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“Everybody Wants Johnny!” West Coast Premiere JERUSALEM
Press Release For immediate release November 2013 Publicist: Anne Abrams [email protected] “Everybody Wants Johnny!” West Coast Premiere JERUSALEM By Jez Butterworth Directed by Bill English January 21 to March 8, 2014 Previews January 21-24 8pm Tuesday through Thursday at 7pm, Friday and Saturday at 8pm Saturday at 3pm and (new this season) select Sundays at 2pm PRESS OPENING: Saturday, January 25th at 8pm San Francisco, CA (November 2013) – San Francisco Playhouse (Artistic Director Bill English and Producing Director Susi Damilano) launches the New Year with the West Coast’s first production of Jerusalem, Jez Butterworth’s epic Tony and Olivier award-winning play. Bill English directs and Brian Dykstra* stars in the role of Johnny “Rooster” Byron. Quickly gaining recognition as a seminal play of the 21st Century, Jerusalem is about our relationship with sacred land and the balance we strike when confronted with its economic development. The state of Jerusalem is invoked as a metaphor, placed in the West of England where ancient Druid ruins are quickly becoming swept away by the sprawl of suburban industry. Johnny "Rooster" Byron squats on a precious piece of “holy land,” a final holdout against urban growth. A former motorcycle daredevil claiming to have been conceived on the tip of a speeding bullet, he has for 27 years held court as a drug dealer and pied-piper-like wise man to generations of impoverished suburban teens. Part Falstaff, part Evil Knevil, and part Henry V, Rooster stubbornly guards his land from real estate developers and enables rites of passage for kids whose parents have nothing to give them. -
2019 Silent Auction List
September 22, 2019 ………………...... 10 am - 10:30 am S-1 2018 Broadway Flea Market & Grand Auction poster, signed by Ariana DeBose, Jay Armstrong Johnson, Chita Rivera and others S-2 True West opening night Playbill, signed by Paul Dano, Ethan Hawk and the company S-3 Jigsaw puzzle completed by Euan Morton backstage at Hamilton during performances, signed by Euan Morton S-4 "So Big/So Small" musical phrase from Dear Evan Hansen , handwritten and signed by Rachel Bay Jones, Benj Pasek and Justin Paul S-5 Mean Girls poster, signed by Erika Henningsen, Taylor Louderman, Ashley Park, Kate Rockwell, Barrett Wilbert Weed and the original company S-6 Williamstown Theatre Festival 1987 season poster, signed by Harry Groener, Christopher Reeve, Ann Reinking and others S-7 Love! Valour! Compassion! poster, signed by Stephen Bogardus, John Glover, John Benjamin Hickey, Nathan Lane, Joe Mantello, Terrence McNally and the company S-8 One-of-a-kind The Phantom of the Opera mask from the 30th anniversary celebration with the Council of Fashion Designers of America, designed by Christian Roth S-9 The Waverly Gallery Playbill, signed by Joan Allen, Michael Cera, Lucas Hedges, Elaine May and the company S-10 Pretty Woman poster, signed by Samantha Barks, Jason Danieley, Andy Karl, Orfeh and the company S-11 Rug used in the set of Aladdin , 103"x72" (1 of 3) Disney Theatricals requires the winner sign a release at checkout S-12 "Copacabana" musical phrase, handwritten and signed by Barry Manilow 10:30 am - 11 am S-13 2018 Red Bucket Follies poster and DVD, -
Plays to Read for Furman Theatre Arts Majors
1 PLAYS TO READ FOR FURMAN THEATRE ARTS MAJORS Aeschylus Agamemnon Greek 458 BCE Euripides Medea Greek 431 BCE Sophocles Oedipus Rex Greek 429 BCE Aristophanes Lysistrata Greek 411 BCE Terence The Brothers Roman 160 BCE Kan-ami Matsukaze Japanese c 1300 anonymous Everyman Medieval 1495 Wakefield master The Second Shepherds' Play Medieval c 1500 Shakespeare, William Hamlet Elizabethan 1599 Shakespeare, William Twelfth Night Elizabethan 1601 Marlowe, Christopher Doctor Faustus Jacobean 1604 Jonson, Ben Volpone Jacobean 1606 Webster, John The Duchess of Malfi Jacobean 1612 Calderon, Pedro Life