow this and additional works at: https://dc.etsu.edu/etd Part of the English Language and Literature Commons, and the Feminist, Gender, and Sexuality Studies Commons Recommended Citation Copenhaver, Bonny Ball, "A Portrayal of Gender and a Description of Gender Roles in Selected American Modern and Postmodern Plays." (2002). Electronic Theses and Dissertations. Paper 632. https://dc.etsu.edu/etd/632 This Dissertation - Open Access is brought to you for free and open access by the Student Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. The Portrayal of Gender and a Description of Gender Roles in Selected American Modern and Postmodern Plays A dissertation presented to the Faculty of the Department of Educational Leadership and Policy Analysis East Tennessee State University In partial fulfillment of the requirements for the degree Doctor of Education in Educational Leadership and Policy Analysis by Bonny Ball Copenhaver May 2002 Dr. W. Hal Knight, Chair Dr. Jack Branscomb Dr. Nancy Dishner Dr. Russell West Keywords: Gender Roles, Feminism, Modernism, Postmodernism, American Theatre, Robbins, Glaspell, O'Neill, Miller, Williams, Hansbury, Kennedy, Wasserstein, Shange, Wilson, Mamet, Vogel ABSTRACT The Portrayal of Gender and a Description of Gender Roles in Selected American Modern and Postmodern Plays by Bonny Ball Copenhaver The purpose of this study was to describe how gender was portrayed and to determine how gender roles were depicted and defined in a selection of Modern and Postmodern American plays. -
Travesties: the Debate on Art and the Function of the Artist…….…...2
Hauptseminar „Tom Stoppard“ SS 2006 Leitung: Prof. Bernhard Reitz _______________________________________________________ Quadrinomial Perspective on Art by Means of Style Variation and Dramatic Form AA LLiinngguuiissttiicc AAnnaallyyssiiss ooff TToomm SSttooppppaarrdd’’ss TTrraavveessttiiess ((11997744)) __________________________________________________ Sabrina Schmidt 2007 Table of Contents 1. Introduction.................................................................................................................................1 2. Style Variation in Travesties: The Debate on Art and the Function of the Artist…….…...2 2.1 The Futile Dadaism of Tristan Tzara…………………………………...….………………..3 2.2 James Joyce as “High Priest of Art”………………………………………..……………….4 2.3 Henry Carr’s Victorian Conservatism………………………………………………………5 2.4 Lenin’s Stalinist Utilitarianism……………………………………………………………...7 3. The Play Itself and its Form as a Means of Exploring Art………………………………….9 3.1 The Aspect of Intertextuality………………………………………………………………..9 3.1.1 Oscar Wilde’s The Importance of Being Earnest as Structural Device………...…...9 3.1.2 Stoppard’s Approach to Art: Literary References to The 18th Sonnet, Ulysses, and Artist Descending a Staircase..............................................................10 3.2 The Aspect of Theatricality………………………………………………………………..10 3.2.1 A Play-within-a-Play…………………………………………..…………………..11 3.2.2 Parodying of the Well-Made-Play……………………………………………........11 3.3 The Aspect of Language: Travesty in Travesties…………………………………………12 4. Conclusion……………………………………………………………………………..……. -
OSLO Casting Announcement
MICHAEL ARONOV, ADAM DANNHEISSER, JENNIFER EHLE, DANIEL JENKINS, DARIUSH KASHANI, JEFFERSON MAYS, DANIEL ORESKES, HENNY RUSSELL, JOSEPH SIRAVO, T. RYDER SMITH TO BE FEATURED IN THE LINCOLN CENTER THEATER PRODUCTION OF “OSLO” a new play by J.T. ROGERS directed by BARTLETT SHER PREVIEWS BEGIN THURSDAY, JUNE 16 OPENING NIGHT IS MONDAY, JULY 11 AT THE MITZI E. NEWHOUSE THEATER Lincoln Center Theater (under the direction of André Bishop) has announced that Michael Aronov, Adam Dannheisser, Jennifer Ehle, Daniel Jenkins, Dariush Kashani, Jefferson Mays, Daniel Oreskes, Henny Russell, Joseph Siravo, and T. Ryder Smith will be featured in the cast of its upcoming production of OSLO, a new play by J.T. Rogers, directed by Bartlett Sher. Commissioned by Lincoln Center Theater, OSLO begins performances Thursday, June 16 and will open Monday, July 11 at the Mitzi E. Newhouse Theater (150 West 65 Street). Additional casting will be announced at a later date. It’s 1993. The world watches the impossible: Israeli Prime Minister Yitzhak Rabin and Palestinian Liberation Organization Chairman Yasser Arafat, standing together in the White House Rose Garden, signing the first ever peace agreement between Israel and the PLO. How were the negotiations kept secret? Why were they held in a castle in the middle of Norway? And who are these mysterious negotiators? A darkly comic epic, OSLO tells the true, but until now, untold story of how one young couple, Norwegian diplomat Mona Juul (to be played by Jennifer Ehle) and her husband social scientist Terje Rød-Larsen (to be played by Jefferson Mays), planned and orchestrated top-secret, high-level meetings between the State of Israel and the Palestine Liberation Organization, which culminated in the signing of the historic 1993 Oslo Accords. -
Waiting for Godot and Rosencrantz and Guildenstern Are Dead Axel KRUSI;
SYDNEY STUDIES Tragicomedy and Tragic Burlesque: Waiting for Godot and Rosencrantz and Guildenstern are Dead AxEL KRUSI; When Rosencrantz and Guildenstern are Dead appeared at the .Old Vic theatre' in 1967, there was some suspicion that lack of literary value was one reason for the play's success. These doubts are repeated in the revised 1969 edition of John Russell Taylor's standard survey of recent British drama. The view in The Angry Theatre is that Stoppard lacks individuality, and that Rosencrantz and Guildenstern are Dead is a pale imitation of the theatre of the absurd, wrillen in "brisk, informal prose", and with a vision of character and life which seems "a very small mouse to emerge from such an imposing mountain".l In contrast, Jumpers was received with considerable critical approval. Jumpers and Osborne's A Sense of Detachment and Storey's Life Class might seem to be evidence that in the past few years the new British drama has reached maturity as a tradition of dramatic forms aitd dramatic conventions which exist as a pattern of meaningful relationships between plays and audiences in particular theatres.2 Jumpers includes a group of philosophical acrobats, and in style and meaning seems to be an improved version of Stoppard's trans· lation of Beckett's theatre of the absurd into the terms of the conversation about the death of tragedy between the Player and Rosencrantz: Player Why, we grow rusty and you catch us at the very point of decadence-by this time tomorrow we might have forgotten every thing we ever knew. -
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.