DOCSLIB.ORG

Twyla Tharp Dance

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Twyla Tharp Dance BROOKLYN ACADEMY OF MUSIC P~ENTS The Gershwin Celebration: A tribute to the musical collaboration of George and Ira Gershwin in celebration of the 125th anniversary of the BROOKLYN ACADEMY OF MUSIC MARCH 11-28, 1987 The Gershwin Celebration has been made possible with grants from Bankers Tru8t Company, The Wallace Funds. and The Aaron Diamond Foundation. Addi· tional funding has been provided by the National BROOKLYN ACADEMY OF MUSIC Endowment for the Arts. the New York State Council on the Arts and the New York City Department of 30 LAFAYETTE AVENUE Cultural Affairs. The BAM facility is owned by the City BROOKLYN. NEW YORK 11217·1486 of New York. and its operation is supported in part with public funds provided through the New York City II, •• ' .••• Forfurtherinformationcall(718)6J().4100 Department of Cultural Affairs. ats another way' ofsaying harIJlOny In urban living? 5t41RRElr 01'6111- managed by the Delmar division of GRENADIER REALlY CORP. Robert C. Rosenberg, President 1279 Delmar. loop, Brooklyn. NY 11239 SIARRETI CITY IS PROUD TO BE ASSOCIATED WITH THE BROOKLYN ACADEMY OF MUSIC. J BROOKLYN ACADEMY OF MUSIC Harvey Lichtenstein, President and Executive Producer OpcraHouse February 3- March I, 1987 in association with 1\vyla Tharp Dance Foundation, Inc. presents TWYLA THARP DANCE with SHELLEY WASHINGIDN RICHARD COLIDN WILLIAM WHITENER JOHN CARRAFA KEVIN O'DAY JAMIE BISHIDN ERZSEBET FOLD! STEPHANIE FOSTER JULIE NAKAGAWA CATHERINE OPPENHEIMER ELLEN TROY KAREN STASICK KEVIN SANTEE CHERYL JONES MICHAEL SCHUMACHER and IDMRAWE JENNIFER WAY Production designed by Lighting designed by SANID LOQUASID JENNIFER TIPIDN ""rfonnances by TWYLA THARP DANCE have been made possible in pan with public funds from the New York Slate Council on the Arts and the National Endowment for the Arts, Inc. This program has been sponsored by grants from THE COCA-COLA FOUNDAllON ~ CHA8E ftIoa.. __••. A. Additional funds have been provided by The National Endowment for the Arts and The New York Slate Council on the Arts. The BAM facility is owned by the City of New York, and its operation is supported in pan with public funds provided through the New York City Depanment of Cultural Affairs. PROGRAM A Opera House February 3, 1987 at 7 pm February 7, 10, 13, 18, 19, 25, 1987 at 8 pm February 8, 14, 1987 at 2 pm Baker's Dozen Premiere: February, 1979, Brooklyn Academy of Music, New lVrk Choreography by Twyla Tharp Costumes designed by Santo Loquasto Lighting designed by Jennifer Tipton Music composed by Willie "The Lion" Smith Music performed by Miles Fusco Echoes of Spring Tango a la Caprice Concentrating Relaxin' Oppenheimer, Bishton; Foster, Santee; Washington, Carrafa; Troy, Whitener; Stasick, O'Day; Foldi, Colton -Intermission- In The Upper Room Premiere: August, 1986, Ravinia Festival, Highland Park, Illinois Choreography by Twyla Tharp Music by Philip Glass Costumes designed by Norma Kamali Lighting designed by Jennifer Tipton Music produced by Kurt Munkacsi Music conducted by Michael Riesman Commissioned by the Norman and Rosita Winston Foundation I. Washington, Stasick and Carrafa, O'Day, Bishton n. Washington, Stasick, Foldi, Oppenheimer and Colton, Whitener, Foster, Nakagawa, Troy, Santee m. Washington, O'Day, Foldi, Carrafa, Stasick, Bishton IV. Colton, Whitener, Foster, Nakagawa, Troy, Santee V. Washington, Stasick, Foldi and Carrafa, O'Day, Bishton VI. Stasick, Whitener and Washington, Colton VB. Carrafa, O'Day, Bishton vm. Oppenheimer, Colton, Whitener, Foster, Nakagawa, Troy, Santee IX. Full Company This work was made possible, in part, with public funds from the New York State Council on the Arts and the National Endowment for the Arts. Also, special thanks for the generous support of the 0011 Foundation, The Andrew W. Mellon Foundation, tile Mobil Foundation, Inc., The Ida and William Rosenthal Foundation and Agnes Gund Saalfield. s BAM CELEBRATES 125 YEARS tion which raised over $400,000 for sick and "BAM is a well-nigh perfect example of how wounded Union soldiers. The Academy was also a ... cultural enterprise can be . made to prosper the site of the gala celebration for the opening of in its old age even more splendidly than it did in the Brooklyn Bridge in 1883. its youth." Brendan Gill-The New Yorker. 