is a Dream Spanish Golden Age 1635 Moliere Tartuffe French Neoclassicism 1664 Wycherley, William The Country Wife Restoration 1675 Racine, Jean Baptiste Phedra French Neoclassicism 1677 Centlivre, Susanna A Bold Stroke for a Wife English 18th century 1717 Goldoni, Carlo The Servant of Two Masters Italian 18th century 1753 Gogol, Nikolai The Inspector General Russian 1842 Ibsen, Henrik A Doll's House Modern 1879 Strindberg, August Miss Julie Modern 1888 Shaw, George Bernard Mrs. Warren's Profession Modern Irish 1893 Wilde, Oscar The Importance of Being Earnest Modern Irish 1895 Chekhov, Anton The Cherry Orchard Russian 1904 Pirandello, Luigi Six Characters in Search of an Author Italian 20th century 1921 Wilder, Thorton Our Town Modern 1938 Brecht, Bertolt Mother Courage and Her Children Epic Theatre 1939 Rodgers, Richard & Oscar Hammerstein Oklahoma! Musical 1943 Sartre, Jean-Paul No Exit Anti-realism 1944 Williams, Tennessee The Glass Menagerie Modern -
Film Appreciation Wednesdays 6-10Pm in the Carole L
Mike Traina, professor Petaluma office #674, (707) 778-3687 Hours: Tues 3-5pm, Wed 2-5pm [email protected] Additional days by appointment Media 10: Film Appreciation Wednesdays 6-10pm in the Carole L. Ellis Auditorium Course Syllabus, Spring 2017 READ THIS DOCUMENT CAREFULLY! Welcome to the Spring Cinema Series… a unique opportunity to learn about cinema in an interdisciplinary, cinematheque-style environment open to the general public! Throughout the term we will invite a variety of special guests to enrich your understanding of the films in the series. The films will be preceded by formal introductions and followed by public discussions. You are welcome and encouraged to bring guests throughout the term! This is not a traditional class, therefore it is important for you to review the course assignments and due dates carefully to ensure that you fulfill all the requirements to earn the grade you desire. We want the Cinema Series to be both entertaining and enlightening for students and community alike. Welcome to our college film club! COURSE DESCRIPTION This course will introduce students to one of the most powerful cultural and social communications media of our time: cinema. The successful student will become more aware of the complexity of film art, more sensitive to its nuances, textures, and rhythms, and more perceptive in “reading” its multilayered blend of image, sound, and motion. The films, texts, and classroom materials will cover a broad range of domestic, independent, and international cinema, making students aware of the culture, politics, and social history of the periods in which the films were produced. -
Britten's Acoustic Miracles in Noye's Fludde and Curlew River
Britten’s Acoustic Miracles in Noye’s Fludde and Curlew River A thesis submitted by Cole D. Swanson In partial fulfillment of the requirements for the degree of Master of Arts in Music TUFTS UNIVERSITY May 2017 Advisor: Alessandra Campana Readers: Joseph Auner Philip Rupprecht ii ABSTRACT Benjamin Britten sought to engage the English musical public through the creation of new theatrical genres that renewed, rather than simply reused, historical frameworks and religious gestures. I argue that Britten’s process in creating these genres and their representative works denotes an operation of theatrical and musical “re-enchantment,” returning spiritual and aesthetic resonance to the cultural relics of a shared British heritage. My study focuses particularly on how this process of renewal further enabled Britten to engage with the state of amateur and communal music participation in post-war England. His new, genre-bending works that I engage with represent conscious attempts to provide greater opportunities for amateur performance, as well cultivating sonically and thematically inclusive sound worlds. As such, Noye’s Fludde (1958) was designed as a means to revive the musical past while immersing the Aldeburgh Festival community in present musical performance through Anglican hymn singing. Curlew River (1964) stages a cultural encounter between the medieval past and the Japanese Nō theatre tradition, creating an atmosphere of sensory ritual that encourages sustained and empathetic listening. To explore these genre-bending works, this thesis considers how these musical and theatrical gestures to the past are reactions to the post-war revivalist environment as well as expressions of Britten’s own musical ethics and frustrations. -
