DOCSLIB.ORG

The Comment, February 17, 1983

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Comment, February 17, 1983 Bridgewater State University Virtual Commons - Bridgewater State University The ommeC nt Campus Journals and Publications 1983 The ommeC nt, February 17, 1983 Bridgewater State College Volume 57 Number 4 Recommended Citation Bridgewater State College. (1983). The Comment, February 17, 1983. 57(4). Retrieved from: http://vc.bridgew.edu/comment/484 This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. THE COMMENT Vol LVII No 4 Bridgewater State College February 17, 1983 As of July 1983 Draft Registration Required For ·Financial Aid Recipients By Kathy Donadini seems to be more of administrators as being put implementation. in the middle." We are being This coming fall there will The Department of Educa­ put in the position of traffic be a significant change for tion controls all of Title IV cop," Marwick said." .1 want to certain students applying for assistance programs, includ­ be able to welcome students financial aid. ing Pell grants, SEOG, NDSL, into my office, not make them AH males who under the and College Work Study. If a feel harassed." law are required to register college wishes to receive The Department of Educa­ with the Selective Service these funds, it will have to tion has tentatively set four System will now be required comply to rules· set by the new procedures in applying to· furnish proof of registra~ Education Department. for financial aid. The student tion when applying for fed­ · Dave Morwic1<, Director of will have to include a certifi­ eral education assistance. Financial Aid at SSC, is in the cation of draft registration if This amendment was signed process of working with this subject to registration. Prior by President Reagen in Sep­ Photo: Barbara Graut>en new requirement. For him the to disbursement of any Career specialist Tom Jackson spoke to a large tember 1982, and will go into question is not philosophic, funds, the student must pro- crowd on Guerrllla Tactics In the Job Market in the effect in July of 1983. but pragmatic. His office has . vide a copy of his draft Student Union Ballroom on February 9. A limited Whether or not you agree to deal with the paperwork. ·registration. number of copies of Jackson's program are availa­ with this new amendment, it ·Marwick expressed the ble in the Career Planning and Placement Office. is now a reality. 'The question feeling of most financial aid See REGISTRATION pa.ge 3 Information Booth Open ' .,_. ; ·, .'. ,, i • ,: . <,,,~ ..... ~- ,· ' The informatjon booth on the staff in the booth will pro~ lip Conroy of the Financial School Street next to Til­ vide assistance and direction Aid Office. Politeness is an linghast Hall is now open for to these people," he important qualification in the business.It is sponsored by continued. selection of staff members, in the Office of Community Ser­ "Eventually, there will be addition to their being famil­ vices and its Director Dave signs on all the area high­ iar with the college and its Wilson, and is under the stu­ ways directing visitors to campus. dent supervision of Nick Lit- School Street .and to the The booth will be stocked ton, '84. · information booth. The first with all the information about "There is no main entrance test of its usefulness and effi­ the college that a visitor may to the campus and visitors ciency will come at spring need: maps, brochures, arrive from all directions not break when high school departmental office loca­ knowing how to find any­ seniors visit the campus," he tions, and other materials will thing," Litton said. "As a added. be available. Staff members result, there are many people The information booth will will also answer any other wandering around· with be staffed by students in the questions a visitor may have dazed and bewildered looks Work/Study program wh_o New information booth on School St. Photo: Ed Conahu~ ·on their faces. We hope that have b~en appointed by Phil- 'See BOOTH page 3 Not broadcast until 7a.m. Parking Overflow Delayed Class Cancellation Destroys Lawn By Kathy Murray needed there. Also, the lot is Angers Students, Faculty on a slope, a natural terrain . On Friday, February 4th, a which is not at all conducive student's car parked on the to building a parking lot," By Liz Cahill Dr. Robert Dill man, Vice to determine the condition of grass lot next to the tennis Perry con ti nu ed. "Finq.lly, President of Academic the roadways that commu­ courts was towed. · parking cars along a very Numerous BSC students Affairs, cited the fact that last ters use to reach BSC. Why? The car was