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JOSH SIEGEL Line Producer / UPM Directors Guild of America, Producers Guild of America
Screen Talent Agency 818 206 0144 JOSH SIEGEL Line Producer / UPM Directors Guild of America, Producers Guild of America Josh Siegel knew at an early age he wanted to make movies. Proactively, he raised money while at Johns Hopkins University to create his first film. Siegel has since gone on to produce more than 20 projects, and budgeted in excess of fifty, with budgets of $250k to $30m. His pleasant personality, wit and ability were key in his appointment as head of production for Hannibal Pictures. Josh intimately knows all the stages of production from development through production, post and distribution. He knows how to make your money appear on screen and where you can cut to save funds. And he can do it all with a smile. A member of both the PGA and the DGA, Josh lives in Los Angeles and is available for work worldwide. selected credits as line producer production director / producer / production company SHOT Noah Wyle, Sharon Leal Jeremy Kagan / Josh Siegel / AC Transformative Media A ROLE TO DIE FOR (in prep) John Asher / Conrad Goode / ARTDF Films ANY DAY Eva Longoria, Tom Arnold, Sean Bean, Kate Walsh Rustam Branaman / Andrew Sugerman / Jaguar Ent. BETWEEN Poppy Montgomery (shot entirely in Mexico) David Ocanas / Frank Donner / Lifetime TV RUNNING WITH ARNOLD Alec Baldwin (documentary) Dan Cox / Mike Gabrawy / Endless World Films THE LAST LETTER William Forsythe, Yancy Butler Russell Gannon / Demetrius Navarro / MTI PURPLE HEART William Sadler, Mel Harris Bill Birrell / Russell Gannon / Vision Films OH, MR. FAULKNER, DO YOU WRITE? John Maxwell Jimbo Barnett (prod/director) / MaxBo television 24 Carlos Bernard, Xander Berkeley (DVD bonus episode) Jordan Goldman / Manny Coto, Evan Katz / Fox GUTSY FROG Mischa Barton, Julie Brown Mark A.Z.Dippé / Kevin Jonas, Alan Sacks / Jonas Bros. -
L3702 LETHAL WEAPON 2 (USA, 1989) (Other Titles: Arma Lethale 2; Arme Fatale 2; Brennpunkt L.A.; Dodbringende Veben 2)
L3702 LETHAL WEAPON 2 (USA, 1989) (Other titles: Arma lethale 2; Arme fatale 2; Brennpunkt L.A.; Dodbringende veben 2) Credits: director, Richard Donner ; writer, Jeffrey Boam. Cast: Mel Gibson, Danny Glover, Joe Pesci, Joss Ackland. Summary: Police thriller set in contemporary Los Angeles. Detectives Riggs (Gibson) and Murtaugh (Glover) must guard a free-wheeling witness (Pesci) in a drug money laundering scheme run by South African diplomats. A comedy of car chases, gun battles, and under-water escapes. Ansen, David. “The arts: Movies: Gibson and Glover return: ‘Lethal weapon 2’ serves up sadism with a smile” 114 Newsweek (Jul 17, 1989), p. 53. [Reprinted in Film review annual 1990] Avins, Mimi. “Shot by shot” Premiere 2/12 (Aug 1989), p. 72-6. Baumann, Paul D. “Screen: Scorching the screen” Commonweal 116 (Oct 6, 1989), p. 529-30. Blair, Iain. “Movies: Mel’s lethal appeal: He’s got killer looks, but shucks, Gibson’s just one of the guys” Chicago tribune (Jul 9, 1989), Arts, p. 4. Blois, Marco de. “Lethal weapon II” 24 images 44-45 (autumn 1989), p. 109. Broeske, Pat H. “A high-caliber Danny Glover” Los Angeles times (Jul 11, 1989), Calendar, p. 1. “Business: Talk about placements” Newsweek 114 (Jul 31, 1989), p. 50. Carr, Jay. “Three stooges with guns” Boston globe (Jul 7, 1989), Arts and film, p. 41. Christensen, Johs H. “Dodbringende veben 2” Levende billeder 5 (Sep 1989), p. 47. Clark, Mike. “‘Lethal 2’ is loaded with bang and blanks” USA today (Jul 7, 1989), p. 1D. Cliff, Paul. “Movie trax” Film monthly 1 (Dec 1989), p. -
Marvin Hamlisch