1976 The first chapter in the Academy's history came to a dramatic close when the building was The Brooklyn Academy of Music, America's destroyed by fire on November 30, 1903. The New oldest performing arts center, opened in 1861 and lVrk Times account of the disaster concluded by quickly became the center of Brooklyn's cultural saying, "there has hardly been a great public move­ life. Since its inception, the Academy has been ment of national import but the old Academy has committed to presenting the finest in traditional been at one time or another its principal focus." and contemporary performing arts. Historically, Fortunately, immediate steps were taken to pre­ this has meant the presentation of national and serve the institution when a "committee of one hun­ international artists, often in their New York and dred," made up of businessman, artists, and national debuts, in the fields of dance, music, and community leaders, quickly raised more than one theater. Today, under the direction of President million dollars to erect a new facility. The firm of and Executive Producer Harvey Lichtenstein, Herts and Tallant, architects of the Lyceum, New BAM enters its 125th year with an equally strong Amsterdam, and (now demolished) Helen Hayes commitment to artists of international stature and theaters in Manhattan, won the juried architectural an artistic vision encompassing the newest forms competition by unanimous vote. The Opera House in the performing arts. was the largest theater and the Academy the only The Academy's evolution into one of the preemi­ complex the firm ever designed. nent cultural institutions in America could not have Although a number of official opening events been foreseen in 1857, when a group of prominent were held at the new Academy in the fall of 1908, Brooklynites formed the Philharmonic Society the grandest festivities were reserved for the of Brooklyn and established themselves in the Metropolitan Opera's production of Faust starring Athenaeum in Brooklyn Heights. By 1859, the Geraldine Ferrar and Enrico Caruso. The season Philharmonic Society had outgrown its quarters, continued with Isadora Duncan, David Belasco's and a charter was obtained to construct a concert Kfi"ens of Virginia with Mary Pickford, Madame hall. They were able to raise the necessary money Butterfly conducted by Arturo Toscanini, and Anna from within their ranks, and chose Leopold Eidlitz, Pavlova dancing with Mikhail Mordkin. a church designer, to be the architect. The per­ In the years that ensued, dance began to capture forming arts complex which opened on Montague the fancy of the American public, and the Brooklyn Street in January of 1861 housed an Opera House Academy of Music supplied plenty of opportunities which seated 2300, and brought the likes of Sarah to see dance at its fmest with the yearly return of Bernhardt, John Drew, and Edwin Booth to the Ballet Russe de Monte Carlo. The National Brooklyn audiences. Ballet of Canada, the Agnes de Mille Dance The presentations were not limited to opera Theatre, and the Robert Joffrey Theatre Ballet also and theater. The Academy was an important stop performed on the Academy's boards. on the lyceum circuit, which brought Booker T. In 1952, a single concert provided Merce Washington, Henry Ward Beecher, and Mark Cunningham, Jean Erdman, Erick Hawkins, and Twain to lecture there, along with Henry Stanley Donald McKayle the opportunity to display their and his account of the discovery of Dr. Livingston. choreography. Martha Graham and