Recital Recording for Presentation January 15, 2021
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Catalogue 2013/2014 Curriculum Connections • New Shows • Theatrical Resources Hal Leonard Australia
Disney Aladdin KIDS Disney Cinderella KIDS Disney The Aristocats KIDS Disney The Jungle Book KIDS Disney Sleeping Beauty KIDS Winnie The Pooh KIDS Annie KIDS A Year with Frog and Toad KIDS Disney Aladdin JR. Disney Alice in Wonderland JR. Disney Beauty and the Beast JR. Disney High School Musical JR. Disney High School Musical 2 JR. Disney Mulan JR. Annie JR. Captain Louie JR. Dear Edwina JR. Fiddler on the Roof JR. Guys and Dolls JR. Honk! JR. Into the Woods JR. The Music Man JR. Once on This Island JR. The Phantom Tollbooth JR. The Pirates of Penzance JR. School House Rock Live! JR. Seussical JR. Millie JR. Disney Aladdin KIDS Disney Cinder- ella KIDS Disney The Aristocats KIDS Disney The Jungle Book KIDS Disney Sleeping Beauty KIDS Winnie The Pooh KIDS Annie KIDS A Year with Frog and Toad KIDS Disney Aladdin JR. Disney Alice in Wonderland JR. Disney Beauty and the Beast JR. Disney High School Musical JR. Disney High School Musical 2 JR. Disney Mulan JR. Annie JR. Captain Louie JR. Dear Edwina JR. Fiddler on the Roof JR. Guys and Dolls JR. Honk! JR. Into the Woods JR. The Music Man JR. Once on This Island JR. The Phantom Tollbooth JR. The Pirates of Penzance JR. School House Rock Live! JR. Seussical JR. Millie JR. Disney Aladdin KIDS Disney Cinderella KIDS Disney The Aristocats KIDS Disney The Jungle Book KIDS Disney Sleeping Beauty KIDS Winnie The Pooh KIDS Annie KIDS A Year with Frog and Toad KIDS Disney Aladdin JR. Disney Alice in Wonderland JR. -
OCTOBER 2016 Welcome to October Sky! We Can’T Imagine a More Perfect Show to Give Our 2016–2017 Season a Great Launch (If You’Ll Pardon the Pun)
OCTOBER 2016 Welcome to October Sky! We can’t imagine a more perfect show to give our 2016–2017 Season a great launch (if you’ll pardon the pun). New musicals are, of course, one of The Old Globe’s specialties, and the upcoming season is filled with exactly the kind of work the Globe does best. In this very theatre, you’ll have a chance to see a revival of Steve Martin’s hilarious Picasso at the Lapin Agile; the exciting backstage drama Red Velvet; and the imaginative, fable- like musical The Old Man and The Old Moon. And of course, we’re bringing back The Grinch for its 19th year! Across the plaza in the Sheryl and Harvey White Theatre, we hope you’ll join us for work by some of the most exciting voices in the American theatre today: award-winning actor/ songwriter Benjamin Scheuer (The Lion), Globe newcomer Nick Gandiello (The Blameless), the powerful and trenchant Dominique Morisseau (Skeleton Crew), and the ingenious Fiasco Theater, with their own particular spin on Molière’s classic The Imaginary Invalid. It’s a season we’re extremely proud and excited to share with all of you. DOUGLAS GATES Managing Director Michael G. Murphy and Erna Finci Viterbi Artistic Director Barry Edelstein. We’re also proud to welcome the outstanding creative team that has made October Sky a reality. Director/choreographer Rachel Rockwell is an artist whose work we’ve long admired, whose skill in staging is matched by her deft touch with actors. She’s truly a perfect fit for this heartwarming and triumphant show. -
Othello, 1955
University of Montana ScholarWorks at University of Montana Montana Masquers Event Programs, 1913-1978 University of Montana Publications 11-16-1955 Othello, 1955 Montana State University (Missoula, Mont.). Montana Masquers (Theater group) Follow this and additional works at: https://scholarworks.umt.edu/montanamasquersprograms Let us know how access to this document benefits ou.y Recommended Citation Montana State University (Missoula, Mont.). Montana Masquers (Theater group), "Othello, 1955" (1955). Montana Masquers Event Programs, 1913-1978. 