DOCSLIB.ORG

The Boys from Syracuse

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Boys from Syracuse AND STEVEN MALER FOUNDING ARTISTIC DIRECTOR PRESENT Rodgers and Hart's The Boys from Syracuse August 31, 2016 7 pm at the DCR’s Hatch Shell Boston Landmarks Orchestra VIOLIN I BASSOON Gregory Vitale, concertmaster Donald Bravo, principal Christine Vitale Gregory Newton Pattison Story Rebecca Katsenes HORN Tera Gorsett Kevin Owen, principal Stacey Alden TRUMPET VIOLIN II Dana Oakes, principal Paula Oakes, principal Jesse Levine Melissa Howe Robert Curtis TROMBONE Maynard Goldman Robert Couture, principal VIOLA HARP Kenneth Stalberg, principal Ina Zdorovetchi, principal Abigail Cross PERCUSSION Donna Jerome Robert Schulz, principal Jean Haig CELLO Maynard Goldman, Aron Zelkowicz, principal Personnel Manager Melanie Dyball Jolene Kessler Kristo Kondakci, Assistant Conductor BASS Robert Lynam, principal Barry Boettger FLUTE. PICCOLO Lisa Hennessy, principal OBOE, ENGLISH HORN Andrew Price, principal CLARINET, ALTO SAX Steven Jackson, principal CLARINET, BASS CLARINET, ALTO SAX Ryan Yuré TENOR SAX, BARITONE SAX, CLARINET, BASS CLARINET Brent Beech Boston Landmarks Orchestra Commonwealth Shakespeare Company present The Boys from Syracuse (1938) based on The Comedy of Errors by William Shakespeare Music by Richard Rodgers Lyrics by Lorenz Hart Book by George Abbott+ Orchestration by Hans Spialek Cast (in order of appearance) Sergeant Leo Pierre Roy Antipholus of Ephesus Andy McLeavey* Dromio of Ephesus Larry Coen* Antipholus of Syracuse Justin Blanchard* Dromio of Syracuse Remo Airaldi* Duke of Ephesus Jerry Goodwin Aegeon Mark W. Soucy Luce Liliane Klein* Adriana Jennifer Ellis* Luciana Jenna Augen* Seeress Ramona Lisa Alexander* Citizens, Merchants, Policemen, Ladies of the Evening: Leah Carnow, Brittany Martel, Kate Penner, Suzi Weisberg Serge Clivio*, Steven Del Col, Brad Foster Reinking, Jacob Rosenbaum Conductor: Christopher Wilkins Stage Manager: Amy Witherby* Director: Steven Maler Asst. Stage Manager: Marcie Ann Friedman* Co-Director: Adam Sanders Vocal Sound Mix: Brian McCoy Choreographer: Peter DiMuro Sound Design & Audio Mix: Steve Colby Musical Preparation: Justin Blackwell Production Manager: Renee E. Yancey Costume Designer: Brooke Stanton Asst. Production Manager: Marisa Brink CSC Artistic Programs Coordinator: Victoria Townsend *Members of Actors' Equity Association +new adaptation of the George Abbott book by Larry and Jennifer Hart, with consultation by Thomas Meehan Special thanks to Matthew Peter Donoghue and Nick Paleologos for their efforts to make this event possible. Act I Overture Scene 1: A public square in Ephesus, before the Temple of Justice. He Had Twins (Sergeant, Ensemble) Fanfare for the Entrance of the Duke Dear Old Syracuse—Dance (Antipholus of Syracuse) What Can You Do With a Man? (Luce, Dromio of Ephesus) Scene 2: Inside the house of Antipholus of Ephesus. Falling in Love With Love (Adriana, Female Ensemble) Falling in Love Reprise (Adriana) Falling in Love Instrumental Scene 3: The square again. The Shortest Day of the Year (Antipholus of Ephesus, Sergeant, Assistant Courtesan) Scene 4: Inside the house again. The Shortest Day of the Year Reprise (Adriana) This Can’t Be Love (Antipholus of Syracuse, Luciana) This Can’t Be Love Reprise (Luciana) Scene 5: A street before the house. Finale Act I (Company) Intermission Act II Scene 1: The street. Sunrise Music—Ladies of the Evening—Dance (Courtesans, Sergeant, Company) He and She (Luce, Dromio of Syracuse) He and She Reprise (Luce, Dromio of Syracuse) You Have Cast Your Shadow on the Sea (Antipholus of Syracuse, Luciana) Scene 2: The square. Come With Me (Sergeant, Angelo, Antipholus of Ephesus, Male Ensemble) Scene 3: Inside the house. Sing for Your Supper (Adriana, Luciana, Luce) Sing for Your Supper Dance (Adriana, Luciana, Luce) Scene 4: The square. Oh, Diogenes!