tHE iRA AND lEONORE gERSHWIN fUND IN THE lIBRARY OF cONGRESS AN EVENING WITH THE MUSIC OF MARVIN HAMLISCH Monday, October 19, 2015 ~ 8 pm Coolidge Auditorium Library of Congress, Thomas Jefferson Building The Ira and Leonore Gershwin Fund in the Library of Congress was established in 1992 by a bequest from Mrs. Gershwin to perpetuate the name and works of her husband, Ira, and his brother, George, and to provide support for worthy related music and literary projects. "LIKE" us at facebook.com/libraryofcongressperformingarts loc.gov/concerts Please request ASL and ADA accommodations five days in advance of the concert at 202-707-6362 or [email protected]. Latecomers will be seated at a time determined by the artists for each concert. Children must be at least seven years old for admittance to the concerts. Other events are open to all ages. • Please take note: Unauthorized use of photographic and sound recording equipment is strictly prohibited. Patrons are requested to turn off their cellular phones, alarm watches, and any other noise-making devices that would disrupt the performance. Reserved tickets not claimed by five minutes before the beginning of the event will be distributed to stand-by patrons. Please recycle your programs at the conclusion of the concert. The Library of Congress Coolidge Auditorium Monday, October 19, 2015 — 8 pm tHE iRA AND lEONORE gERSHWIN fUND IN THE lIBRARY OF cONGRESS AN EVENING WITH THE mUSIC OF MARVIN hAMLISCH WHITNEY BASHOR, VOCALIST | CAPATHIA JENKINS, VOCALIST LINDSAY MENDEZ, VOCALIST | BRYCE PINKHAM, VOCALIST -
Traffic (2000): La Drogadicción Vista Desde La Bioética
TRAFFIC (2000): LA DROGADICCIÓN VISTA DESDE LA BIOÉTICA JUAN ENRIQUE REDONDO CANTUESO CÓRDOBA (España) , JUNIO 2010 FICHA TÉCNICA Año de producción: 2000 País: Alemania, EE.UU. Dirección: Steven Soderbergh Intérpretes: Michael Douglas, Benicio del Toro, Luis Guzmán, Dennis Quaid, Catherine Zeta-Jones, Don Cheadle, Erika Christensen, Albert Finney, Miguel Ferrer, Amy Irving, Topher Grace, Clifton Collins Jr., Benjamin Bratt, James Brolin Guión: Stephen Gaghan Música: Cliff Martínez Fotografía: Steven Soderbergh Duración: 147 min. Público apropiado: Jóvenes-adultos Género: Thriller LA PELÍCULA Como iré tratando de exponer, TRAFFIC no es la enésima película que trata el drama de las drogas. No. Es una película especial en la que se muestra este escabroso tema no solo desde el punto de vista de la policía o de los implicados sino desde todos los ámbitos y generaciones de nuestra sociedad; nos enseña desde dentro el circo político, la acción y corrupción policial, la incidencia en la juventud-adolescencia, la difícil relación padres-hijos, la ausencia de valores donde solo prima el poseer más que el ser… Presentadas las tres historias de forma paralela, pretende captar más la atención del espectador y potenciar su concentración. La fotografía juega un papel fundamental para contextualizar en todo momento a personajes y lugares, gracias a combinaciones de color y contrastes (por ejemplo, cuando la acción se desarrolla en México el color de la imagen es sepia con tonos quemados). Se nos van mostrando tres historias paralelas que van encontrando puntos de unión a medida que avanza la película. La primera de ellas está ambientada en México y comienza con la incautación de un cargamento de droga por parte de dos detectives de Tijuana (el jefe de ellos es Javier Rodríguez, interpretado por Benicio del Toro), que pretenden salir de una espiral de corrupción e inmoralidad. -
Por Derecho De Conquista : Comedia En Tres Actos
8798 -£3 7 POR DERECHO DE CONQUISTA. COMEDIA EN TRES ACTOS ESCRITA EN FRANCÉS m y arreglada a la escena española POR D. MARIANO CARRERAS Y GONZÁLEZ. Representada con aplauso por primera vez en el teatro del Príncipe en la noche del 8 de Marzo de 1 856 , á beneficio de la primera actriz doña Carmen Carrasco. r-*s®I M. P. D. f^g** MADRID. IMPRENTA DE DON CIPRIANO LÓPEZ. Cava-baja, n.