105. https://scholarworks.umt.edu/montanamasquersprograms/105 This Program is brought to you for free and open access by the University of Montana Publications at ScholarWorks at University of Montana. It has been accepted for inclusion in Montana Masquers Event Programs, 1913-1978 by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. William Shakespeare's Fifty-First Season MONTANA MASQUERS Present William Shakespeare's OTHELLO LEROY W. HINZE, Director CLEMEN M. PECK, Designer and Technical Director •Original Music by MONROE C. DEJARNETTE CAST PRODUCTION STAFF In Order of Appearance Assistant to the Director....Sheila Sullivan Roderigo...............................................Harold Hansen Production Manager for touring company Stage Manager ..................... Ray Halubka | Iago............................................William Nye Electrician .......... ...................Bruce Cusker Brabantio ................................Bruce -
Southern Comfort
FROM THE NATIONAL ALLIANCE FOR MUSICAL THEAtre’s PresideNT Welcome to our 24th Annual Festival of New Musicals! The Festival is one of the highlights of the NAMT year, bringing together 600+ industry professionals for two days of intense focus on new musical theatre works and the remarkably talented writing teams who create them. This year we are particularly excited not only about the quality, but also about the diversity—in theme, style, period, place and people—represented across the eight shows that were selected from over 150 submissions. We’re visiting 17th-century England and early 20th century New York. We’re spending some time in the world of fairy tales—but not in ways you ever have before. We’re visiting Indiana and Georgia and the world of reality TV. Regardless of setting or stage of development, every one of these shows brings something new—something thought-provoking, funny, poignant or uplifting—to the musical theatre field. This Festival is about helping these shows and writers find their futures. Beyond the Festival, NAMT is active year-round in supporting members in their efforts to develop new works. This year’s Songwriters Showcase features excerpts from just a few of the many shows under development (many with collaboration across multiple members!) to salute the amazing, extraordinarily dedicated, innovative work our members do. A final and heartfelt thank you: our sponsors and donors make this Festival, and all of NAMT’s work, possible. We tremendously appreciate your support! Many thanks, too, to the Festival Committee, NAMT staff and all of you, our audience. -
Unpinning Desdemona Author(S): Denise A
George Washington University Unpinning Desdemona Author(s): Denise A. Walen Source: Shakespeare Quarterly, Vol. 58, No. 4 (Winter, 2007), pp. 487-508 Published by: Folger Shakespeare Library in association with George Washington University Stable URL: http://www.jstor.org/stable/4625012 . Accessed: 22/03/2013 08:40 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Folger Shakespeare Library and George Washington University are collaborating with JSTOR to digitize, preserve and extend access to Shakespeare Quarterly. http://www.jstor.org This content downloaded from 140.233.2.215 on Fri, 22 Mar 2013 08:40:27 AM All use subject to JSTOR Terms and Conditions Unpinning Desdemona DENISEA. WALEN ONE OF THE MORE STRIKING DIFFERENCES betweenthe quarto(1622) and the FirstFolio (1623) texts of Othellois in the scene(4.3) thatpresages Desdemona'smurder as Emiliaundresses her and prepares her for bed. While F unfoldsthrough a leisurely112 linesthat include the WillowSong, Q clips alongwith only 62 lines,cutting the sceneby nearlyhalf.1 These two versions also differthematically. F presentsboth Desdemonaand Emiliaas complex characters.By delvingdeeply into her feelings,it portraysan activeand tragically nuancedDesdemona and raisesempathy for her with its psychologicalexpos6. -
Institute of Germanic and Romance Studies University of London