This Electronic Thesis Or Dissertation Has Been Downloaded from Explore Bristol Research
This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Park-Finch, Heebon Title: Hypertextuality and polyphony in Tom Stoppard's stage plays General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. Hypertextuality and Polyphony in Tom Stoppard's Stage Plays Heebon Park-Finch A dissertation submitted to the University of Bristol in -
Richard Bean's the Big Fellah (2010) and Jez Butterworth's the Ferryman
DOI: http://dx.doi.org/10.5007/2175-8026.2020v73n2p115 RICHARD BEAN’S THE BIG FELLAH (2010) AND JEZ BUTTERWORTH’S THE FERRYMAN (2017): TWO PLAYS ABOUT THE NORTHERN TROUBLES FROM OUTSIDE OF NORTHERN IRELAND Hiroko Mikami1* 1Waseda University, Tokyo, Japan Abstract During the three decades of the Troubles of Northern Ireland (1969– 1998), a remarkable amount of plays about the conflict was written, most by (Northern) Irish playwrights. Recently, however, alongside growing concerns about violence worldwide since 9/11, authors who are not of Irish descent have begun to choose the Northern Troubles as their theme. This article deals with two plays, Richard Bean’s The Big Fellahand Jez Butterworth’s The Ferryman, neither of which was written by an Irish playwright, and examines whether and to what extent it is possible to say that they can transcend regional boundaries and become part of global memories in the context of the post-Good Friday Agreement and 9/11. Keywords: Richard Bean; The Big Fellah; Jez Butterworth; The Ferryman; the Troubles of Northern Ireland * Professor of Irish Studies at Waseda University, Tokyo, where she also serves as director of the Institute for Irish Studies. She authored Frank McGuinness and his Theatre of Paradox (Colin Smythe, 2002) and co-edited/ authored Ireland on Stage: Beckett and After(Carysfort, 2007) and Irish Theatre and Its Soundscapes(2015). She translated many contemporary Irish plays into Japanese, including Tom Murphy’s Bailegangaire and A Thief of a Christmas, and Frank McGuinnes’s Innocence and Mutabilitie. E-mail address: [email protected]. ORCID: https://orcid.org/0000-0003-0731-454X. -
Drama Co- Productions at the BBC and the Trade Relationship with America from the 1970S to the 1990S
ORBIT - Online Repository of Birkbeck Institutional Theses Enabling Open Access to Birkbecks Research Degree output ’Running a brothel from inside a monastery’: drama co- productions at the BBC and the trade relationship with America from the 1970s to the 1990s http://bbktheses.da.ulcc.ac.uk/56/ Version: Full Version Citation: Das Neves, Sheron Helena Martins (2013) ’Running a brothel from inside a monastery’: drama co-productions at the BBC and the trade relationship with America from the 1970s to the 1990s. MPhil thesis, Birkbeck, University of Lon- don. c 2013 The Author(s) All material available through ORBIT is protected by intellectual property law, including copyright law. Any use made of the contents should comply with the relevant law. Deposit guide Contact: email BIRKBECK, UNIVERSITY OF LONDON SCHOOL OF ARTS DEPARTMENT OF HISTORY OF ART AND SCREEN MEDIA MPHIL VISUAL ARTS AND MEDIA ‘RUNNING A BROTHEL FROM INSIDE A MONASTERY’: DRAMA CO-PRODUCTIONS AT THE BBC AND THE TRADE RELATIONSHIP WITH AMERICA FROM THE 1970s TO THE 1990s SHERON HELENA MARTINS DAS NEVES I hereby declare that this is my own original work. August 2013 ABSTRACT From the late 1970s on, as competition intensified, British broadcasters searched for new ways to cover the escalating budgets for top-end drama. A common industry practice, overseas co-productions seems the fitting answer for most broadcasters; for the BBC, however, creating programmes that appeal to both national and international markets could mean being in conflict with its public service ethos. Paradoxes will always be at the heart of an institution that, while pressured to be profitable, also carries a deep-rooted disapproval of commercialism. -