stuck in busy roadway isn't good and faculty members Monday's storm did not Access to residence halls is the mud. "Everytime I look logic. It's hazardous." expressed anger over the. reach full intensity until after also considered. In the past over there from the Campus Solving the parking prob­ delayed cancellation of 6:3·0 a.m. as one of the main students had to be shovelled police station, I just shake my lem at BSG isn't going to be classes on Monday, February reasons for the late cancella­ out of snow-blocked dorms. head, 11 said Denys Maguy, easy. The expansion of a 7 becau$e of the storm that tion~. Dillman co-acts with After gathering this infor­ Assistant Director of Facili­ parking lot is se-t1erelylimited dumped up to a foot of snow James Cummings, Director mation, Dillman and Cum­ ties. "It looks disgusting." ,,.. by funds and the restrictipns on Southeastern Massachus­ of Facilities, in regard to mings collaborate and come Will this grass lot evEfr set by the Environmental etts. school cancellation. The pro­ to a decision. This decision is become a permanent parking Protection Agency. Official cancellation o'!' cess involved in coming to then transmitted to the iot·? No, according to Lou Repairing existing lots will classes that day was not this decision takes many fac­ appropriate news stations by Perry, Director of Planning take precedence over build'-' broadcast until after 7:00 a.m. tors into consideration. code. and Development for BSC. ing a new lot. The "dirt lot" By that time, many students Cummings investigates Vice President Dillman sin­ "It's lawn area; it's not a park- . between the Burrill Ave. had already started out for existing conditions on cam­ cerely regrets tt1e late cancel­ i ng lot I will never recom­ building and the Great. Hill school. Needless to say, pus. He makes sure that the lations on February 7, In the mend that it become a Apartments has not been these people · were upset r:.:1ds, parking lots, and side­ future, Dillman plans to have parking lot because of where approved as a designated, when they reached BSC and \1,ialks are safe for travel. the 9ecision relayed to the it's situated. parking lot found it was closed for the Next, interaction with local ''First of ail, esthetics is . day. and state police is necessary See CANCELLATION page 3 important. A green area is See PARKING page 3 :z The Comment Thursday. February 17, 1983 , Letter from Hobby News Editorial - the Editor Shop When Is Security Not Security? Hello, published so far this year. This seemingly contradictory question is now being asked This week, I am happy to feel that we have made a con­ Future with greater frequency by our student government and the· announce that The Comment tribution to the school that campus community as a whole. Are campus security officers has aquired a secretary to we can all be proud of. Now The Student Union Board merely ticket givers with guns, or are they a viable force that help with the office control all we have to do is keep up of Govenrors and staff have serves and protects the campus? and to help aid in general the good work and I know seen that the use of the Consider this example: a campus ~tudent who does not live office organization. Her you can do it! Hobby Shop by the Collt3ge at the Hill drives his/her date home to the Hill or the apart­ name is Roberta Bena and Anyone who is intere$ted community has diminished ments. ·The car is stopped and the date forced to walk the she will be in the office every­ in joining The Comme11• is greatly in recent years. We remaining distance alone over areas of questionable lighting day from 9 a.m. to 2 p.m. invited to attend our weekly have experimented with and security. What has happened here? .· . ,. ready to answer questions, meetings on Tuesd~ys at changing our craft offerings, 1.).The date is unescorted and subject to attack. One needs set up advertisements, and 11 :00 a.m. in the Comment running mini courses· in that only to be reminded.of last year's brutal rape on campus to help you with any special office. There is much to ._be area, and advertising the realize the gravity ·of such a situation.' ' . ··. - problems you may have. learned here because we do facility more aggresively. 2.) A portion of-the ccif!1pus·is now "off ILi:nits" to a large part Previously, it has been very all of our own writing, editing, Despite these efforts we find of the college corri-munitythat pays for it Orie student now can difficult to reach the staff word-proccessing, photo-: that a very small number of be trespassing on his 'o(her own campus while another sttJ­ .members of The Comment typsetting, and layout.