Institute of Germanic and Romance Studies University of London Closs / Priebsch Family Papers (reference Closs) To order material, please use the reference (Closs) with the box and file numbers and a description of the item: (eg) Closs box 5 file 1 C.F. Carter – letter, Harrow 1946 and translation of Hoenderlin’s Der Archipelago NB Do not use sub-fonds references (eg Closs/ACT) when ordering material. Table of contents of boxes Acquired material: 1-2, 67 August Closs: 3-36, 51-66, 68 Robert Priebsch: 37-39, 68-9 Hannah Priebsch-Closs: 40-45 Elizabeth Closs-Traugott: 46-49 Alois Closs: 50 1 Box 1 file 1 16th and 17th Century material Hexenprozesse: MSS - 3 folio booklets in originally yellow paper folders, without doubt the original records of the women's trials. Catharina Stroblin, farmer in Schernfeld. Arrested, suspected of witchcraft on Friday 24 November 1617, questioned by the Malefiz Commissarios, and on 26 January 1618 run through with a sword and then burned. Appolonia Nueberin, brewer, 32 years old. Arrested on suspicion of witchcraft on 10 May 1623. On 23 June 1623 she was also executed and burned. Bill put in to cover costs of difficulties caused by and rewards offered for the executed magical persons during the years 1617, 1628 and 1629, by Hans Schoelern. Box1 file 2 Original charter to over 5 hides of land and a farm Sold by Nette, servant of Graf Dieterich von Plesse to a nunnery. Pergament, cut off sharply at the top and torn at the bottom without loss of text. -
Ever After Free Download
EVER AFTER FREE DOWNLOAD Kim Harrison | 516 pages | 29 Oct 2013 | HarperCollins Publishers Inc | 9780061957925 | English | New York, United States Photo Gallery. The production was directed by Susan V. The musical premiered at the Paper Mill Ever After on May 21,for a limited engagement until June 21, December 20, It's being on a set, or being in Ever After of the camera, behind the camera, on a promotions trail John Kenrick reviews this production: "It is a joy to report that Ever After has been deftly adapted into a musical that boasts delightful music, unusually witty lyrics, and enough human magic to make for a wonderful evening's entertainment. Chicago Sun-Times film critic, Roger Ebertpraises the film with three out of four stars and writes, "The movie [ The original music score is composed by George Fenton. Categories : musicals Plays set in the 16th century Musicals based on films Plays based on fairy tales Works based on Cinderella. Retrieved December 21, Edit Did You Know? Fairy Tales and Feminism: New Approaches. Elena Shaddow. Edit Cast Cast overview, first billed only: Drew Barrymore Broadway World. So I don't think people realize just how many hours we put in. January Learn how and when to remove this template message. Retrieved March 31, Retrieved March 13, Retrieved March 9, James Snyder. Henry resigns himself to marrying Gabriella, but realizes she also loves someone else, and calls off the wedding. Sign Ever After. And a lot of people like to create clickbait headlines. A report in indicated that a musical theatre production was in the works, with the book and lyrics by Marcy Heisler Ever After music by Zina Goldrich. -
Junie B. Jones Center for Performing Arts
Governors State University OPUS Open Portal to University Scholarship Center for Performing Arts Memorabilia Center for Performing Arts 3-12-2005 Junie B. Jones Center for Performing Arts Follow this and additional works at: http://opus.govst.edu/cpa_memorabilia Recommended Citation Center for Performing Arts, "Junie B. Jones" (2005). Center for Performing Arts Memorabilia. Book 217. http://opus.govst.edu/cpa_memorabilia/217 This Book is brought to you for free and open access by the Center for Performing Arts at OPUS Open Portal to University Scholarship. It has been accepted for inclusion in Center for Performing Arts Memorabilia by an authorized administrator of OPUS Open Portal to University Scholarship. For more information, please contact [email protected]. fORPf flftTS Govern rsity and Theatreworks USA Present Junie B. Jones March 12, 2005 2004/2005 Especially For Kids Series is sponsored