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Lisa Wolpe – Acting Resume 5’4”; Green Eyes; Brown Hair AEA*SAG 310-453-5069 [email protected] [email protected] PRODUCING ARTISTIC DIRECTOR OF LOS ANGELES WOMEN’S SHAKESPEARE COMPANY since 1993 Regional: Julius Caesar Cassius PlayMakers Rep Richard II Richard Prague Shakespeare Co. A Christmas Carol Scrooge TheaterWorks CO The Merchant of Venice Shylock Utah Shakespeare Henry VI pt 1 Lucy, Bedford Utah Shakespeare Hamlet Hamlet LAWSC Medea/macbeth/cinderella jason Oregon Shakespeare fest. (Bill Rauch) Seagull polina Oregon shakespeare fest. (Libby Appel) Macbeth lady macduff Berkeley Repertory (Tony Taccone) Coriolanus sicinius Shakespeare & Company (Tina Packer) Merchant of venice nerissa Shakespeare & Company (Joel Elins) In perpetuity christine Arizona Theater Co. (Walter Schoen) Inherit the wind rachel People's light & theater (D. Fruchter) Richard iii richard iii Southwest shakespeare co. (Lisa Wolpe) School for wives agnes San Diego Repertory Theater (D. Jacobs) Curse of the starving class emma San Diego Repertory Theater (P. Jacobs) Los angeles women’s shakespeare company (lawsc): Hamlet hamlet lawsc (Lisa Wolpe) The merchant of venice shylock lawsc (Lisa Wolpe) Macbeth3 various lawsc (Lisa Wolpe) A midsummer night's dream lysander lawsc (Lisa Wolpe) The Winter's Tale leontes lawsc (Lisa Wolpe) Much ado about nothing benedick lawsc (Lisa Wolpe) Measure for measure angelo lawsc (Tina Packer) Richard iii richard lawsc (Maureen Shea) The tyrant’s tale paulina lawsc (Lisa Wolpe) The tempest ferdinand lawsc (Lisa Wolpe) The Importance of Being Earnest jack lawsc (Lisa Wolpe) Othello iago lawsc (Lisa Wolpe) As you like it jaquis lawsc (Lisa Wolpe) Hamlet hamlet lawsc (Lisa Wolpe) Othello roderigo lawsc (Lisa Wolpe) Romeo & juliet romeo lawsc (Lisa Wolpe) Film A marine story (supporting) 23 festival awards, director ned farr Severance (lead), florence film festival, director david steinberg Mr. Nobody (lead), palm springs film festival, director kay d. Ray Annabel lee (co-star), independent feature Television L.a. law (co-star), nbc A year in the life (co-star) abc .

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1 Much Ado About Nothing, Pericles, Antony and Cleopatra, and Head Over Heels, Presented by the Oregon Shakespeare Festival
Much Ado About Nothing, Pericles, Antony and Cleopatra, and Head over Heels, presented by the Oregon Shakespeare Festival, February-November 2015. Geoff Ridden [email protected] Much Ado About Nothing. Director: Lileana Blain-Cruz. With Danforth Comins (Benedick), Christiana Clark (Beatrice), and Rex Young (Dogberry). Pericles. Director: Joseph Haj. With Wayne T. Carr (Pericles) and Jennie Greenberry (Marina). Antony and Cleopatra. Director: Bill Rauch. With Derrick Lee Weeden (Antony), Miriam Laube (Cleopatra), and Jeffrey King (Enobarbus). Head over Heels. Written by Jeff Whitty. Based on Arcadia by Sir Philip Sidney. Music and lyrics: The Go-Go’s. Director: Ed Sylvanus Iskandar. With Michael Sharon (Basilius), Miriam Laube (Gynecia), and Bonnie Milligan (Pamela). This season, only three of the eleven Oregon Shakespeare Festival productions were of Shakespeare plays: one in each theatre. This was an unusually small number, especially since this season marked the beginning of a pledge to stage the entire canon in a decade (in contrast, the 2016 season promises five Shakespeare plays). However, the company did include one other production of interest to early modernists: a musical adaptation of tales from Sir Philip Sidney’s Arcadia. There were other causes for regret this season. Several performances at the outdoor theatre had to be cancelled: one in July because of a flash flood, and a number later in the summer because of smoke drifting in from nearby forest fires. Even more sadly, just before the season ended, Catherine E. Coulson died. She was in her twenty-second season at the Festival, although she was probably better known for her role as the Log Lady in 1 Twin Peaks.