° 19, bajo. Marzo 1856. REPARTIMIENTO. " PERSONAS. ~ " ACTORES. la señora bernard, labra- Sra. Lamadrid (DS Teo- dora dora) . LA MARQUESA DE ORBEVAL, Carrasco [D* Car- su tia. ...... men). a Gutiérrez (2>. Ama- AMELIA DE ROCHEFORT. lia) . Justina, doncella. Osorio [D? Cristina) . García. maría , prima de Amelia. clara , id. id. Ramos. carlos bernard, ingeniero. Sr. Romea (D. Julián). EL MARQUÉS DE ROUILLE. Arjona [D. Joaquín). EL VIZCONDE (ÍONTRAN DE Romea[D. Florencio). SILLY Tamayo. [D. Victo- wilson amigo de Carlos. , riano). La escena es en 1$... en la quinta de Rochefort, en Francia. Esta comedia pertenece á la Galería Dramática, que comprende los teatros moderno , antiguo español y es- propiedad de su editor Don Manuel Pe- trangero , y es dro Delgado, quien perseguirá ante la ley, para que se le apliquen las penas que marca la misma , al que sin su permiso la reimprima ó represente en algún teatro sosteni- del Reino , ó en los Liceos y demás Sociedades das por suscricion de los Socios , con arreglo á la ley de 40 de Junio de 1847, y decreto Orgánico de teatros de 28 de Julio de 1852. ACTO PRIMERO Üd salón que dá á un jardín. -
First Friday News & Views
MARCH 2007 First Friday VOLUME 12 News & Views ISSUE 3 THE MONTHLY NEWSLETTER OF THE A Haggard Miracle FIRST FRIDAY by Jonathan Wilson BREAKFAST CLUB, INC. fter three weeks of intense counseling, the not-so-Reverend Ted Haggard would have folks believe he’s 100% heterosexual. If such success is to be be- lieved, his counselors have something they need to take on the road. I think INSIDE Ted’ll be an excellent show pony so long as they keep him on a short leash and away from temptation. They dare not turn their backs on him. “Dreamgirls” Movie Re- 2 view by Gary Kaufman When interviewed, even the head of Exodus International, a group that touts the idea that homosexuality can be “cured,” doubted Ted’s conversion. No matter that the knowledgeable, even those who want to believe, doubt the account. We need to keep in mind the audience Hag- February Speaker Review 3 by Bruce Carr gard is playing to. These are people who profess to believe the earth is about 6000 years old; Methuselah lived 900 years; Jonah lived seven days in the belly of a whale, and survived; and Jesus was born of a virgin and went on to walk on water, turn water into wine, raise the dead, Briefs & Shorts 3 cure leprosy, and restore sight to the blind. In the ranks of the gullible, these folks are the crème From the Editor 4 de la crème. For them, Haggard’s conversion from gay to straight in record time would be no more than a minor miracle. -
Shakespeare on Film, Video & Stage
William Shakespeare on Film, Video and Stage Titles in bold red font with an asterisk (*) represent the crème de la crème – first choice titles in each category. These are the titles you’ll probably want to explore first. Titles in bold black font are the second- tier – outstanding films that are the next level of artistry and craftsmanship. Once you have experienced the top tier, these are where you should go next. They may not represent the highest achievement in each genre, but they are definitely a cut above the rest. Finally, the titles which are in a regular black font constitute the rest of the films within the genre. I would be the first to admit that some of these may actually be worthy of being “ranked” more highly, but it is a ridiculously subjective matter. Bibliography Shakespeare on Silent Film Robert Hamilton Ball, Theatre Arts Books, 1968. (Reissued by Routledge, 2016.) Shakespeare and the Film Roger Manvell, Praeger, 1971. Shakespeare on Film Jack J. Jorgens, Indiana University Press, 1977. Shakespeare on Television: An Anthology of Essays and Reviews J.C. Bulman, H.R. Coursen, eds., UPNE, 1988. The BBC Shakespeare Plays: Making the Televised Canon Susan Willis, The University of North Carolina Press, 1991. Shakespeare on Screen: An International Filmography and Videography Kenneth S. Rothwell, Neil Schuman Pub., 1991. Still in Movement: Shakespeare on Screen Lorne M. Buchman, Oxford University Press, 1991. Shakespeare Observed: Studies in Performance on Stage and Screen Samuel Crowl, Ohio University Press, 1992. Shakespeare and the Moving Image: The Plays on Film and Television Anthony Davies & Stanley Wells, eds., Cambridge University Press, 1994. -
Who Is Dating Benjamin Bratt