Load more

Recommended publications
  • “Kiss Today Goodbye, and Point Me Toward Tomorrow”
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Missouri: MOspace “KISS TODAY GOODBYE, AND POINT ME TOWARD TOMORROW”: REVIVING THE TIME-BOUND MUSICAL, 1968-1975 A Dissertation Presented to The Faculty of the Graduate School At the University of Missouri In Partial Fulfillment Of the Requirements for the Degree Doctor of Philosophy By BRYAN M. VANDEVENDER Dr. Cheryl Black, Dissertation Supervisor July 2014 © Copyright by Bryan M. Vandevender 2014 All Rights Reserved The undersigned, appointed by the dean of the Graduate School, have examined the dissertation entitled “KISS TODAY GOODBYE, AND POINT ME TOWARD TOMORROW”: REVIVING THE TIME-BOUND MUSICAL, 1968-1975 Presented by Bryan M. Vandevender A candidate for the degree of Doctor of Philosophy And hereby certify that, in their opinion, it is worthy of acceptance. Dr. Cheryl Black Dr. David Crespy Dr. Suzanne Burgoyne Dr. Judith Sebesta ACKNOWLEDGEMENTS I incurred several debts while working to complete my doctoral program and this dissertation. I would like to extend my heartfelt gratitude to several individuals who helped me along the way. In addition to serving as my dissertation advisor, Dr. Cheryl Black has been a selfless mentor to me for five years. I am deeply grateful to have been her student and collaborator. Dr. Judith Sebesta nurtured my interest in musical theatre scholarship in the early days of my doctoral program and continued to encourage my work from far away Texas. Her graduate course in American Musical Theatre History sparked the idea for this project, and our many conversations over the past six years helped it to take shape.
    [Show full text]
  • Program Notes
    “Come on along, you can’t go wrong Kicking the clouds away!” Broadway was booming in the 1920s with the energy of youth and new ideas roaring across the nation. In New York City, immigrants such as George Gershwin were infusing American music with their own indigenous traditions. The melting pot was cooking up a completely new sound and jazz was a key ingredient. At the time, radio and the phonograph weren’t widely available; sheet music and live performances remained the popular ways to enjoy the latest hits. In fact, New York City’s Tin Pan Alley was overflowing with "song pluggers" like George Gershwin who demonstrated new tunes to promote the sale of sheet music. George and his brother Ira Gershwin composed music and lyrics for the 1927 Broadway musical Funny Face. It was the second musical they had written as a vehicle for Fred and Adele Astaire. As such, Funny Face enabled the tap-dancing duo to feature new and well-loved routines. During a number entitled “High Hat,” Fred sported evening clothes and a top hat while tapping in front of an enormous male chorus. The image of Fred during that song became iconic and versions of the routine appeared in later years. The unforgettable score featured such gems as “’S Wonderful,” “My One And Only,” “He Loves and She Loves,” and “The Babbitt and the Bromide.” The plot concerned a girl named Frankie (Adele Astaire), who persuaded her boyfriend Peter (Allen Kearns) to help retrieve her stolen diary from Jimmie Reeve (Fred Astaire). However, Peter pilfered a piece of jewelry and a wild chase ensued.