—Dance (Luce, Ensemble) Scene 5: The Temple. Finale Ultimo (This Can’t Be Love) This concert is presented by arrangement with Rodgers & Hammerstein: An Imagem Company. From the Artistic Directors Dear Friends, Welcome to the fourth co-production of the Boston Landmarks Orchestra and Commonwealth Shakespeare Company. The Boys from Syracuse has long been on our wish list. We relish the opportunity to work together on every project, but this show is especially well-suited to this orchestra, this company, and our long-term partnership. Boys was the first Shakespeare-based Broadway musical. It opened in 1938, a full decade before Kiss Me, Kate. The production boasted the era’s most successful creative team: composer Richard Rodgers, lyricist Lorenz Hart, and librettist and director George Abbott. The score includes several Rodgers and Hart hits, as well as exhilarating dance numbers originally choreographed by George Balanchine. For these reasons, it serves first as a splendid vehicle for our remarkable singing-acting-dancing cast. This production has also given our creative team a rare opportunity to contribute to the Broadway legacy. The script of Boys pleads for “freshening up,” adjustments to make it more coherent to a contemporary audience. We have been blessed by the contributions of Larry Hart—the lyricist’s nephew and son of the original Dromio of Ephesus—and his wife Jennifer Hart. They have suggested numerous revisions improving the book’s clarity, conciseness, and humor. Also advising on the project has been 3-time Tony Award winning librettist, Thomas Meehan. The original orchestrations for The Boys from Syracuse were by another leading figure of the age, Hans Spialek. His ingenious use of woodwinds, sumptuous string writing, and idiomatic Swing Band styling mark this score as a classic of the age. Yet tonight this version receives only its second professional performance since the original production closed in 1939. The Spialek materials had become such a hodge-podge of edits, over-markings, and rewrites that they had been declared unusable. With the encouragement of Rodgers & Hammerstein: An Imagem Company, David Kempers has fully restored the original score for this performance, publishing it on modern software and producing a beautiful new set of orchestral parts. In doing so, he has single-handedly resurrected an historic work of American musical theater. Part of the fun of the Boys book is its patchwork of references to time and place, which in our production includes: present-day Boston; Broadway in the thirties; Elizabethan England; and ancient Greece. The name of the show adds a further twist: theatergoers of the thirties would have understood the show’s title as an inside joke referring to the Shubert Brothers—originally from Syracuse, New York—who owned most of the theaters on Broadway. They also owned the Shubert Theatre in Boston, where The Boys from Syracuse had pre-Broadway tryouts. We imagine our production taking place in a 1930s radio studio, with the Boston Landmarks Orchestra as the dance band behind Peter DiMuro’s wonderful choreography. We may well revisit The Boys from Syracuse in future seasons. Additional adjustments to the book may prove helpful in revealing the show’s eighty-year-old charms to contemporary audiences. It would also be of enormous practical value to create a version of the original orchestration employing fewer players, more in line with the financial realities of modern-day Broadway. Tonight, however, we can revel in the ‘extravagance’ of Hans Spialek’s lush textures as they pour forth from the thirty musicians who make up tonight’s orchestra. We are thrilled you are here to be a part of this notable, memorable, and immensely enjoyable occasion. With warmest wishes, Christopher Wilkins Steven Maler Music Director Founding Artistic Director Boston Landmarks Orchestra Commonwealth Shakespeare Company The BOSTON LANDMARKS ORCHESTRA performs free outdoor concerts in Boston throughout the summer, delighting thousands on a weekly basis. The Orchestra—made up of some of Boston’s most accomplished professional musicians—uses great symphonic music as a means of gathering together people of all backgrounds and ages in joyful collaboration. The Orchestra partners with a range of cultural and social service organizations to ensure participation across ethnic, economic, and cultural divides. www.landmarksorchestra.org CHRISTOPHER WILKINS was appointed Music Director of the Boston Landmarks Orchestra in the spring of 2011. Since then he has reaffirmed founder Charles Ansbacher’s vision of making great music accessible to the whole community, emphasizing inclusive programming