Benjamin Bratt (born December 16, ) is an American actor, producer, and activist. Bratt gained exposure through his supporting roles in the box office hits, Bright Angel (), Demolition Man (), Clear and Present Danger () and The River Wild (). From , he extended his global recognition with his role of NYPD Detective Rey Curtis on the NBC drama series Law & Order (for. Mar 19, · Who: Oscar-winning actress Julia Roberts, 52, and Emmy-nominated actor Benjamin Bratt, How They Met: The actor pair met in a restaurant in “[Bratt] walked in, . Benjamin Bratt On Benjamin Bratt was born in San Francisco, California. He made his 12 million dollar fortune with Star, Private Practice and Doctor Strange. Benjamin Bratt, Actor: Miss Congeniality. The middle of five children, Bratt hails from a close-knit family. His mother, an indigenous Quechua Peruvian from Lima, moved to the U.S. at age He grew up in San Francisco. He is known for his roles in the films Traffic (), Miss Congeniality (), and Despicable Me 2 (). He is married to actress Talisa Soto. Sep 13, · Benjamin Bratt made a name for himself as a detective on Law and Order and as Julia Roberts' boyfriend in real life, but then he fell off the radar. Here's why. May 05, · The actress was dating actor Benjamin Bratt, when she crossed paths with cameraman Daniel Moder on the sets of 'The Mexican'. While Roberts was in a serious committed relationship with Bratt for over four years, Moder was married to a woman named Vera Steimberg. But that didn't come in the way of them falling for each other. -
Mark Wagner's Stunt Resume
Mark Aaron Wagner HEIGHT: 5’10” Weight: 165 lbs. Stuntman / Stunt Coordinator/ Actor S.A.G./ A.F.T.R.A./ U.B.C.P./ A.C.T.R.A Suit- 38-40R, Shirt- 16x34 International Stunt Association- 818-501-5225 Waist- 32, Inseem- 31 KMR (agent)- (818) 755-7534 Shoe: 10 www.MarkAaronWagner.com (Online Demo) Current Resume on IMDB.com Feature Films (Full List Upon Request) Once Upon a Time in Hollywood Zoë Bell/ Rob Alonzo Captain Marvel (driver) Hank Amos/ Jeff Habberstad Ant-Man and The Wasp (dbl. Paul Rudd) Brycen Counts Peppermint (stunt dbl.) Keith Woulard Deadpool 2 (driver) Owen Walstrom/ Darrin Prescott Bright Rob Alonzo Predator Marny Eng/ Lance Gilbert Captain America: Civil War (dbl.- Paul Rudd) Sam Hargrave/ Doug Coleman Three Billboards (dbl.- Sam Rockwell) Doug Coleman PeeWee’s Big Holiday (dbl.- Paul Reubens) Mark Rayner Maze Runner: Scorch Trials ND George Cottle Ant-Man (dbl.- Paul Rudd) Jeff Habberstad Stretch (dbl.- Patrick Wilson) Ben Bray Captain America: Winter Soldier Strike Agent Tom Harper/ Casey O’Neil 300: Rise of an Empire Artemisia Father Damon Caro Iron Man 3 Extremis Soldier Markos Rounthwaite/ Mike Justus/ Jeff Habberstad Secret Life of Walter Mitty (dbl.- Adam Scott) Tim Trella/ Clay Cullen Dark Knight Rises ND/ Driving Tom Struthers/ George Cottle Gangster Squad (dbl.-Frank Grillo) Doug Coleman Men in Black 3 ND Wade Eastwood/ Simon Crane X-Men: First Class MIB Jeff Habberstad/ Brian Smrz Girl with the Dragon Tattoo Drving Jeff Habberstad This Is 40 (dbl.- Paul Rudd) Joel Kramer The Master (dbl.- Joaquin Phoenix) Garrett -
Tackling Challenging Issues in Shakespeare for Young Audiences
Shrews, Moneylenders, Soldiers, and Moors: Tackling Challenging Issues in Shakespeare for Young Audiences DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Elizabeth Harelik, M.A. Graduate Program in Theatre The Ohio State University 2016 Dissertation Committee: Professor Lesley Ferris, Adviser Professor Jennifer Schlueter Professor Shilarna Stokes Professor Robin Post Copyright by Elizabeth Harelik 2016 Abstract Shakespeare’s plays are often a staple of the secondary school curriculum, and, more and more, theatre artists and educators are introducing young people to his works through performance. While these performances offer an engaging way for students to access these complex texts, they also often bring up topics and themes that might be challenging to discuss with young people. To give just a few examples, The Taming of the Shrew contains blatant sexism and gender violence; The Merchant of Venice features a multitude of anti-Semitic slurs; Othello shows characters displaying overtly