    [Show full text]
  • Teaching Social Issues with Film
    Teaching Social Issues with Film Teaching Social Issues with Film William Benedict Russell III University of Central Florida INFORMATION AGE PUBLISHING, INC. Charlotte, NC • www.infoagepub.com Library of Congress Cataloging-in-Publication Data Russell, William B. Teaching social issues with film / William Benedict Russell. p. cm. Includes bibliographical references and index. ISBN 978-1-60752-116-7 (pbk.) -- ISBN 978-1-60752-117-4 (hardcover) 1. Social sciences--Study and teaching (Secondary)--Audio-visual aids. 2. Social sciences--Study and teaching (Secondary)--Research. 3. Motion pictures in education. I. Title. H62.2.R86 2009 361.0071’2--dc22 2009024393 Copyright © 2009 Information Age Publishing Inc. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, microfilming, recording or otherwise, without written permission from the publisher. Printed in the United States of America Contents Preface and Overview .......................................................................xiii Acknowledgments ............................................................................. xvii 1 Teaching with Film ................................................................................ 1 The Russell Model for Using Film ..................................................... 2 2 Legal Issues ............................................................................................ 7 3 Teaching Social Issues with Film
    [Show full text]
  • Resume 2017.Pgs
    JANE LABANZ www.janelabanz.com Height: 5’5” / Weight: 120 212 300 5653 Soprano/Mix/Light Belt AEA SAG/AFTRA Strong High Notes 330 West 42nd Street, 18th Floor New York, NY 10036 212-629-9112 [email protected] BROADWAY/NATIONAL TOURS Director Anything Goes Hope u/s (Broadway and National Tour) Jerry Zaks The King and I Anna (Sandy Duncan / Stefanie Powers standby) Baayork Lee The Best Little Whorehouse in Texas Ginger (Doatsey Mae u/s) Thommie Walsh (Cast album, w/ Ann-Margret) Eric Schaeffer Annie Grace Farrell Bob Fitch 42nd Street Phyllis Dale (Peggy u/s) Mark Bramble The Sound of Music (w/ Marie Osmond) Swing/Dance Captain Jamie Hammerstein Bye Bye Birdie (w/ Tommy Tune/Anne Reinking) Kim u/s (to Susan Egan) Gene Saks Dr. Dolittle (w/ Tommy Tune) Puddleby Tommy Tune Cats Jelly/Jenny/Swing David Taylor REGIONAL THEATRE Tuck Everlasting (World Premiere /Alliance Theatre) Older Winnie (Nanna u/s) Casey Nicholaw (Dir.) Love Story (American Premiere) Alison Barrett Walnut Street Theatre A Little Night Music Mrs. Nordstrom / Dance Captain Cincinnati Playhouse 9 to 5 Violet Newstead Tent Theatre I Love a Piano Eileen Milwaukee Repertory Always…Patsy Cline Louise Seger New Harmony Theatre The Cocoanuts (Helen Hayes Award, Best Musical) Polly Potter Arena Stage Noises Off Brooke Ashton Totem Pole Playhouse Cinderella Fairy Godmother / Queen u/s North Shore Music Theatre The Nerd Clelia Waldgrave Totem Pole Playhouse The Music Man Marian Paroo Pittsburgh Playhouse George M! Nellie Cohan Theatre by the Sea George M! Agnes Nolan (plus 9 other
    [Show full text]
  • Frons Launches Soap Sensation
    et al.: SU Variety II SPECIAL 'GOIN' HOLLYWOOD' EDITION II NEWSPAPER Second Class P.O. Entry Supplement to Syracuse University Magazine CURTIS: IN MINIS Role Credits! "War" Series Is All-Time Screen Dream Syracuse- We couldn't pos­ sibly get 'em all, but in these 8 By RENEE LEVY series "Winds of War," based on to air in late spring and the entire pages find another 40-plus SU Hollywood- The longest. The Herman Wouk 's epic World War II package will air in Europe next year. alumni getting billboards on most demanding. The hardest. The novels, "War and Remembrance" Curtis, exec producer, director the boulevard. In our research, most expensive. That's the story was shot in 757 locations in 10 and co-scribe of the teleplay, spent we discovered a staggering net­ behind Dan Curtis 'SO's block­ countries, using more than 44,000 two years filming and a year and a work of Syracusans in the busi­ buster miniseries " War and Re­ actors and extras and nearly 800 half editing "War and Remem­ ness-producers, directors, membrance," which aired the first sets. The production- the longest brance," a project he originally actors, editors, and more! We 18 of its 30 hours in November on in television history--cost an es­ considered undoable-particular­ soon realized that all of them ABC-TV. timated $ 105 million to make. The ly because of the naval battles and would not fit, and to those left A sequel to Curtis's 1983 maxi- concluding 12 hours are expected the depiction of the Holocaust.