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At the Mission San Juan Capistrano
AT THE MISSION SAN JUAN CAPISTRANO by José Cruz González based on the comic strip “Peanuts” by Charles M. Schulz directed by Christopher Acebo book, music and lyrics by Clark Gesner additional dialogue by Michael Mayer additional music and lyrics by Andrew Lippa directed and choreographed by Kari Hayter OUTSIDE SCR 2021 • SOUTH COAST REPERTORY • 1 THE THEATRE Tony Award-winning South Coast Repertory, founded in 1964 by David Emmes and Martin Benson, is led by Artistic Director David Ivers and SPRING/SUMMER 2021 SEASON Managing Director Paula Tomei. SCR is recog- nized as one of the leading professional theatres IN THIS ISSUE Get to know, or get reacquainted with, South Coast Repertory in the United States. It is committed to theatre through the stories featured in this magazine. You’ll find information about both that illuminates the compelling personal and Outside SCR productions: American Mariachi and You’re a Good Man, Charlie social issues of our time, not only on its stages but Brown, as well as the Mission San Juan Capistrano, acting classes for all ages and a through its wide array of education and engage- host of other useful information. ment programs. 6 Letter From the Artistic Director While its productions represent a balance of clas- That Essential Ingredient of the Theatre: YOU sic and modern theatre, SCR is renowned for The Lab@SCR, its extensive new-play development program, which includes one of the nation’s larg- 7 Letter From the Managing Director est commissioning programs for emerging, mid- A Heartfelt Embrace career and established writers and composers.
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Robert Schenkkan's All the Way Directed by Bill Rauch to Open A.R.T.'S 2013-14 Season Play Wins Inaugural Kennedy Prize
For Immediate Release: March 15. 2013 Contact: Kati Mitchell 617-495-2668 [email protected] Robert Schenkkan’s All The Way Directed by Bill Rauch to Open A.R.T.’s 2013-14 Season Play Wins inaugural Kennedy Prize for Drama Cambridge, MA The American Repertory Theater (A.R.T.) at Harvard University is pleased to announce award-winning playwright Robert Schenkkan’s new play All The Way will open the A.R.T.’s 2013-14 Season at the Loeb Drama Center and begin performances on September 13, 2013. The production will be directed by Bill Rauch, Artistic Director of the Oregon Shakespeare Festival (OSF). All the Way was recently awarded the inaugural Edward M. Kennedy Prize for Drama Inspired by American History, established in honor of the late Senator Kennedy, honoring new play or musical exploring US history and issues of the day. It was commissioned by the Oregon Shakespeare Festival’s American Revolutions: the United States History Cycle and premiered at OSF in 2012. 1963. An assassin’s bullet catapults Lyndon Baines Johnson into the presidency. A Shakespearean figure of towering ambition and appetite, the charismatic, conflicted Texan hurls himself into Civil Rights legislation, throwing the country into turmoil. Alternately bullying and beguiling, he enacts major social programs, faces down opponents and wins the 1964 election in a landslide. But in faraway Vietnam, a troublesome conflict looms. In the Pulitzer Prize–winning playwright’s vivid dramatization of LBJ’s first year in office, means versus ends plays out on a broad stage canvas as politicians and civil rights leaders plot strategy and wage war.