racist attitudes towards its title character; and Henry V has several scenes of wartime violence. These themes are important, timely, and crucial to discuss with young people, but how can directors, actors, and teachers use Shakespeare’s work as a springboard to begin these conversations? In this research project, I explore twenty-first century productions of the four plays mentioned above. All of the productions studied were done in the United States by professional or university companies, either for young audiences or with young people as performers. I look at the various ways that practitioners have adapted these plays, from abridgments that retain basic plot points but reduce running time, to versions incorporating significant audience participation, to reimaginings created by or with student performers. -
Cowboy Up: the American Cowboy in Fact and Fiction Syllabus
FSEM 100 Cowboy Up: The American Cowboy in Fact and Fiction Syllabus Semester Spring 2011 Lecturer Dr. Ron Scheer Email [email protected] Section 34604 Office JEF 261 Phone 213-740-1980 Time Mon 2:00 Office hours TTh 2:00 Fax 213-740-4100 Classroom WPH 201 and by appointment Course description The western has been a genre of American movies and popular literature for over a century. The stories told in this genre reflect values that are embedded in American culture. They are typically about men of strong character who represent a certain kind of moral order, and the story being told is about how they confront and overcome villains, outlaws, and other “bad guys” who are enemies of that order. It can be a black-and-white world of good vs. evil, or it can be a world where there are many shades of gray, so that it’s less easy to tell the difference. This conflict is typically played out on the American frontier, in the late 19th century (1865-1900), during the decades after the American Civil War. It is the era of cowboys, the growth of the cattle industry, the fencing of the open range, the demise of the buffalo herds, the final displacement of the Native American tribes, the building of cross- continental railroads, and rapid settlement of the frontier territories fed by waves of immigration and the availability of free land made possible by the Homestead Acts. The conflict in a western typically involves and is eventually resolved by violence – fistfights, gunfire, sometimes even explosives. -
Saint Isaac Jogues Parish
SAINTSAINT ISAACISAAC JOGUESJOGUES PARISHPARISH 8149 Golf Road, Niles, IL 60714 ¨ 847.967.1060 ¨ Fax: 847.967.1070 ¨ Website: http://sij-parish.com Mission: “A Catholic Parish sharing experiences of the Kingdom of God” GAUDATE SUNDAY JOY Third Sunday of Advent December 11, 2016 Page 2 Third Sunday of Advent December 11, 2016 From the Pastor’s Desk ARE YOU THE ONE . .? Many times in our lives we come across people whom we are called upon to pick up at airports, train or bus terminals. We start looking for them. When we figure it out that the one we are looking for is the one coming in our direction we start moving in the direction of that person. When we come to the person we are looking for, to make sure we ask “Are you the one I am supposed to pick up”? And once it is confirmed we feel happy to know that we have picked up the right person. Our task is completed and we feel good about it. Something similar was to take place in the life of St. John the Baptist, the forerunner of the Messiah, Jesus Christ. John the Baptist’s role was to prepare the way for the Lord. He went about doing everything need- ed for the required process, so much so, that he did not spare even King Herald from living an immoral life. And the outcome of it was, he was arrested and put in prison. How would he know then, that his job is completed and that the Messiah has come since he was held in prison? To be certain he sent his disciples to Jesus with this question, “Are you the one who is to come or should we look for another?” What urgency he had, so too dedication and determination in fulfilling the task assigned to him.