    [Show full text]
  • A CHORUS LINE Teaching Resource.Pages
    2016-2017 SEASON 2016-2017 SEASON Teacher Resource Guide and Lesson Plan Activities Featuring general information about our production along with some creative activities to Tickets: thalian.org help you make connections to your classroom curriculum before and after the show. 910-251-1788 The production and accompanying activities address North Carolina Essential Standards in Theatre or Arts, Goal A.1: Analyze literary texts & performances. CAC box office 910-341-7860 Look for this symbol for other curriculum connections. A Chorus Line Book, Music & Lyrics by: Jim Jacobs and Warren Casey April 28th - May 7th 7:30 PM Friday - Saturday and 3:00 PM Sunday Hannah Block Historic USO / Community Arts Center Second Street Stage 120 South 2nd Street (Corner of Orange) About this Teaching Resource Resource This Teaching Resource is designed to help build new partnerships that employ theatre and the arts. A major theme that runs through A Chorus Line, is the importance of education and Summary: the influence of teachers in the performers’ lives. In the 2006 Broadway production of A Page 2 Chorus Line, it was stated that the cast had spent, all together, 472 years in dance training with Summary, 637 teachers! The gypsies in A Chorus Line, are judged and graded, just as students are About the Musical, every day. Students know what it’s like to be “on the line.” This study guide for A Chorus Line, explores the Pulitzer Prize winning show in an interdisciplinary curriculum that takes in Vocabulary English/Language Arts, History/Social Studies, Music, Theatre, and Dance. Learning about Page 3 how A Chorus Line, was created will make viewing the show a richer experience for young Gypsies, Writing Prompts, people.
    [Show full text]
  • Michael Jablonski's CV
    Curriculum Vitae of Michael D. Jablonski 51-34 30th Avenue #E4P Woodside, NY 11377 [email protected] 917-749-2040 Fall 2020 EDUCATION Master of Fine Arts Florida State University (Spring 2021 candidate) Major - Directing Bachelor Of Arts State University of New York at Buffalo Major - Theatre and Dance Minor - Mathematics PROFESSIONAL TRAINING 2019 - Present Theatrical Intimacy Education - Workshop Intensives (Instructed by Founders - Laura Rikard & Chelsea Pace) 2018 - Present Violent Practice on Stage - Stage Combat Florida State University (SAFD Certified in Unarmed and Knife Technique) (Adjudicator - Mark Quinn) (Instructor - Jason Paul Tate) 2018 Program for Instructional Excellence (PIE) Teaching Training Recognition - Florida State University 1998 - Present Study in New York City at Broadway Dance Center & Steps on Broadway, & other locations with various master teachers including: Josh Bergasse, Andy Blankenbuehler, Ann Reinking, Joey McKneely, Diana Laurenson, Jim Cooney, Dana Moore, Carol Schuberg, Dorit Koppel, Chet Walker, Tony Stevens, A.C. Ciulla, Bob Richard, Phil Black, Richard J. Hinds, Al Blackstone, Chris Bailey, James Kinney 1 2010 - Present One on One Studio - New York City On Camera Workshops (Selection by Audition) Instructors - Bob Krakower & Marci Phillips EMPLOYMENT HISTORY 2020 - 2021 Fall & Spring Florida State University, Florida Instructor In The School of Theatre (Intro to Music Theatre Dance - New Course Developed) (Instructor of Record - Michael D. Jablonski) (Culminations - Senior Seminar Course) (Instructor - Michael D. Jablonski) 2019 - 2020 Fall & Spring Florida State University, Florida Instructor In The School of Theatre (Intro to Music Theatre Dance - New Course Developed) (Instructor of Record - Michael D. Jablonski) Graduate Teaching Assistant (Performance I - Uta Hagen Acting Class) (Instructor of Record - Chari Arespacochaga) (Performance I Lab - Uta Hagen Workshop class) (Instructor of Record - Michael D.