by: S Ch3rt6f O0€ 2004/2005 Season sponsored in part by a generous grant from: Theatreworks/USA JUNIE B. JONES Barbara Pasternack Ken Arthur Artistic Director Managing Director WHO'S WHO IN THE CAST Presents (alphabetical by role) JUNIE B. JONES KEITH HALLWORTH (Herb & Others) Theater: JAMAAL WILSON (Sheldon & Others) Book and Lyrics by Music by Footloose, Fame, A Little Night Music, La Cage National tours: Sundiata: The Lion King Of Marcy Heisler Zina Goldrich AuxFolles, Falsettos, Joseph..., Pippin: In Mall (Theatreworks/ USA), Olympic Spirit: Concert with Ben Vereen. Film/TV: "One Life to The Jesse Owens Story (Artspower), Based on the Junie B. Jones series of books by Live," "All My Children," "As the World Turns," Starstruck/Fast Forward (Royal Caribbean Barbara Park "Ed," Mona Lisa Smile. -
Shakespeare's Songbook Teacher Resource
INTRODUCTION It is well established that Shakespeare employed music to great effect in his plays. Until recently it seemed that few songs in his plays had survived with original music; of about sixty song lyrics, only a handful have come down to us with musical settings. In 2004, musicologist Professor Ross W. Duffin published Shakespeare’s Songbook, the inspiration for the Toronto Consort’s concert program. Duffin has produced a collection of 155 songs--ballads and narratives, drinking songs, love songs, and rounds--that appear in, are quoted in, or alluded to in Shakespeare's plays. The Toronto Consort’s concert program presents Mad Tom (King Lear), O Mistress Mine (Twelfth Night), O poore soul sat singing (Othello), Hey ho for a husband (Much Ado about Nothing), Ah Robyn (Twelfth Night) and Full Fathom Five (The Tempest) among others, many of which are the result of Professor Duffin’s research. William Shakespeare, Saunders Portrait ABOUT THE TORONTO CONSORT The Toronto Consort is Canada's leading ensemble specializing in the music of the Middle Ages, Renaissance and Early Baroque — roughly 1200 to 1675. Founded in 1972, The Toronto Consort was one of the city’s first professional period music ensembles. Over the past four decades, the Toronto Consort has continued to expand listeners’ appreciation through inventive programming that breathes life into period music. The ensemble has become internationally recognized for its excellence in live and recorded period music, and has collaborated on a number of film and television projects including Atom Egoyan’s The Sweet Hereafter and three Showtime series, The Tudors, The Vikings and The Borgias. -
Program Notes to Henry Purcell but Now Considered to Be by His Student John Weldon
1704 once again sported a new score first attributed Program Notes to Henry Purcell but now considered to be by his student John Weldon. In William Shakespeare’s Twelfth Night music is called the “food of love,” and indeed music played a Purcell’s own contribution to Shakespearean vital part in his plays. Fanfares heralded music drama is his 1692 semi-opera, The Fairy performances. Sweet ayres and songs filled with Queen. Purcell had already composed an innuendo, sung by servants and clowns, commented impressive body of incidental music for plays by on the actions of their betters. And a merry jig would Shadwell, Dryden, and William Congreve. (This conclude the day’s drama, be it a comedy, tragedy, includes the celebrated “Music for a while” from or romance. In Shakespeare’s “wooden O” the Dryden’s Oedipus.) His one “pure opera” is the musicians’ loft was as essential as the unworthy miraculous miniature, Dido and Aeneas. Yet it is his scaffold on which your imaginary forces worked. semi-operas where Purcell’s most accomplished scores for the theatre are to be found. His Little of the music presented in the Globe during preceding efforts in the genre, Dioclesian and King Shakespeare tenure survives. The doomed Arthur, were enormous successes and the music of Desdemona likely sang this folk melody to the The Fairy Queen exceeds them both in length, “Willow Song” in Othello. “Full fathom five” by complexity, and dramatic scope. It is a very loose Robert Johnson, lutenist to Shakespeare’s King’s adaptation of A Midsummer Night’s Dream, but Men theatrical troupe, was probably performed in Purcell did not set any of Shakespeare’s text. -