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Transcript of “Multi-‐‑Cultural Shakespeare”
Transcript of “Multi-Cultural Shakespeare” Discussion Sponsored by Shakespeare America October 15, 2016 Meese Room, Hannon Library Southern Oregon University 3:00-5:00 PM Moderator: David McCandless, Director of Shakespeare Studies, SOU Participants: Lara Bovilsky, Professor of English, University of Oregon Kenneth Lee, Actor, and Member of the Asian American Performers Action Coalition Tiffany Lopez, Founder, Latina/o Play Project; Director of the School of Film, Theatre, and Dance, Arizona State University Bill Rauch, Artistic Director, Oregon Shakespeare Festival Tyrone Wilson, Actor, Oregon Shakespeare Festival David McCandless: The questions we’re here to ponder, ostensibly, as a starting point: how do we perceive race and ethnicity when a racially and ethnically diverse cast performs Shakespeare? And how do we perceive a Shakespeare play when non-white actors perform roles -- characters -- intended to be performed by white actors? And (I’m so grateful to have a couple actors on the panel) how do actors of color approach and experience, both in rehearsal and performance, the taking on of those roles? And I also want to pose as a possible question to consider: to what extent does multicultural Shakespeare become color-conscious or color-blind? That’s a distinction that really is interesting to me, and I hope that we’ll have some opportunity to talk about that. We’ve assembled a really distinguished panel of guest thinkers and artists to help us ponder these issues. What I want to do is start by introducing Lara Bovilsky who is our historian and will talk about— the title of her lecture actually is, “Shakespeare’s Multiculturalism circa.
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The Oregon Shakespeare Festival Production Of
The Artistic Director’s Circle Season Sponsors Gail & Ralph Bryan Una K. Davis Brian & Silvija Devine Joan & Irwin Jacobs Sheri L. Jamieson Frank Marshall & Kathy Kennedy Becky Moores Jordan Ressler Charitable Fund of the The William Hall Tippett and Ruth Rathell Tippett Foundation, Jewish Community Foundation David C. Copley Foundation, Mandell Weiss Charitable Trust, Gary & Marlene Cohen, The Rich Family Foundation The Dow Divas, Foster Family Fund of the Jewish Community Foundation, The Fredman Family, Wendy Gillespie & Karen Tanz, Lynn Gorguze & The Honorable Dr. Seuss Fund at The San Diego Scott Peters, Kay & Bill Gurtin, Debby & Hal Jacobs, Lynelle & William Lynch, Foundation and Molli Wagner Steven Strauss & Lise Wilson THE OREGON SHAKESPEARE FESTIVAL PRODUCTION OF PRODUCTION SPONSORS Una K. Davis Brian & Silvija Devine The Paula Marie Black Endowment for Women’s Voices in the Art of Theatre Dear Friends, LA JOLLA PLAYHOUSE PRESENTS Christopher Ashley Debby Buchholz Like many of you, just the mere The Rich Family Artistic Director of La Jolla Playhouse Managing Director of La Jolla Playhouse snippet of a song can instantly and viscerally transport me back to a THE OREGON SHAKESPEARE FESTIVAL PRODUCTION OF particular moment of my life. I can’t MISSION STATEMENT: hear the opening phrase of Bob Dylan’s “Tangled Up in Blue” without La Jolla Playhouse advances remembering road trips spent in the theatre as an art form and as a vital backseat of my family’s Oldsmobile Vista Cruiser, listening social, moral and political platform to our eight track tape player. Such is the power of music to by providing unfettered creative intertwine with our personal histories.
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Inclusive Shakespeare
Appropriations of American Sign Language in Modern Shakespeare Performance Jill Marie Bradbury We learn and teach, we act and know, as spectators who link what they have seen and told, done and dreamed. Jacques Ranciere, The Emancipated Spectator Attention to the dynamic co-presence of actors and audience is one of distinctive traits of performance studies. Within Shakespeare performance studies, scholars have examined how audiences respond to performative representations of socio-cultural identities such as gender, sexuality, race, ethnicity, language use, and disability. Shakespeare appropriation studies also explores how the dynamic interactions of actors and audience give meaning to socio-cultural identities. Important lines of research include how primarily English-speaking audiences respond to performance in other languages; how other languages and cultures are appropriated by dominant performance institutions; and how audiences understand such representations of non- dominant cultures. This essay situates integrated American Sign Language (ASL) and spoken English Shakespeare productions within these intersections of performance and appropriation studies. In part because relatively few people are fluent in ASL, such productions have only been superficially discussed in both Shakespeare performance studies and Shakespeare appropriation studies. And they are typically assessed from the perspective of English-hearing audiences.1 Scholars have not considered how such productions might generate different performative meanings and experiences for Deaf audience members.2 In this article, I compare hearing 1 For recent examples, see Cross (2013), McDonnell (2017), Shurgot (2012). 2 It is a longstanding (though much debated) convention to use Deaf to refer to people who culturally identify with the community of ASL users, regardless of their audiograms, and deaf for people who tend to use spoken English and identify with the hearing world.
