DOCSLIB.ORG

Kia Corthron's

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Kia Corthron's PRINCE WILLIAM SOUND COMMUNITY COLLEGE PRESENTS THE NINETEENTH ANNUAL LaST FRONTIER THEATRE CONFERENCE JUNE 12-18, 2011 COORDINATor’s WelCOME.................................................................. 4 SCHEDULE OF EVENTS........................................................................... 5 FEATURED ARTISTS............................................................................... 13 IN MEMORIAM........................................................................................... 21 PLAY LAB PHILOSOPHY.................................................................................. 22 REHEARSAL SCHEDULE.............................................................. 23 CAST LISTS.................................................................................... 24 PLAYWRIGHTS............................................................................... 35 PRODUCING COMPANIES...................................................................... 42 EVENING SHOW POSTERS..................................................................... 44 LATE NIGHT ENTERTAINMENT................................................................ 50 JUNE 18 DAYTIME ENTERTAINMENT..................................................... 51 EVENING GALA & JERRY HARPER SERVICE AwARD......................... 52 PLAY LAB READERS................................................................................ 54 CONFERENCE STAFF, DONATIONS, & PLAYWRITING AFA................ 70 PRESIDENT’S REMARKS......................................................................... 71 CONTENTS 4 Welcome to the Nineteenth Annual Last Frontier Theatre Conference. Prince WilliamS ound Community College and the community of Valdez are excited to share this week with you. Coordinating this event is the great honor of my life. I started coming here in 1995 as someone new to playwriting, who hadn’t given the whys and wherefores of dramaturgy much thought. I just knew I loved theatre. The work and responses I saw in the Play Lab blew my mind wide open with new ideas, and I made coming to Valdez a priority every year. The strangest part of this year’s Conference is how many of our friends have passed away. From movie stars to master playwrights to benefactors to theatre enthusiasts, it’s been a tough year. Mourning them is not why we are here, but we will take a moment at the gala, and there’s a photo tribute on page 21. They remain with us, and we will feel their influence on this Conference and the lives of those they touched for a long time. Erma Duricko is this year’s recipient of the Jerry Harper Service Award. This award was created in 2007 to honor those who have been integral to the life and growth of this Conference. The ceremony takes place on the final night of the Conference, Saturday, June 18. A dear friend, Erma is a tireless supporter of new work, and was one of the people who helped me and the college survive our transition in 2005. She’s a passionate warrior for the arts, and I’m proud that we are honoring her. I greatly appreciate all our benefactors, from the large corporate backers to the individuals who rounded up their registration fees. The Eyak Corporation in particular came on board for the first time in a big way this year. First National Bank Alaska doubled its donation, and long- time sponsor BP gave us their biggest donation ever. My boss, college President Doug Desorcie, is the single most important factor in this event’s continued existence. His unflagging support makes my job much easier. Since I started working here in 2003, there have been a few constants. Shannon Foster, who actually knows what goes on at the registration desk (glad one of us does); Michael Holcombe, who oversees the final brunch and brings the mellow to the staff; and Ryan Buen, my assistant from the very beginning, who is entering his last year in the position. I’m excited for him to go to grad school in Birmingham, England, to begin the next leg of his journey in art. Thanks for being a part of our Conference family for this week. Have a great time, and let us know if you need anything. Welcome to Valdez! Dawson Moore Conference Coordinator INTRODUCTION 5 For the most up to date schedule, check the video display at the front desk or the signage in front of the rooms. Saturday, June 11 9:00 a.m. Registration Desk open. 7:30 p.m. Late Night Programming Showcase, featuring performances by UAA Improv, UAA Glee Club, and the Fringe Festival. SA TURD AY, J AY, UNE 11, 2011 Nathan Huey and Oliver Siemens in the 2010 Fringe Kick-Off Show 6 Sunday, June 12 9:30 – 10:25 a.m. Theatre Conference Orientation Panel with Danielle Dresden, Erma Duricko, Arlene Hutton, and Dawson Moore. 