THE BIRTHDAY PARTY by Harold Pinter Directed by Ian Rickson
PRESS RELEASE – Tuesday 6th March 2018 IMAGES CAN BE DOWNLOADED HERE @BdayPartyLDN / TheBirthdayParty.London Sonia Friedman Productions in association with Rupert Gavin, Tulchin Bartner Productions, 1001 Nights Productions, Scott M. Delman present THE BIRTHDAY PARTY By Harold Pinter Directed by Ian Rickson CRITICALLY ACCLAIMED 60th ANNIVERSARY REVIVAL OF THE BIRTHDAY PARTY ENTERS FINAL WEEKS AT THE HAROLD PINTER THEATRE STRICTLY LIMITED WEST END RUN STARRING TOBY JONES, STEPHEN MANGAN, ZOË WANAMAKER AND PEARL MACKIE MUST COME TO AN END ON 14TH APRIL Audiences now have just five weeks left to see the critically acclaimed West End production of playwright Harold Pinter’s The Birthday Party. The company for the major revival, which runs 60 years since the play’s debut, includes Toby Jones, Stephen Mangan, Zoë Wanamaker, Pearl Mackie, Tom Vaughan-Lawlor and Peter Wight, and is directed by Ian Rickson. Stanley Webber (Toby Jones) is the only lodger at Meg (Zoë Wanamaker) and Petey Boles’ (Peter Wight) sleepy seaside boarding house. The unsettling arrival of enigmatic strangers Goldberg (Stephen Mangan) and McCann (Tom Vaughan-Lawlor) disrupts the humdrum lives of the inhabitants and their friend Lulu (Pearl Mackie), and mundanity soon becomes menace when a seemingly innocent birthday party turns into a disturbing nightmare. Truth and alliances hastily shift in Pinter's brilliantly mysterious dark-comic masterpiece about the absurd terrors of the everyday. The production is designed by the Quay Brothers, with lighting by Hugh Vanstone, music by Stephen Warbeck, sound by Simon Baker, and casting by Amy Ball. For more information visit TheBirthdayParty.London -ENDS- For further information please contact The Corner Shop PR on 020 7831 7657 Maisie Lawrence [email protected] / Ben Chamberlain [email protected] LISTINGS Sonia Friedman Productions in association with Rupert Gavin, Tulchin Bartner Productions, 1001 Nights Productions, Scott M. -
Analyse the Extent to Which Controversial Theatre Can Be Accommodated on a West End Stage
Analyse the Extent to Which Controversial Theatre can be Accommodated on a West End Stage. Olivia Rook Jane Milling asserts that London’s West End (WE) is familiar to tourist audiences for its ‘remarkably stable’ repertoire, consisting largely of ‘literary musical adaptations’, ‘musical adaptations of films’ and ‘compilation musicals of popular musical trends’.1 This suggests that the WE is almost entirely motivated by the commercial successes of the megamusical. Audiences have a ‘horizon of expectations’ when they visit a WE theatre, as they associate the area with a particular cultural experience.2 New work is measured against the audience’s expectations and ‘The closer it correlates with this horizon, the more likely it is to be low, pulp, or ‘culinary’ art’.3 This disparaging perspective is shared by many in the industry; indeed, Peter Brook argues that during the mid-twentieth century, shows had become ‘weak, watery, repetitive, drab and silly’.4 However, there have been challenges to these long-running musical productions, leading to the development of more innovative theatre. This essay will focus on the work of the Royal Court (RC), in particular, Jez Butterworth’s Jerusalem, and the journey of Jerry Springer, The Opera from scratch theatre to the WE. Citing Frank Parkin’s model of ‘social democracies’, it will be explored how far and in what ways these examples of controversial theatre abide by the ‘dominant system’ established in the WE: of palatable, long-running musicals.5 By focusing on modes of controversy, the idea of celebrity, processes of production and critical response, this essay will determine whether Springer and Jerusalem abide by a ‘subordinate system’, and thus comprehend and comply with the dominant, or whether they are being ‘radical’ and oppose any sense of a normative status, deviating too far from audiences’ ‘horizon of expectations’. -