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Lauraperrottaresume Copy
LAURA PERROTTA AEA/AFTRA/SAG Phone: (216) 536-2490 Height: 5’5” Hair: Brown Weight: 125 lbs. Eyes: Blue E-mail: [email protected] The Acting Company – National Tour LOVE’S LABOURS LOST Princess of France Paul Giovanni TALK TO ME LIKE THE RAIN Woman Michael Kahn THE LONG GOODBYE Myra Michael Kahn MUCH ADO ABOUT NOTHING Hero Gerald Gutierrez KABUKI MACBETH Malcolm Shozo Sato BOY MEETS GIRL Suzie Seabrook Brian Murray Off-Broadway WHISPERS ON THE WIND Various Roles Westside Theatre/Lisa Seldin Regional THE DIARY OF ANNE FRANK Petronella Van Daan Cleveland Playhouse/Laura Kepley TWELFTH NIGHT Maria Great Lakes Theater/ Idaho Shakespeare Festival/Drew Barr AND THEN THERE WERE NONE Emily Brent Great Lakes/Idaho Shakespeare/Charles Fee STEEL MAGNOLIAS M’Lynne Idaho Shakespeare/Sari Ketter A CHRISTMAS STORY Miss Shields Cleveland Playhouse/John McCluggage HEARTBREAK HOUSE Hesione Mamai Theater ‘NIGHT MOTHER Jessie Beck Center for the Arts/Scott Plate THE LITTLE DOG LAUGHED Diane Beck Center for the Arts/Scott Plate Cleveland Critics’ Circle 2012 - Best Actress AN IDEAL HUSBAND Mrs. Cheveley Great Lakes/Idaho Shakespeare/Sari Ketter OTHELLO Emila Greak Lakes/Idaho Shakespeare/Risa Brainin THE SEAGULL Irina Arkadina Great Lakes/Idaho Shakespeare/Drew Barr TARTUFFE Dorine Great Lakes/Drew Barr A FUNNY THING HAPPENED… Domina Great Lakes/Idaho Shakespeare/Victoria Bussert THE MYSTERY OF EDWIN DROOD Princess Puffer Great Lakes/Idaho Shakespeare/Victoria Bussert THE CRUCIBLE Elizabeth Proctor Great Lakes/Idaho Shakespeare/Drew Barr ALL’S WELL
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By Robert Schenkkan Directed by Francine Thomas Reynolds Oct 21-Nov 2, 2014
New Stage Theatre presents Sponsored by By Robert Schenkkan Directed by Francine Thomas Reynolds Oct 21-Nov 2, 2014 Stage Manager Production Manager/ Properties Designer Elise McDonald Technical Director Clara Seitz Richard Lawrence Scenic Designer Sound Designer/ Richart Schug Lighting Designer Projection Designer Brent Lefavor Costume Designer Cory Drake Esther Newell ALL THE WAY was originally produced on Broadway by: Jeffrey Richards, Louise Gund, Jerry Frankel Stephanie P. McClelland, Double Gemini Productions, Rebecca Gold Scott M. Delman, Barbara H. Freitag, Harvey Weinstein, Gene Korf William Berlind, Caiola Productions, Gutterman Chernoff, Jam Theatricals Gabrielle Palitz, Cheryl Wiesenfeld, Will Trice First performed at Oregon Shakespeare Festival, Bill Rauch - Artistic Director Subsequently performed at American Repertory Theater at Harvard University Diane Paulus, Artistic Director I Diane Borger, Producer ALL THE WAY was developed, in part, with assistance from The Orchard Project, a program of The Exchange (www.exchangenyc.org) ALL THE WAY was the recipient of the 2012 Edward M. Kennedy Prize for Drama Inspired by American History, and which is awarded through Columbia University ALL THE WAY is presented by special arrangement with Dramatists Play Services, Inc., New York Contains mature language.The play is suitable for well-prepared high school THE GRAPES OF WRATH is presented by special arrangement students 14 and up who can handle frequent strong profanity and racial epithets. with Dramatists Play Service, Inc., New York. There will be one 15 minute intermission Running time – 3 hours SEttING Washington, D.C., other U.S. Cities November 1963-November 1964 CAST Lyndon Baines Johnson. .Mitch Tebo* Rev. Martin Luther King, Jr., SCLC co-founder ..............DeLance Minefee* Lady Bird Johnson, First Lady.