and collaborative work. Mr. Wilkins also serves as Music Director of the Akron Symphony. As a guest conductor, he has appeared with many of the leading orchestras of the United States. Previously he served as Music Director of the San Antonio Symphony and the Colorado Springs Symphony. He also served as Resident Conductor of the Youth Orchestra of the Americas, assisting in the formation of the orchestra in its inaugural season, and leading it on tours throughout the Americas. Born in Boston, Mr. Wilkins earned his bachelor's degree from Harvard College in 1978 and his master’s from the Yale School of Music in 1981. COMMONWEALTH SHAKESPEARE COMPANY is dedicated to bringing the works of William Shakespeare in vital and contemporary productions to the people of Boston and to exploring Shakespeare’s plays with local youth in innovative and creative ways. Best known for its annual free performances on Boston Common, CSC also presents several free play reading events during the year, including Theatre in the Rough and Shakespeare & Leadership. The Company fulfills its educational
Load more

Recommended publications
  • The First Critical Assessments of a Streetcar Named Desire: the Streetcar Tryouts and the Reviewers
    FALL 1991 45 The First Critical Assessments of A Streetcar Named Desire: The Streetcar Tryouts and the Reviewers Philip C. Kolin The first review of A Streetcar Named Desire in a New York City paper was not of the Broadway premiere of Williams's play on December 3, 1947, but of the world premiere in New Haven on October 30, 1947. Writing in Variety for November 5, 1947, Bone found Streetcar "a mixture of seduction, sordid revelations and incidental perversion which will be revolting to certain playgoers but devoured with avidity by others. Latter category will predomin­ ate." Continuing his predictions, he asserted that Streetcar was "important theatre" and that it would be one "trolley that should ring up plenty of fares on Broadway" ("Plays Out of Town"). Like Bone, almost everyone else interested in the history of Streetcar has looked forward to the play's reception on Broadway. Yet one of the most important chapters in Streetcar's stage history has been neglected, that is, the play's tryouts before that momentous Broadway debut. Oddly enough, bibliographies of Williams fail to include many of the Streetcar tryout reviews and surveys of the critical reception of the play commence with the pronouncements found in the New York Theatre Critics' Reviews for the week of December 3, 1947. Such neglect is unfortunate. Streetcar was performed more than a full month and in three different cities before it ever arrived on Broadway. Not only was the play new, so was its producer. Making her debut as a producer with Streetcar, Irene Selznick was one of the powerhouses behind the play.
    [Show full text]
  • Program Booklet
    February 9 & 16 Nashoba-wheelockfam5.5x7.5.indd 1 9/23/19 3:16 PM WFT@BU January/February 2020 Why Little Women? “It was the best of times, it was the worst of times.” “Call me Ishmael.” And “Christmas won’t be Christmas without any presents.” Little Women is on a short list of great works of literature featuring famous first lines. I returned to these opening lines for our first rehears- al and realized that the first two pages of Louisa May Alcott’s classic novel contain all the ingredients of her story: The four sisters are the first four characters whose voices we hear – this is a story about them. Jo has the first of these four lines – she will be the trailblazing leader of the sisters. Father is away at war – this is a matriarchal home. Marmee has asked her daughters to sacrifice their Christmas presents so as not to “spend money for pleasure, when our men are suffering so in the army” — this family is generous and mission-driven. Each sister has a different passion: books, music, drawing — this family does not have a lot, but they do have each other. It is their charity, love, and fire that make this family the Marches, that enable us to see ourselves in one of the four sisters, or parts of ourselves in all. As a young reader and moviegoer, what always spoke to me about Little Women is the rebel story of a young woman defying the gender norms of her time period through writing her own story.