    [Show full text]
  • To Get a Job in a Broadway Chorus, Go Into Your Dance:" Education for Careers in Musical Theatre Dance
    University of Northern Colorado Scholarship & Creative Works @ Digital UNC Master's Theses Student Research 9-30-2019 "To Get a Job in a Broadway Chorus, Go into Your Dance:" Education for Careers in Musical Theatre Dance Lauran Stanis [email protected] Follow this and additional works at: https://digscholarship.unco.edu/theses Recommended Citation Stanis, Lauran, ""To Get a Job in a Broadway Chorus, Go into Your Dance:" Education for Careers in Musical Theatre Dance" (2019). Master's Theses. 108. https://digscholarship.unco.edu/theses/108 This Text is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Master's Theses by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. © 2019 LAURAN STANIS ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School “TO GET A JOB IN A BROADWAY CHORUS, GO INTO YOUR DANCE:” EDUCATION FOR CAREERS IN MUSICAL THEATRE DANCE A Thesis Submitted in Partial Fulfillment Of the Requirements for the Degree of Master of Arts Lauran Stanis College of Performing and Visual Arts School of Theatre Arts and Dance Dance Education December 2019 This Thesis by: Lauran Stanis Entitled: “To Get a Job in a Broadway Chorus, Go into Your Dance:” Education for Careers in Musical Theatre Dance has been approved as meeting the requirement for the Degree of Masters in Arts in the College of Performing and Visual Arts in the School of Theatre and Dance, Program of Dance Education Accepted by the Thesis Committee: _________________________________________________ Sandra L.
    [Show full text]
  • Phillip Aiden Photo: Philip Stewart
    191 Wardour Street London W1F 8ZE Phone: 020 7439 3270 Email: [email protected] Website: www.olivia-bell.co.uk Phillip Aiden Photo: Philip Stewart Eye Colour: Green Greater London, England, United Location: Hair Colour: Dark Brown Kingdom Hair Length: Short Height: 6'2" (187cm) Facial Hair: Beard Playing Age: 36 - 50 years Voice Quality: Deep Other: Equity Voice Character: Engaging Musical Musical, Ensemble, SATURDAY NIGHT FEVER UK Tour, Bill Kenwright Ltd Musical, Ensemble, BILLY ELLIOT, UK Tour, Stephen Daldry Musical, Swing, CHICAGO, Cambridge Theatre, London, Walter Bobbie/Ann Reinking Musical, Ensemble u/s Maxwell, Dr Meyer, BEAUTIFUL AND DAMNED, Lyric Theatre, London, Craig Revel Horwood Musical, Sgt Fogarty/ Ensemble, CHICAGO, Larnaca Festival, Greece, Mitch Sebastian Musical, Ensemble u/s Beast, BEAUTY AND THE BEAST, RSC Stratford upon Avon, Laurence Boswell/Stuart Hopps Musical, Aaron/ Ensemble, CHICAGO, UK Tour/ Asia, Scott Faris/ Gary Chryst Musical, Prince of Transylvania/Ensemble, MY FAIR LADY, Royal National Theatre and Drury Lane, Trevor Nunn/ Matthew Bourne Musical, Ensemble, MACK AND MABEL, Piccadilly Theatre,London, Paul Kerryson/ Michael Smuin Musical, Feat. Sailor/Ensemble, ANYTHING GOES, Grange Park Opera, David Pountney/Craig Revel Horwood Musical, Ensemble, FOLLIES, Haymarket Theatre, Leicester, Paul Kerryson Musical, Ensemble, CALAMITY JANE, Haymarket Theatre, Leicester, Paul Kerryson/David Needham Musical, Ensemble, ALWAYS, Victoria Palace Theatre, London, Frank Hauser/Thommie Walsh Musical, Ensemble, EVITA,
    [Show full text]
  • Danny Daniels: a Life of Dance and Choreography
    California State University, San Bernardino CSUSB ScholarWorks Theses Digitization Project John M. Pfau Library 2003 Danny Daniels: A life of dance and choreography Louis Eric Fossum Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd-project Part of the Dance Commons Recommended Citation Fossum, Louis Eric, "Danny Daniels: A life of dance and choreography" (2003). Theses Digitization Project. 2357. https://scholarworks.lib.csusb.edu/etd-project/2357 This Thesis is brought to you for free and open access by the John M. Pfau Library at CSUSB ScholarWorks. It has been accepted for inclusion in Theses Digitization Project by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. DANNY DANIELS: A LIFE OF DANCE AND CHOREOGRAPHY A Thesis Presented to the Faculty of California State University, San Bernardino In Partial Fulfillment of the Requirements for the Degree Master of Arts in Interdisciplinary Studies: Theatre 'Arts and Communication Studies by Louis Eric Fossum June 2003 DANNY DANIELS: A LIFE OF DANCE AND CHOREOGRAPHY A Thesis Presented to the Faculty of California State University, San Bernardino by Louis Eric Fossum June 2003 Approved by: Processor Kathryn Ervin, Advisor Department of Thea/fer Arts Department of Theater Arts Dr. Robin Larsen Department of Communications Studies ABSTRACT The career of Danny Daniels was significant for its contribution to dance choreography for the stage and screen, and his development of concept choreography. Danny' s dedication to the art of dance, and the integrity of the artistic process was matched by his support and love for the dancers who performed his choreographic works.