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1 Twelfth Night, Hamlet, the Winters' Tale, Richard II, Timon of Athens, Presented by the Oregon Shakespeare Festival, Februar
Twelfth Night, Hamlet, The Winters’ Tale, Richard II, Timon of Athens, presented by the Oregon Shakespeare Festival, February-November 2016. Geoff Ridden Independent Scholar [email protected] Twelfth Night. Director: Christopher Liam Moore. With Sara Bruner (Viola/Sebastian), Gina Daniels (Olivia), Ted Deasy (Malvolio), and Rodney Gardiner (Feste). Hamlet. Director: Lisa Peterson. With Danforth Comins (Hamlet), Christiana Clark (Horatio), and Derrick Lee Weeden (Polonius). The Winter’s Tale. Director: Desdemona Chiang. With Eric Steinberg (Leontes), Amy Kim Waschke (Hermione), and Miriam Laube (Paulina). Richard II. Director: Bill Rauch. With Christopher Liam Moore (King Richard II), and Jeffrey King (Henry Bullingbrook). Timon of Athens. Director: Amanda Dehnert. With Anthony Heald (Timon), Vilma Silva (Apemantus), and Jonathan Haugen (Alcibiades). After the 2015 season, which staged only three Shakespeare productions, the Festival returned to a full complement of Shakespeare in 2016, using all three of its performances spaces. Sadly, another member of the acting company died of cancer this season: Judith-Marie Bergan was in her fifteenth year at OSF, playing the role of Miss Havisham in an adaptation of Great Expectations, having previously acted in some seven Shakespeare plays. 1 Twelfth Night This was the first production to open, and had the longest run of any of the five Shakespeare plays. It was staged in the Bowmer Theatre and proved to be an exuberant and enjoyable production, but not one which was always faithful to the play which Shakespeare wrote, not least in its changing of the order of scenes. The production was set in 1930s Hollywood, and it opened with the imposing edifice on the stage of the doors to Illyria Productions, and with the screening of two newsreels (from Folio Studios): the first told us that the movie star, Olivia, had pulled out of What You Will after her brother had died; the second that a pair of wealthy twins had been shipwrecked.
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Peterpeter Andand Thethe Starcatcherstarcatcher Streamingstreaming Augustaugust 1818 –– 31,31, 20202020 PHOTO by KIM BUDD
playbill PeterPeter andand thethe StarcatcherStarcatcher StreamingStreaming AugustAugust 1818 –– 31,31, 20202020 PHOTO BY KIM BUDD PASSION. CREATIVITY. PERFORMANCE. A cast of faculty with the highest degrees in their fields, clear paths toward degree completion, and front row seats to AN 2020 our spectacular natural environment. Economical approaches (NOPE) to an excellent educational value. We set the stage for a superb d institution of higher education, located in the tain landscape of southern Oregon, that is an inclu- learning experience. Stop by and take in a performance! or the future that guides all learners to develop the acities, and audacity to innovate boldly and create e. aph (SURE WHY NOT) CHALLENGE ACCEPTED or the Arts at Southern Oregon University serves as ts school as well as a regional arts center, presenting nd contemporary art to the Rogue Valley commu- SOU.EDU | 855-470-3377 nd beyond. Southern Oregon University is home to the Oregon Center for the Arts, proudly bringing music, theatre, and other public events to the Rogue Valley community 2 Go to oca.sou.edu for more information SOU OSF Playbill Ad JAN 2020.indd 1 2/6/20 2:33 PM BELLE FIORE WINERY, ESTATE AND VINEYARD PHOTO BY KIM BUDD Ashland’s Premiere Destination Winery PASSION. CREATIVITY. Pavilion Tasting Room PERFORMANCE. Monday & Tuesday: 12pm-5pm, Wednesday-Sunday: 12pm-8pm *Seasonal hours subject to change. See www.belleﬁ orewine.com Chateau Tasting Room A cast of faculty with the highest degrees in their fields, Private Tastings at the Chateau. clear paths toward degree completion, and front row seats to AN 2020 our spectacular natural environment.