Anna Sokolow A center. of social as well as cultural life, the also returned to Brooklyn, earning the Academy an Brooklyn Academy of Music hosted the great Civil early reputation for its modem dance presentations. War Sanitary Fair, a two week bazaar and exposi- In 1967 Harvey Lichtenstein became Executive ******** Director and brought the Academy into a new ******** era of theatrical presentation. From the Merce Cunningham Dance Company's first major New ******** York season in 1968, to the presentation of Philip Glass and Robert Wilson's extraordinary Einstein ******** on the Beach in 1984, Lichtenstein has earned BAM a reputation as the most innovative perform­ ing arts center in the country, and has been influen­ tial in making the Academy a moving force in Citibank is Brooklyn's renaissance. The Academy has continually brought new per­ formers and productions from allover the world to proud to be New York, including Maurice Bejart's Ballet of the Twentieth Century and Jerzy Grotowski's Polish a Brooklyn Laboratory Theatre in 1969, Peter Brook's produc­ tion of A Midsummer Night's Dream with the Royal Shakespeare Company in 1971, and, most recently, Sadler's Wells Royal Ballet and the Central Ballet Citizen of China in 1986. This year the Brooklyn Academy of Music As an active corporate citizen, celebrates its 125th Anniversary with pride in its ilMlttkl&li_jjiliml\l.~~m$lmNi'!ml1$l artistic achievements and its tradition of commu­ nity involvement, as well as a firm resolve to con­ our involvement with the Brooklyn tinue to grow in each of these pursuits. BAM's m;;;i&=l!=~'m(ij@_*~ 1986-87 season includes the fourth annual Ne~t community goes far beyond Wave Festival, a month of Twyla Tharp Dance, a tribute to Brooklynite George Gershwin, and ~~'1jj@%rumi!i1i!_,~ a series of programs devoted to the Brooklyn business. We value and sup­ community. In this, BAM's biggest season yet, ~'$!$M~_llilMft_~lt\l/fA· 'H!i!$m_ the Academy will look back fondly on the past 125 years, and look forward eagerly to the next -125.
Load more

Recommended publications
  • Nutcracker Three Hundred Sixty-Seventh Program of the 2012-13 Season ______Indiana University Ballet Theater Presents
    2012/2013 Peter Ilyich Tchaikovsky NutcrackerThe Three Hundred Sixty-Seventh Program of the 2012-13 Season _______________________ Indiana University Ballet Theater presents its 54th annual production of Peter Ilyich Tchaikovsky’s The Nutcracker Ballet in Two Acts Scenario by Michael Vernon, after Marius Petipa’s adaptation of the story, “The Nutcracker and the Mouse King” by E. T. A. Hoffmann Michael Vernon, Choreography Andrea Quinn, Conductor C. David Higgins, Set and Costume Designer Patrick Mero, Lighting Designer Gregory J. Geehern, Chorus Master The Nutcracker was first performed at the Maryinsky Theatre of St. Petersburg on December 18, 1892. _________________ Musical Arts Center Friday Evening, November Thirtieth, Eight O’Clock Saturday Afternoon, December First, Two O’Clock Saturday Evening, December First, Eight O’Clock Sunday Afternoon, December Second, Two O’Clock music.indiana.edu The Nutcracker Michael Vernon, Artistic Director Choreography by Michael Vernon Doricha Sales, Ballet Mistress Guoping Wang, Ballet Master Shawn Stevens, Ballet Mistress Phillip Broomhead, Guest Coach Doricha Sales, Children’s Ballet Mistress The children in The Nutcracker are from the Jacobs School of Music’s Pre-College Ballet Program. Act I Party Scene (In order of appearance) Urchins . Chloe Dekydtspotter and David Baumann Passersby . Emily Parker with Sophie Scheiber and Azro Akimoto (Nov. 30 & Dec. 1 eve.) Maura Bell with Eve Brooks and Simon Brooks (Dec. 1 mat. & Dec. 2) Maids. .Bethany Green and Liara Lovett (Nov. 30 & Dec. 1 eve.) Carly Hammond and Melissa Meng (Dec. 1 mat. & Dec. 2) Tradesperson . Shaina Rovenstine Herr Drosselmeyer . .Matthew Rusk (Nov. 30 & Dec. 1 eve.) Gregory Tyndall (Dec. 1 mat.) Iver Johnson (Dec.