I Soag in Shakespeare It Is Common to Talk of Celebrity
I Soag in Shakespeare It is commonto talk of celebrity autobiographiesas being 'ghost-written' by a professional writsr. This is an appropriate rnetaphor, for it is not too difficult to imagine the voice of the writer hovering bchind the voice of the figure they are personating in this instance.This ghosttinessis presentin any act of prasopopoeia,a word which, 'person-maki*g'"' effmologically, means A song is a specialcase ofprosopopoeia. For" when a characterin a play voises a song,their words are not their own in a ur:ique and perhapsseemingly obvious way. In Act IV SceneIL af Othello, as Ernilia is dying, shemakes leference to the "Willow Songo'fhat Desdernoilagave voice to in Act IV SaeneXI: Whatdid thy songbode, lady? Hark,canst thou hear me? I will playthe swiu:s '$y'illow, And dis in music:[Sings] willow, willow"' Moor, shewas chaste; she loved thse, cruel Moor; Socome my soulto bliss,as I speaktrue ; Sospeaking as I think,I die,I die. In singing as shedies, Emilia echoesBarbary, whose song it was, aRdwho 'died singing it' as Desdemonatells us. Emilia is a prosopopoei4and the shadeof Barbary is speaking tluough her. The voices of both maidscoincide. Desdemona'$voice is also in Emilia's words, and moves the easycorrespondence between the voices of the two maids off centre.Despite her insistencethat shethe one speakingher words ('as I speaktrue; / So speakingas I think'), Desdemona'smaid's voic.sis not wholly her own at this point. This makeswhat Emilia herself would seeas her moment to set the record straight,in her own words, rather rnore complicated.A fi.rther complication arisesbecause 'I will play the swan / And die in music' is proverbial'. -
2000 MFA, Scenic Design, Yale School of Drama 1995 BS, Theater
Pace University office: 212-618-6106 www.lukecantarella.com 140 William Street #606 mobile: 646-263-4989 e-mail: [email protected] New York, NY 10038 or [email protected] education: 2000 M.F.A., Scenic Design, Yale School of Drama 1995 B.S., Theater, Northwestern University other training: School of the Art Institute, Art Students League, The Drawing Center, Columbia University (Summer Intensive in German) university experience: 2012-present Associate Professor/Pace University Head of Set Design (2013-2016): Responsibilities include undergraduate teaching, course development, mentoring student designers, 1st year student advisement Head of Production and Design (2012-2013): Responsibilities include undergraduate teaching, establishing a curriculum for new BFA program in Production & Design, recruiting and retaining students, hiring and mentoring new faculty, student mentorship, production planning and budgeting. 2008-12 Associate Professor/University of California, Irvine Head of Set Design Program: Responsibilities include teaching both graduate and undergraduate courses, curriculum design, recruiting and retaining students, mentorship, thesis reviews, production planning and budgeting. Tenure granted: June 2012 scenic design projects: For the following projects (plays, musicals, dances & live performance), I was in charge of designing the scenery. Responsibilities included collaborating with directors, playwrights, choreographers and other designer to analyze a text, forming design ideas, researching of visual culture, creating design documents (sketches, models, technical drawings, etc.), specifying paint colors and finishes, and the supervising assistants and fabricators including painters, carpenters, masons, furniture-makers, upholsterers and properties masters. Projects listed below show the name of the play, name of the playwright, name of the director and theater or producer. Productions in bold indicate world premieres.