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Wayne T. Carr
Wayne T. Carr AFTRA, AEA Eye Color: Black Hair Color: Black Height: 5' 9" [175.26 cm.] TELEVISION S.W.A.T. Co-Star CBS Billy Gierhart Stuck In The Middle Guest Star Disney Channel April Winney Pleading Guilty (Pilot) Co-Star Fox Jon Avnet Matadors (Pilot) Co-Star ABC Yves Simoneau FILM Macbeth Supporting Scott Rudin Productions Joel Coen Who's Afraid of the Big Black Wolf? (Short) Supporting Triglav Film Janez Lapajne THEATRE Macbeth Macbeth Utah Shakespeare Festival Melissa Rain Anderson Othello Othello Utah Shakespeare Festival Kate Buckley Seven Guitars Canewell Yale Repertory Theatre Timothy Douglas Pericles Pericles The Guthrie, Folger, OSF Joe Haj Antony and Cleopatra Pompei Oregon Shakespeare Festival Bill Rauch All the Way Stokley Carmichael Seattle Rep, OSF Bill Rauch Great Society Stokley Carmichael Seattle Rep, OSF Bill Rauch Tempest Caliban Oregon Shakespeare Festival Bill Rauch Taming of the Shrew Lucentio Oregon Shakespeare Festival David Ivers Midsummer's Demetrius Oregon Shakespeare Festival Christopher Liam Moore As You Like It Orlando Oregon Shakespeare Festival Jessica Thebus Funk It Up Cast Joe's Pub, NY Q Brothers Gentrifusion Cast Red Fern, NY Moritz Von Stuelphagel Richard II Duke Aumerle Pearl Theater Co., NYC J.R. Sullivan Bomb-itty of Errors Adriana Hudson Valley Shakespeare Chris Edward Romeo and Juliet Tybalt Indiana Repertory Tim Ocel A Christmas Carol Dick Wilkins The Goodman Kate Buckley Trouble in Mind John Nevins Milwaukee Repertory Timothy Douglas Eurydice Lord of the Underworld Milwaukee Repertory Jonathan Moscone Love's Labour's King of Navarre Milwaukee Shakespeare Jennifer Uphoff Gray Much Ado Don Pedro Nebraska Shakespeare Cindy Phaneuf Fat Pig Carter Renaissance Theaterworks Susan Fete TopDog UnderDog Booth Renaissance Theaterworks Susan Fete Tartuffe Damis American Players Theatre David Frank Julius Caesar Popillius American Players Theatre Sandy Robbins Seussical Wick Brother Fulton Opera House Robin McKercher Joseph..
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Rehearsal, Performance, and Management Practices by the Oregon Shakespeare Festival
Six Companies in Search of Shakespeare: Rehearsal, Performance, and Management Practices by The Oregon Shakespeare Festival, The Stratford Shakespeare Festival, The Royal Shakespeare Company, Shakespeare & Company, Shakespeare‘s Globe and The American Shakespeare Center DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Andrew Michael Blasenak, M.F.A. Graduate Program in Theatre The Ohio State University 2012 Dissertation Committee: Professor Stratos Constantinidis, Advisor Professor Nena Couch Professor Beth Kattelman i Copyright by Andrew Michael Blasenak 2012 ii Abstract This dissertation examines the artistic and managerial visions of six "non-profit" theatre companies which have been dedicated to the revitalization of Shakespeare‘s plays in performance from 1935 to 2012. These six companies were The Oregon Shakespeare Festival, the Stratford Shakespeare Festival, The Royal Shakespeare Company, Shakespeare & Company, Shakespeare‘s Globe and The American Shakespeare Center. The following questions are considered in the eight chapters of this study:1) Did the re- staging of Shakespeare's plays in six "non-profit" theatre companies introduce new stagecraft and managerial strategies to these companies? 2) To what degree did the directors who re-staged Shakespeare's plays in these six "non-profit" theatre companies successfully integrate the audience in the performance? 3) How important was the coaching of actors in these six "non-profit"
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