    [Show full text]
  • The Evolution of Musical Theatre Dance
    Gordon 1 Jessica Gordon 29 March 2010 Honors Thesis Everything was Beautiful at the Ballet: The Evolution of Musical Theatre Dance During the mid-1860s, a ballet troupe from Paris was brought to the Academy of Music in lower Manhattan. Before the company’s first performance, however, the theatre in which they were to dance was destroyed in a fire. Nearby, producer William Wheatley was preparing to begin performances of The Black Crook, a melodrama with music by Charles M. Barras. Seeing an opportunity, Wheatley conceived the idea to combine his play and the displaced dance company, mixing drama and spectacle on one stage. On September 12, 1866, The Black Crook opened at Niblo’s Gardens and was an immediate sensation. Wheatley had unknowingly created a new American art form that would become a tradition for years to come. Since the first performance of The Black Crook, dance has played an important role in musical theatre. From the dream ballet in Oklahoma to the “Dance at the Gym” in West Side Story to modern shows such as Movin’ Out, dance has helped tell stories and engage audiences throughout musical theatre history. Dance has not always been as integrated in musicals as it tends to be today. I plan to examine the moments in history during which the role of dance on the Broadway stage changed and how those changes affected the manner in which dance is used on stage today. Additionally, I will discuss the important choreographers who have helped develop the musical theatre dance styles and traditions. As previously mentioned, theatrical dance in America began with the integration of European classical ballet and American melodrama.
    [Show full text]
  • Twyla Tharp Th Anniversary Tour
    Friday, October 16, 2015, 8pm Saturday, October 17, 2015, 8pm Sunday, October 18, 2015, 3pm Zellerbach Hall Twyla Tharp D?th Anniversary Tour r o d a n a f A n e v u R Daniel Baker, Ramona Kelley, Nicholas Coppula, and Eva Trapp in Preludes and Fugues Choreography by Twyla Tharp Costumes and Scenics by Santo Loquasto Lighting by James F. Ingalls The Company John Selya Rika Okamoto Matthew Dibble Ron Todorowski Daniel Baker Amy Ruggiero Ramona Kelley Nicholas Coppula Eva Trapp Savannah Lowery Reed Tankersley Kaitlyn Gilliland Eric Otto These performances are made possible, in part, by an Anonymous Patron Sponsor and by Patron Sponsors Lynn Feintech and Anthony Bernhardt, Rockridge Market Hall, and Gail and Daniel Rubinfeld. Cal Performances’ – season is sponsored by Wells Fargo. PROGRAM Twyla Tharp D?th Anniversary Tour “Simply put, Preludes and Fugues is the world as it ought to be, Yowzie as it is. The Fanfares celebrate both.”—Twyla Tharp, 2015 PROGRAM First Fanfare Choreography Twyla Tharp Music John Zorn Musical Performers The Practical Trumpet Society Costumes Santo Loquasto Lighting James F. Ingalls Dancers The Company Antiphonal Fanfare for the Great Hall by John Zorn. Used by arrangement with Hips Road. PAUSE Preludes and Fugues Dedicated to Richard Burke (Bay Area première) Choreography Twyla Tharp Music Johann Sebastian Bach Musical Performers David Korevaar and Angela Hewitt Costumes Santo Loquasto Lighting James F. Ingalls Dancers The Company The Well-Tempered Clavier : Volume 1 recorded by MSR Records; Volume 2 recorded by Hyperi on Records Ltd. INTERMISSION PLAYBILL PROGRAM Second Fanfare Choreography Twyla Tharp Music John Zorn Musical Performers American Brass Quintet Costumes Santo Loquasto Lighting James F.