    [Show full text]
  • Hart, Lorenz (1895-1943) Lorenz Hart (Standing, by Raymond-Jean Frontain Right) with Richard Rodgers in 1936
    Hart, Lorenz (1895-1943) Lorenz Hart (standing, by Raymond-Jean Frontain right) with Richard Rodgers in 1936. Encyclopedia Copyright © 2015, glbtq, Inc. Library of Congress Prints and Photographs Entry Copyright © 2002, glbtq, Inc. Division. Reprinted from http://www.glbtq.com Barely five feet tall, balding early, and possessing a disproportionately large head, Larry Hart was the first to disparage his own attractiveness. His jokes, however, masked a deeply-rooted inability to accept the possibility of romantic happiness or sexual gratification. Hart impulsively proposed marriage to several women friends, none of whom thought his offer serious. And when he allowed himself to act upon his desire for other men, he seems to have had difficulty performing sexually. (Biographer Frederick Nolan quotes one unidentified male partner's shock at discovering Hart cowering in the bedroom closet after sex, suggesting that the songwriter was unable actively to pursue homosexual pleasure without being overcome by guilt.) The result of such emotional imbroglio is that, despite having written lyrics as witty as any sung on the Broadway stage before or since, Hart is best remembered for his songs of unfulfilled desire and failed romance. Born Lorenz Milton Hart on May 2, 1895, to an immigrant Jewish family, Hart learned from his entrepreneur father that self-assertion allows survival. Never without a business venture, many of which were dishonest, Hart's father provided Larry with a lasting model for the cycles of impulsive free-spending and resulting impecuniosity that characterized Hart's own life. Hart entertained both friends and strangers lavishly, often living far beyond his means, but with a (sometimes unfounded) optimism that something would turn up.
    [Show full text]
  • Doug Elkins Choreography, Etc
    Christopher Duggan Christopher doug elkins choreography, etc. Doug Elkins, Choreographer/Artistic Director Amy Cassello, General Manager Anne Davison, Dramaturg Randi Rivera, Production Stage Manager Justin Levine, Music Co-Director Matt Stine, Music Co-Director Dancers: Alexander Dones, Mark Gindick, Deborah Lohse, Cori Marquis, Kyle Marshall, Aaron Mattocks, Donnell Oakley, John Sorensen-Jolink PROGRAM Hapless Bizarre -Intermission- Mo(or)town/Redux Thursday, March 6 at 7:30 PM Friday, March 7 at 8 PM Saturday, March 8 at 2 PM & 8 PM Support provided by the New England Foundation for the Arts' National Dance Project, with lead funding from the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation, with additional support from the National Endowment for the Arts. Media Sponsor 8 | DANCE CELEBRATION PROGRAM NOTES Hapless Bizarre Originally conceived by Doug Elkins, Barbara Karger and Michael Preston Choreography by Doug Elkins in collaboration with the dancers Music Direction and Engineering by Justin Levine and Matt Stine Dramaturgy by Anne Davison Lighting by Amanda K. Ringger Costumes by Oana Botez Creative Consulting by David Neumann Dancers: Mark Gindick, Deborah Lohse, Cori Marquis, Kyle Marshall, Donnell Oakley, John Sorensen-Jolink Hapless Bizarre was made possible by the New England Foundation for the Arts' National Dance Project, with lead funding from the Doris Duke Charitable Foundation and additional funding from the Andrew W. Mellon Foundation, the MetLife Foundation and the National Endowment for the Arts. Hapless Bizarre was hatched and first previewed at The Yard, an artist residency and performance center dedicated to contemporary dance, theatre and related arts, as part of the 2012-2013 season.
    [Show full text]
  • Speaking Flyer for October 2007.Pub
    SAVORING THE CLASSICAL TRADITION IN DRAMA ILLUMINATING PRESENTATIONS BY The Shakespeare Guild IN COLLABORATION WITH The National Arts Club The English-Speaking Union The Shakespeare Theatre Company F. MURRAY ABRAHAM x Monday, October 15 F. MURRAY ABRAHAM is best known for his compelling Salieri in the 1984 film Amadeus. For this performance he earned both an Academy Award and a Golden Globe. He’s also widely admired for such films as The Sunshine Boys (1975), All the President’s Men (1976), Scarface (1983), The Name of the Rose (1986), Bonfire of the Vanities (1990), Last Action Hero (1993), Mighty Aphrodite (1995), and Finding Forrester (2000). What Mr. Abraham’s fans may be less familiar with are the stage protago- NATIONAL ARTS CLUB nists he’s depicted, among them Bottom, Iago, Lear, Macbeth, 15 Gramercy Park South Malvolio, and, most recently, Shylock, in a stirring Merchant of Manhattan Venice that won plaudits not only in New York but in Stratford- upon-Avon, where it was a highlight of the ROYAL SHAKESPEARE Program, 7:30 p.m. COMPANY’s Complete Works festival. He’ll talk about these and Members, $25 Others, $30 other roles during a dialogue with the Guild’s JOHN ANDREWS. x KEN LUDWIG Monday, November 5 A globally renowned playwright, KEN LUDWIG has enjoyed success on Broadway, in London’s legendary West End, and in dozens of other prestigious settings. Actors who have performed his works include stars like Alec Baldwin, Carol Burnett, Joan Collins, Hal Holbrook, Frank Langella, Lynn Redgrave, and Mickey Rooney. LEND ME A TENOR, produced by Andrew Lloyd Webber, has become one of the most popular comedies of our era; it won NATIONAL ARTS CLUB two Tony Awards in New York, and it was nominated for an Olivier when it graced the British theatre that is now named 15 Gramercy Park South for Sir John Gielgud.