    [Show full text]
  • Bennett, Michael (1943-1987) by Bud Coleman
    Bennett, Michael (1943-1987) by Bud Coleman Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2002, glbtq, Inc. Reprinted from http://www.glbtq.com James Kirkwood, co-author of A Chorus Line, lashed out at the show's creator, director, and choreographer: "Michael would do anything--anything--to get a show on. The cruelty was extensive. And not just in his professional life. He was amoral." The charismatic Bennett was a lover of men and women; his two primary heterosexual relationships were stormy, first with wife Donna McKechnie (wed December 1976, divorced four months later) then with Sabine Cassel, whom he promised to wed but did not. His relationships with men were less publicized, but they included long relationships with dancers Larry Fuller, Scott Pearson, Richard Christopher, and Gene Pruitt, his last lover. Born Michael Bennett DiFiglia in Buffalo, New York on April 8, 1943, young Mickey was a child prodigy of dance. He dropped out of high school at the age of 16 to join a touring company of Jerome Robbins' West Side Story. Robbins was to become one of his principal influences. Bennett made his Broadway debut as a dancer in Subways Are for Sleeping (1961), but he soon realized that he had a greater talent for choreography than for dancing. Bennett's first solo assignments as a choreographer were on A Joyful Noise (1966) and Henry, Sweet Henry (1967). His first big hit was Promises, Promises (1968), which was followed by Coco (1969). Working with Harold Prince on Stephen Sondheim's Company (1970) and Follies (1971) led him to decide that he wanted to be a director as well as a choreographer.
    [Show full text]
  • Aab-6. MEARS LIBRARY Bivalls COLLEGE
    aab-6. MEARS LIBRARY BivAlLS COLLEGE _ ... .. .... The Newsweekly of Tk i o. o. t 'ear Dea I t'saTime Warner and Turner come together in media's largest megaforce IIIIIIIInInJlllnnl1lnnl lln BC198902 NOV95 lilnlu li,nl NORMAN eHundt's B MEARS LIBRARY SIOUX SFALL SD rt Press 57105 -1623 ren's TV THE WORLD P a n A m S a t' s N e w LONDON SYDNEY LOS ANGELES MIAMI IS GETTING SMALLER. WE SAY THE LAUNCH OF THE PAS -4 SATELLITE HAS A LOTTO DO WITH IT. AO" With good reason. The new PAS-4 satellite, which commenced service on September 5, 1995, provides coverage of Europe, Africa, the Middle East, the Indian subcontinent and Asia. Now, thanks to the PanAmSat Global Satellite System, the most advanced satellite services are available directly to broadcasters, telecommunications providers and businesses anywhere in the world. Which means we offer customers the convenience and assurance of dealing with one experienced service provider, worldwide. And we're not stopping at PAS-4. Because as the dynamic market for telecommunications continues to grow, we'll launch more state -of-the -art satellites in the coming years. So you'll have even more satellite power and capacity to tap into. And there's nothing small about that. PanAmSat, G I o b a l V i l l a g e . GREENWICH CT. 12036226664 Fax 1.203.622.9163 Must Reading from BROADCASTING & CABLE Fast Timir September 25,1995 TOP OF THE WEEK TWr Turner: It's a deal Ted Turner will be the big winner in a Time Warner/Turner Broadcasting System merger, cashing in TBS for $2.5 billion.
    [Show full text]