    [Show full text]
  • Washington University Record, July 2, 1987
    Washington University School of Medicine Digital Commons@Becker Washington University Record Washington University Publications 7-2-1987 Washington University Record, July 2, 1987 Follow this and additional works at: http://digitalcommons.wustl.edu/record Recommended Citation "Washington University Record, July 2, 1987" (1987). Washington University Record. Book 414. http://digitalcommons.wustl.edu/record/414 This Article is brought to you for free and open access by the Washington University Publications at Digital Commons@Becker. It has been accepted for inclusion in Washington University Record by an authorized administrator of Digital Commons@Becker. For more information, please contact [email protected]. I '/^OH/MGr / O/N/ /V//i/5/7V ,~*:-- § Washington WASHINGTON ■ UNIVERSITY- IN • ST- LOUIS ARCHIVES u*«ry JUL i '87 RECORD Vol. 11 No. 36/July 2, 1987 Science academy's medical institute elects two faculty Two faculty members at the School of Medicine have been elected mem- bers of the prestigious Institute of Medicine of the National Academy of Sciences. New members of the institute are Michel M. Ter-Pogossian, Ph.D., and Samuel A. Wells Jr., M.D. Ter- Pogossian is professor of radiology at the School of Medicine and director of radiation sciences for Mallinckrodt Institute of Radiology. Wells is Bixby Professor and chairman of the De- partment of Surgery at the medical school. He is also chief of surgery at Barnes and Children's Hospitals in the Washington University Medical Center. The two are among 40 new members elected to the institute in recognition of their contributions to health and medicine or related fields. As members of the institute, which was established in 1970, Wells and Ter-Pogossian will help examine health policy issues and advise the federal government.
    [Show full text]
  • Paul Taylor Dance Company’S Engagement at Jacob’S Pillow Is Supported, in Part, by a Leadership Contribution from Carole and Dan Burack
    PILLOWNOTES JACOB’S PILLOW EXTENDS SPECIAL THANKS by Suzanne Carbonneau TO OUR VISIONARY LEADERS The PillowNotes comprises essays commissioned from our Scholars-in-Residence to provide audiences with a broader context for viewing dance. VISIONARY LEADERS form an important foundation of support and demonstrate their passion for and commitment to Jacob’s Pillow through It is said that the body doesn’t lie, but this is wishful thinking. All earthly creatures do it, only some more artfully than others. annual gifts of $10,000 and above. —Paul Taylor, Private Domain Their deep affiliation ensures the success and longevity of the It was Martha Graham, materfamilias of American modern dance, who coined that aphorism about the inevitability of truth Pillow’s annual offerings, including educational initiatives, free public emerging from movement. Considered oracular since its first utterance, over time the idea has only gained in currency as one of programs, The School, the Archives, and more. those things that must be accurate because it sounds so true. But in gently, decisively pronouncing Graham’s idea hokum, choreographer Paul Taylor drew on first-hand experience— $25,000+ observations about the world he had been making since early childhood. To wit: Everyone lies. And, characteristically, in his 1987 autobiography Private Domain, Taylor took delight in the whole business: “I eventually appreciated the artistry of a movement Carole* & Dan Burack Christopher Jones* & Deb McAlister PRESENTS lie,” he wrote, “the guilty tail wagging, the overly steady gaze, the phony humility of drooping shoulders and caved-in chest, the PAUL TAYLOR The Barrington Foundation Wendy McCain decorative-looking little shuffles of pretended pain, the heavy, monumental dances of mock happiness.” Frank & Monique Cordasco Fred Moses* DANCE COMPANY Hon.
    [Show full text]
  • National Endowment for the Arts Annual Report 1982
    Nat]onal Endowment for the Arts National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1982. Respectfully, F. S. M. Hodsoll Chairman The President The White House Washington, D.C. March 1983 Contents Chairman’s Statement 3 The Agency and Its Functions 6 The National Council on the Arts 7 Programs 8 Dance 10 Design Arts 30 Expansion Arts 46 Folk Arts 70 Inter-Arts 82 International 96 Literature 98 Media Arts: Film/Radio/Television 114 Museum 132 Music 160 Opera-Musical Theater 200 Theater 210 Visual Arts 230 Policy, Planning and Research 252 Challenge Grants 254 Endowment Fellows 259 Research 261 Special Constituencies 262 Office for Partnership 264 Artists in Education 266 State Programs 272 Financial Summary 277 History of Authorizations and Appropriations 278 The descriptions of the 5,090 grants listed in this matching grants, advocacy, and information. In 1982 Annual Report represent a rich variety of terms of public funding, we are complemented at artistic creativity taking place throughout the the state and local levels by state and local arts country. These grants testify to the central impor­ agencies. tance of the arts in American life and to the TheEndowment’s1982budgetwas$143million. fundamental fact that the arts ate alive and, in State appropriations from 50 states and six special many cases, flourishing, jurisdictions aggregated $120 million--an 8.9 per­ The diversity of artistic activity in America is cent gain over state appropriations for FY 81.