Media Release
MEDIA RELEASE Heineken® reveals Spectre TV ad starring Daniel Craig as James Bond, plus world’s first ever selfie from space Amsterdam, 21 September 2015 - As part of its integrated global Spectre campaign, Heineken® has unveiled a new TV ad featuring Daniel Craig as James Bond, in a high speed boat chase. In addition, it also announced an exciting digital campaign featuring the world’s first ever selfie from space, dubbed the ‘Spyfie’. Heineken®’s Spectre campaign is the brand’s largest global marketing platform of 2015. Spectre, the 24th James Bond adventure, from Albert R. Broccoli’s EON Productions, Metro-Goldwyn-Mayer Studios, and Sony Pictures Entertainment, will be released in the UK on October 26 and in the US on November 6. The Heineken® TVC will be launched mobile-first via Facebook, and will be shown on TV and cinema screens worldwide 24 hours later. Heineken® is the only Spectre partner who has created a TVC starring Daniel Craig. Heineken®’s TVC uses Spectre cinematographers and stuntmen to ensure the action sequences are authentically Bond. The added twist involves a young woman, Zara, who accidentally becomes involved in a high-speed boat chase where she helps the world’s favourite spy to save the day. Heineken®’s Spectre TVC: http://youtu.be/vuMvhJaWIUg For its digital Spectre campaign, Heineken® will once again be pushing the boundaries of modern technology, and will be taking the world’s first ever selfie from space. For the ‘Spyfie’, Heineken® has partnered with Urthecast to take ultra HD imagery using its camera on the Deimos satellite, currently in orbit 600km above the Earth’s surface. -
Engl3063-Marguerite-Carter.Pdf
Volume 12: 2019-20 ISSN: 2041-6776 ‘It is important to stress that the meanings associated with national iconography do not stand still. There are frequent struggles over meaning and demands to rethink the status acquired or transmitted by national icons.’ To what extent do your chosen plays and performances rework and rethink national iconographies and to what effect? Marguerite Carter It is arguable that the term ‘nation’ is one without a concrete definition, given Nadine Holdsworth’s assertion that ‘summoning the nation as a known, unchanging entity […] suggests harking back to some misplaced notion of national purity, when, in fact, the reality of the nation is reliant on its impurity’.1 Roy Williams’ Sing Yer Heart Out for the Lads and Jez Butterworth’s Jerusalem dramatize this sentiment, exploring the ‘impurity’ of England’s urban and rural communities respectively. They look past what David Ian Rabey suggests one might think of ‘if pushed to suggest some positive images of Englishness’, such as London’s liberal modernity or Wiltshire’s peaceful countryside.2 Rather, their dramas focus on the spaces – and people – these idealised perceptions of England eclipse, thereby reshaping the national iconographies of its bustling capital and idyllic countryside to better reflect the lived reality of this nation’s inhabitants. In this way, both Sing Yer Heart Out for the Lads and Jerusalem can be thought of as state of the nation plays. These are works which interrogate the notion of national identity, often products of what Holdsworth terms ‘moments of social breakdown and urban unrest that unsettle any idea of the homogenous nation’.3 Williams and Butterworth suggest that, in such moments, traditional symbols of Englishness assume greater significance.