    [Show full text]
  • BTW.C.Schedule2017(MH Edit)
    Broadway Teachers Workshop C 2017 Schedule (*subject to change) Thursday, July 13, 2017 Today’s workshops are held at The Sheen Center; 18 Bleecker Street, New York, NY 10012 9:15 a.m. – 10:00 a.m. Registration/ Welcome/ Meet and Greet Your Peers 10:00 a.m. – 11:30 a.m. Opening Session: Creativity and Connection: with Susan Blackwell ([title of show]) In this fun, festive welcome session, Susan Blackwell kicks off your Broadway Teachers Workshop with a bang! This year's theme is CREATIVITY and--as always--the discussion will be spirited, the ideas shared will be inspiring, and the connections made will lay the foundation for a warm, wonderful BTW adventure! Susan Blackwell is on a mission to free people’s creativity and self-expression. She champions this cause as a performer, writer, educator and business consultant. She played a character based on herself in the original Broadway musical [title of show} and the Off-Broadway musical Now. Here. This. She created and hosts the freewheeling chat show ‘Side by Side by Susan Blackwell’ on Broadway.com. As the founder of Susan Blackwell & Co., she partners with like-minded compassionate artists and thought leaders to deliver inspiring entertainment and educational offerings aimed at freeing people’s creativity and self-expression. 11:45 a.m. – 1:00 p.m. A.) EXPLORING FRANK LOESSER: A concert and class with Broadway Music Director David Loud Join Broadway Music Director David Loud (Scottsboro Boys, Curtains, The Visit) in another of his delightful inquiries into the songs of our greatest theatre composers.
    [Show full text]
  • NETC Newsletter V12n3
    A Quarterly Publication of the New England Theater NETCNews Conference, Inc. volume 12 number 3 summer 2003 A Brief History of the NETC Continues to Honor New England Theatre America’s Best New Plays inside Conference Auditions with the John Gassner Award The first NETC “Summer Theatre Auditions” were John Gassner was one of his generation’s leaders in the this issue held on April 15, 1967 at the University of New American theatre. Born in Hungary, he emigrated to Hampshire. The following year they moved to the U.S. as a child, and later attended Columbia Northeastern and then to The Boston Conservatory. University. He became a critic for the New York Herald Special Feature: Chairperson for those first three years was John Tribune and New York Magazine, and was an editor for The Forum Edwards. Harlan Grant, who taught at the Simon and Schuster. From 1931 to 1944, he was chair- Conservatory, chaired the auditions for three years fol- man of the script department of the Theatre Guild. page 6 lowed by Robert Leibacher and the Conservatory host- Aside from producing many stage productions, he ed until 1974. wrote and lectured prolifically on the theatre; he was on the Yale faculty. He’s best known for his critical Special Feature: In 1975, Patricia Sankus took over as chair, moved the works on American plays. auditions to Northeastern and developed a system of A Cast of Thousands: preliminary and final auditions. Pat chaired the audi- This quote from his work gives us some idea of his tions until 1979 when Marie Philips took over.