    [Show full text]
  • Antje Ellermann Film Resume 02-24-20
    ANTJE ELLERMANN Scene Design U.S.A. Local 829 c: 917 608-2243 e: [email protected] www.antjeellermann.com Film/ Television HBO MAX Gossip Girl Production Designer: Ola Maslik 2020 Assistant Art Director Art Director: Marissa Kotsilimbas Showtime Networks The President is Missing Production Designer: John Paino 2020 Scene Designer Supervising Art Director: Jordan Jacobs HBO The Plot Against America Production Designer: Richard Hoover 2019 Assistant Art Director Supervising Art Director: Jordan Jacobs Warner Bros. Television/ Fox Prodigal Son - Pilot Production Designer: Adam Scher 2019 Assistant Art Director Art Director: Deborah Wheatley Universal Cable Productions Happy! Season 2 Production Designer: Teresa Mastropierro 2018 Assistant Art Director Art Dir: Mylene Santos, Adrienne Carlyle NBC Universal The Village - Pilot Production Designer: Ola Maslik 2018 Assistant Art Director Art Director: Marissa Kotsilimbas NBC Universal Fashion Victim - Pilot Production Designer: Ola Maslik 2017 Assistant Art Director Art Director: Marissa Kotsilimbas Itv/ The Civilians This is Your Song! - Pilot Producer/ Director: Lynn Kestenbaum 2017 Art Director Writer/ Director: Steve Cosson NBC Universal The Wiz Live Production Designer: Derek McLane 2015 Assistant Art Director Art Director: Erica Hemminger NBC Universal Peter Pan Live Production Designer: Derek McLane 2014 Assistant Art Director Art Director: Aimee Bernadette Dombo 20th Century Fox Television Gotham - Pilot Production Designer: Naomi Shohan 2012 Assistant Art Director Art Director:
    [Show full text]
  • Sidetrekked; Issue #59; September, 2018
    September 2018 SideTrekked - A publication of Science Fiction London - Issue #59 SideTrekked is the official journal of Science Fiction London ISSN 0715-3007 ISSN Canada Library and Archives Canada 395 Wellington Street Ottawa, Ontario K1A 0N4 All regular, public meetings are held at the Central Branch of the London Public Library 251 Dundas Street London, Ontario N6A 6H9 www.sflondon.ca www.facebook.com/ScienceFictionLondon [email protected] The front cover image was created by Andrey Kiselev and was obtained via www.123rf.com . The back cover image was created by 'algolonline' and was also obtained via www.123rf.com. This edition was edited by Stephanie Hanna and Mark Ambrogio. Club Executive Mark C. Ambrogio, president Stephanie Hanna, vice-president Terry Brown, secretary & library liaison Reinhardt Christiansen, webmaster Doug McKay, treasurer page 3 Domain Names and Why They Matter Editors' Note: Recently, Science Fiction London renewed its domain name. We thought folks might be interested to know the history of the club's domain name, why we have a domain name, and some information on domain names in general. Thanks to Reinhardt (our webmaster) for putting together this article! A domain name is essentially a string of letters that tells someone where to go to find a given website. It is not an actual address in the same way 251 Dundas Street, London, Ontario is, but it is a unique identifier that can be looked up by your computer to determine the actual address. Just as we typically say "the Library" to refer to the London Public Library, Central Branch, http://sflondon.ca is a short, human-friendly way to refer to the Science Fiction London website.
    [Show full text]
  • Royal Opera House Performance Review 2006/07
    royal_ballet_royal_opera.qxd 18/9/07 14:15 Page 1 Royal Opera House Performance Review 2006/07 The Royal Ballet - The Royal Opera royal_ballet_royal_opera.qxd 18/9/07 14:15 Page 2 Contents 01 TH E ROYA L BA L L E T PE R F O R M A N C E S 02 TH E ROYA L OP E R A PE R F O R M A N C E S royal_ballet_royal_opera.qxd 18/9/07 14:15 Page 3 3 TH E ROYA L BA L L E T PE R F O R M A N C E S 2 0 0 6 / 2 0 0 7 01 TH E ROYA L BA L L E T PE R F O R M A N C E S royal_ballet_royal_opera.qxd 18/9/07 14:15 Page 4 4 TH E ROYA L BA L L E T PE R F O R M A N C E S 2 0 0 6 / 2 0 0 7 GI S E L L E NU M B E R O F PE R F O R M A N C E S 6 (15 matinee and evening 19, 20, 28, 29 April) AV E R A G E AT T E N D A N C E 91% CO M P O S E R Adolphe Adam, revised by Joseph Horovitz CH O R E O G R A P H E R Marius Petipa after Jean Coralli and Jules Perrot SC E N A R I O Théophile Gautier after Heinrich Meine PRO D U C T I O N Peter Wright DE S I G N S John Macfarlane OR I G I N A L LI G H T I N G Jennifer Tipton, re-created by Clare O’Donoghue STAG I N G Christopher Carr CO N D U C T O R Boris Gruzin PR I N C I PA L C A S T I N G Giselle – Leanne Benjamin (2) / Darcey Bussell (2) / Jaimie Tapper (2) Count Albrecht – Edward Watson (2) / Roberto Bolle (2) / Federico Bonelli (2) Hilarion – Bennet Gartside (2) / Thiago Soares (2) / Gary Avis (2) / Myrtha – Marianela Nuñez (1) / Lauren Cuthbertson (3) (1- replacing Zenaida Yanowsky 15/04/06) / Zenaida Yanowsky (1) / Vanessa Palmer (1) royal_ballet_royal_opera.qxd 18/9/07 14:15 Page 5 5 TH E ROYA L BA L L E T PE R F O R M A N C E S 2 0 0 6 / 2 0 0 7 LA FI L L E MA L GA R D E E NU M B E R O F PE R F O R M A N C E S 10 (21, 25, 26 April, 1, 2, 4, 5, 12, 13, 20 May 2006) AV E R A G E AT T E N D A N C E 86% CH O R E O G R A P H Y Frederick Ashton MU S I C Ferdinand Hérold, freely adapted and arranged by John Lanchbery from the 1828 version SC E N A R I O Jean Dauberval DE S I G N S Osbert Lancaster LI G H T I N G John B.
    [Show full text]
  • Feminist Scholarship Review: Women in Theater and Dance
    Trinity College Trinity College Digital Repository Feminist Scholarship Review Women and Gender Resource Action Center Spring 1998 Feminist Scholarship Review: Women in Theater and Dance Katharine Power Trinity College Joshua Karter Trinity College Patricia Bunker Trinity College Susan Erickson Trinity College Marjorie Smith Trinity College Follow this and additional works at: https://digitalrepository.trincoll.edu/femreview Part of the Feminist, Gender, and Sexuality Studies Commons, and the Theatre and Performance Studies Commons Recommended Citation Power, Katharine; Karter, Joshua; Bunker, Patricia; Erickson, Susan; and Smith, Marjorie, "Feminist Scholarship Review: Women in Theater and Dance" (1998). Feminist Scholarship Review. 10. https://digitalrepository.trincoll.edu/femreview/10 Peminist Scfiofarsliip CR§view Women in rrlieater ana(])ance Hartford, CT, Spring 1998 Peminist ScfioCarsfiip CJ?.§view Creator: Deborah Rose O'Neal Visiting Lecturer in the Writing Center Trinity College, Hartford, Connecticut Editor: Kimberly Niadna Class of2000 Contributers: Katharine Power, Senior Lecturer ofTheater and Dance Joshua Kaner, Associate Professor of Theater and Dance Patricia Bunker, Reference Librarian Susan Erickson, Assistant to the Music and Media Services Librarian Marjorie Smith, Class of2000 Peminist Scfzo{a:rsnip 9.?eview is a project of the Trinity College Women's Center. For more information, call 1-860-297-2408 rr'a6fe of Contents Le.t ter Prom. the Editor . .. .. .... .. .... ....... pg. 1 Women Performing Women: The Body as Text ••.•....••..••••• 2 by Katharine Powe.r Only Trying to Move One Step Forward • •.•••.• • • ••• .• .• • ••• 5 by Marjorie Smith Approaches to the Gender Gap in Russian Theater .••••••••• 8 by Joshua Karter A Bibliography on Women in Theater and Dance ••••••••.••• 12 by Patricia Bunker Women in Dance: A Selected Videography .••• .•...