    [Show full text]
  • The Moors Playbill
    Providence College DigitalCommons@Providence Playbill and Promotion The Moors (2018) Spring 4-13-2018 The Moors Playbill Providence College Follow this and additional works at: https://digitalcommons.providence.edu/the_moors_pubs Part of the Theatre and Performance Studies Commons Recommended Citation Providence College, "The Moors Playbill" (2018). Playbill and Promotion. 1. https://digitalcommons.providence.edu/the_moors_pubs/1 This Book is brought to you for free and open access by the The Moors (2018) at DigitalCommons@Providence. It has been accepted for inclusion in Playbill and Promotion by an authorized administrator of DigitalCommons@Providence. For more information, please contact [email protected]. Playbill here Providence College Department of Theatre, Dance & Film Angell Blackfriars Theatre, Smith Center for the Arts THE MOORS Written by Jen Silverman Music by Daniel Kluger Directed by MARY G. FARRELL Scenic Design Costume Design JOSHUA CHRISTOFFERSEN DAVID COSTA-CABRAL Lighting Design Sound Design JEN ROCK CHRIS WARREN Voice and Dialect Coach Fight Choreographer MEGAN CHANG JIM BEAUREGARD Contributing Fight Choreographer Craig Handel CAST Agatha Mireya Lopez Emilie Gabriella Sanchez Hudley Brittany Price Marjory Grace Dolan Mastiff Thomas Edwards Moor-hen Deirdre Lahiff There will be no intermission. PRODUCTION STAFF STAGE MANAGER HOUSE MANAGERS Gaby DeParis Emily Clark Gabi Dess ASSISTANT STAGE MANAGERS Olivia Ferri Tim Brown Annie Romano Paula Oronoz BOX OFFICE & PUBLICITY WIG & MAKEUP ARTIST Emily Clark Emily Christoffersen
    [Show full text]
  • Review of a Ship Without a Sail: the Life of Lorenz Hart by Gary Marmorstein
    Review of A Ship Without a Sail: The Life of Lorenz Hart by Gary Marmorstein The hits of the songwriting team of Richard Rodgers (1902-1979) and Lorenz Hart (1895-1943) are numerous. People familiar with what has been called “American Popular Song” since publication of the seminal work by Alec Wilder entitled: American Popular Song: The Great innovators – 1900-1950 in 1972, are fondly aware of the charms of “Manhattan,” “With a Song in My Heart,” “The Blue Room,” “Dancing on the Ceiling,” “Isn’t It Romantic,” “Blue Moon,” “It’s Easy to Remember,” “The Most Beautiful Girl in the World,” “”My Romance,” “Lover,” “There’s a Small Hotel,” “”The Lady is a Tramp,” “Bewitched,” “My Funny Valentine,” “”Where of When,” “Falling in Love with Love,” “This Can’t be Love,” “and “I Didn’t Know What Time it Was.” These Rodgers and Hart songs were ubiquitous in the golden age of American Popular Song, when they were sung from the Broadway stage, in Hollywood films, on network radio, and by singers with the great dance bands that endlessly toured the nation. Consequently, they became embedded in the musical consciousness (and subconscious) of a significant part of the American populace in the years 1925-1950, and beyond. In addition to these hits, all of which have considerable musical merit (thank you Mr. Rodgers) and lyrical merit (thank you Mr. Hart), are many other Rodgers and Hart songs of great worth. These include: “Mountain Greenery,” “This Funny World,” “Thou Swell,” “My Heart Stood Still,” “”You Took Advantage of Me,” “A Ship Without a Sail,” “He Was Too Good to Me,” “Ten Cents a Dance,” “”Spring is Here,” “”You Are Too Beautiful,” “Little Girl Blue,” “Glad to be Unhappy,” “Quiet Night,” “Have You Met Miss Jones?” “My Own,” “It Never Entered My Mind,” “I Could Write a Book,” and Wait ‘Till You See Her.” The songs of Rodgers and Hart have transcended the purposes for which they were created and are now a part of the fabric of American culture.
    [Show full text]
  • BTW.B.Schedule2017(MH Edit)
    Broadway Teachers Workshop B 2017 Schedule (*subject to change) Monday, July 10, 2017 Today’s workshops are held at The Sheen Center; 18 Bleecker Street, New York, NY 10012 9:15 a.m. – 10:00 a.m. Registration/ Welcome/ Meet and Greet Your Peers 10:00 a.m. – 11:30 a.m. Opening Session: Creativity and Connection: with Susan Blackwell ([title of show]) In this fun, festive welcome session, Susan Blackwell kicks off your Broadway Teachers Workshop with a bang! This year's theme is CREATIVITY and--as always--the discussion will be spirited, the ideas shared will be inspiring, and the connections made will lay the foundation for a warm, wonderful BTW adventure! Susan Blackwell is on a mission to free people’s creativity and self-expression. She champions this cause as a performer, writer, educator and business consultant. She played a character based on herself in the original Broadway musical [title of show} and the Off-Broadway musical Now. Here. This. She created and hosts the freewheeling chat show ‘Side by Side by Susan Blackwell’ on Broadway.com. As the founder of Susan Blackwell & Co., she partners with like-minded compassionate artists and thought leaders to deliver inspiring entertainment and educational offerings aimed at freeing people’s creativity and self-expression. 11:45 a.m. – 1:00 p.m. A.) EXPLORING FRANK LOESSER: A concert and class with Broadway Music Director David Loud Join Broadway Music Director David Loud (Scottsboro Boys, Curtains, The Visit) in another of his delightful inquiries into the songs of our greatest theatre composers.
    [Show full text]
  • Hershey Felder As Irving Berlin Title Page
    FEEL THE MOMENT 2015/2016 SEASON IN THIS ISSUE SEPTEMBER – OCTOBER 2015 Hershey Felder as Irving Berlin Title Page 3 Cast 4 About the Play 5 The Cast 8 The Creative Team 9 Acknowledgements 12 Sex with Strangers Title Page 13 Cast 14 The Cast 15 The Creative Team 16 In Memoriam 19 ATC Board of Trustees 20 ATC Artistic Director 21 ATC Interim Managing Director 22 Corporate and Foundation Donors 23 Individual Donors 24 ATC Staff 30 Theatre Information 32 Hershey Felder in ATC’s production of Hershey Felder as Irving Heather Lee Harper and Tyler Eglen in ATC’s Sex with Strangers. Berlin. Photo by Eighty-Eight, LLC Photo by John Groseclose 1 FEEL THE MOMENT 2015/2016 SEASON LOOKING FORWARD WELCOME TO THE OPENING OF ARIZONA THEATRE COMPANY’S 49TH SEASON! Think of theatre as a sort of time machine. Not only does it offer us a means to travel to other times and places, but it has unlimited power to enable us to experience worlds imagined by artists, with the ability to glean insights, appreciate perspectives and impart experiences from the most amazing of journeys. (And sometimes, with a marvelous musical score!) This season, we hope you’ll join ATC for an astonishing range of such remarkable experiences. If you’re already a season subscriber, our special THANK YOU for your support and for your ongoing commitment to the variety and scope of theatre we produce. If you’re not a season subscriber, we invite you to visit or call the ATC Box Office for information on the great savings and benefits that await.
    [Show full text]
  • A Study Guide
    a study guide compiled and arranged by the Education Department of The Shakespeare Theatre of New Jersey The Shakespeare Theatre of New Jersey The Comedy of Errors study guide — 2 The Comedy of Errors a support packet for studying the play and attending The Shakespeare Theatre of New Jersey’s Main Stage production General Information p3- Using This Study Guide p17- Sources for this Study Guide (and Additional Resources) William Shakespeare p4- Shakespeare: Helpful Tips for Exploring & Seeing His Works p5- The Life of William Shakespeare p5- Shakespeare’s London p6- Are You SURE This Is English? About The Play & This Production p7- The Comedy of Errors: A Synopsis p8- Sources and History of the Play p9- Commentary and Criticism Studying Shakespeare’s The Comedy of Errors p10- Shakespeare’s Common Tongue p10- Terms and Phrases found in The Comedy of Errors p11- The Comedy of Errors: Food For Thought p12- In All Seriousness: The Comedy of Errors p14- Additional Topics for Discussion Classroom Applications p14- Follow-Up Activities p15- “Test Your Understanding” Quiz p16- What Did He Say? p16- Who Said That? p17- “Test Your Understanding” and “Who Said That?” Answer Keys p18- Meeting the Core Curriculum Content Standards About the Shakespeare Theatre of New Jersey p19- About The Shakespeare Theatre of New Jersey p19- Other Opportunities for Students... and Teachers The Shakespeare Theatre of New Jersey is an independent, professional theatre located on the Drew University campus. The Shakespeare Theatre of New Jersey’s programs are made possible, in part, by funding from the New Jersey State Council on the Arts/Department of State, a Partner Agency of the National Endowment for the Arts, as well as funds from the National Endowment for the Arts.
    [Show full text]