    [Show full text]
  • Twyla Tharp Goes Back to the Bones
    HARVARD SQUARED ture” through enchanting light displays, The 109th Annual dramatizes the true story of six-time world decorations, and botanical forms. Kids are Christmas Carol Services champion boxer Emile Griffith, from his welcome; drinks and treats will be available. www.memorialchurch.harvard.edu early days in the Virgin Islands to the piv- (November 24-December 30) The oldest such services in the country otal Madison Square Garden face-off. feature the Harvard University Choir. (November 16- Decem ber 22) Harvard Wind Ensemble Memorial Church. (December 9 and 11) https://harvardwe.fas.harvard.edu FILM The student group performs its annual Hol- The Christmas Revels Harvard Film Archive iday Concert. Lowell Lecture Hall. www.revels.org www.hcl.harvard.edu/hfa (November 30) A Finnish epic poem, The Kalevala, guides “A On Performance, and Other Cultural Nordic Celebration of the Winter Sol- Rituals: Three Films By Valeska Grise- Harvard Glee Club and Radcliffe stice.” Sanders Theatre. (December 14-29) bach. The director is considered part of Choral Society the Berlin School, a contemporary move- www.harvardgleeclub.org THEATER ment focused on intimate realities of rela- The celebrated singers join forces for Huntington Theatre Company tionships. She is on campus as a visiting art- Christmas in First Church. First Church www.huntingtontheatre.org ist to present and discuss her work. in Cambridge. (December 7) Man in the Ring, by Michael Christofer, (November 17-19) STAFF PICK:Twyla Tharp Goes music of Billy Joel), and, in 2012, the ballet based on George MacDonald’s eponymous tale The Princess and the Goblin. Back to the Bones Yet “Minimalism and Me” takes the audience back to New York City in the ‘60s and ‘70s, and the emergence of a rigor- Renowned choreographer Twyla Tharp, Ar.D.
    [Show full text]
  • UNIVERSITY of CALIFORNIA Los Angeles Architecture in the Experience Economy: the Catalog Showroom and Best Products Company a Di
    UNIVERSITY OF CALIFORNIA Los Angeles Architecture in the Experience Economy: The Catalog Showroom and Best Products Company A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Architecture by Christina Bernadette Gray 2019 © Copyright by Christina Bernadette Gray 2019 ABSTRACT OF THE DISSERTATION Architecture in the Experience Economy: The Catalog Showroom and Best Products Company by Christina Bernadette Gray Doctor of Philosophy in Architecture University of California, Los Angeles, 2019 Professor Sylvia Lavin, Chair Although it is often assumed that production must logically precede consumption, the development of postmodern architecture complicates this narrative. The development of postmodern architecture undermined established structures by centralizing the role of consumption and the consumer. This dissertation examines ways in which various conservative trends pushed the consumer closer toward production. These changes ushered in the experience economy of which Best Products Company and the broader catalog showroom phenomena were particularly emblematic. Drawing on these changes within the history of retail architecture, this dissertation sets out to explore how architecture emerged into the postmodern period as a box, a malleable shell that was increasingly being invaded and overturned by a powerful consumer. ii This dissertation of Christina Bernadette Gray is approved. Dana Cuff Michael Osman Debora Silverman Sylvia Lavin, Committee Chair University of California, Los
    [Show full text]