10:30 a.m. – Noon Room A: Acting in the Play Lab with Bostin Christopher. Room B: How to Direct a Reading of Your Own Play with Marshall W. Mason. Noon – 12:45 p.m. Lunch. 12:45 – 2:55 p.m. Room A: Monologue Workshop with Laura Gardner and Frank Collison. Participants will have the opportunity to explore and perform a monologue written by playwrights in attendance at the Conference. Session one: preliminary work and exploration of the chosen monologues. Spectators welcome. 12:45 – 2:10 p.m. Room B: Theatre About Science, Part One: Paradoxes and Processes (or, How I Stopped Worrying and Came to Love the Microbe): a discussion with Stephan Golux and Mary Beth Leigh about the challenges, opportunities, and processes of creating theatre about science. 2:15 – 3:30 p.m. Room B: Oh, the designer and the playwright can be friends, with Gregory Pulver. How to get the most out of working with (and for) designers. Room C: Everybody’s a Critic! Tips on writing about live performance with longtime Alaska theatre reviewer Catherine Stadem. This workshop will discuss writing theatre reviews and/ or criticism; experience is not necessary. The emphasis is on tone, clarity, organization and purpose of reviews. Participants will have the opportunity to write a review of a mainstage production post-conference and receive a critique from the instructor. 3:00 – 5:00 p.m. Room A: The Creative Imagination with Daniel Irvine. A workshop for actors in creating the circumstances of fictional characters, using the principals of the Stanislavsky system. Exercises will illustrate the five Given Circumstances that every actor must use to believe in the characters they are creating in rehearsal and playing each performance. Lanford Wilson’s 12, 2011 Fifth of July will be utilized as the source material. Actors should read the play and be familiar with the first act. 3:30 – 5:00 p.m. Room B: Contemporary Dramatic Structure with Timothy Daly: A Scientific Approach. Part I: Getting to Interval. UNE 5:00 – 7:25 p.m. Welcome Reception & Fish Fry on the Civic Center lawn for Conference participants. 7:30 p.m. Fourplay, presented by Three Wise Moose and Anchorage Community Theatre, featuring one-act plays by Steven Hunt, Arlitia Jones, Dawson Moore & Lindsay Marianna Walker, AY, J AY, and Schatzie Schaefers. 9:30 p.m. Fringe Festival kicks off at Egan Street Pub (ESP). And Late Night Improv at the College led by the UAA Improv Troupe. UND S 7 Monday, June 13 8:00 – 9:00 a.m. Room B: Morning Writing Warm-Up with T.M. Derrickson. Room C: Morning Warm-Up Yoga with Meg McKinney. 9:00 – 9:40 a.m. Play Lab Room A: Nancy Chastain’s The Answer Room B: Barry Levine’s Slices Room C: Fawn R. Caparas’ Akedah, Day of Departure 9:45 – Noon Play Lab Room A: Jonathan Gilman’s In Our House Room B: Melissa Gawlowski’s Spring Tides Room C: Arlitia Jones’ Rush at Everlasting Noon – 12:45 p.m. Lunch. 12:45 – 2:10 p.m. Room A: Contemporary Dramatic Structure with Timothy Daly: A Scientific Approach. Part II: From Act 2 to End. Room B: Discovering Playable Action with Bostin Christopher. Using script analysis and exercises, this workshop will examine the ways in which an actor goes about building a character on their way to discovering playable action. You got the part - you’ve received the M script - now what? What exactly is and, more importantly, what is not “homework?” Discover how to tap into your creativity and bring a unique dynamic to your work. This workshop OND is for actors at any level and also provides valuable insight for playwrights and directors in learning how actors work on material. 2:15 – 3:10 p.m. Play Lab Room B: Jaron Carlson’s Awkward Conversations Room C: Scott Tobin’s the drunks J AY, 3:15 – 5:30 p.m. Play Lab Room A: Rand Higbee’s At Home With The Clarks Room B: Jane Miller’s Feedback Room C: Aleks Merilo’s Exit 27 3:00 – 5:00 p.m. College Training Room: Acting for Singers Workshop, Day One: The starting place. Basic UNE exercises and acting tips with Kim Estes and Darcy Halsey. Takes place in the PWSCC Training Room; spectators welcome. 5:00 – 7:30 p.m. Dinner Break 7:30 p.m. An Evening with Our Featured Playwrights, featuring the authors presenting short readings 13, 2011 from their own work. Directed by Erma Duricko. 9:30 p.m. (approximate) Fringe Festival at ESP. And Late Night Improv at the College led the UAA Improv Troupe. 8 Tuesday, June 14 8:00 – 9:00 a.m. Room B: Morning Writing Warm-Up with Arlitia Jones. Room C: Morning Warm-Up Yoga with Meg McKinney. 9:00 – 11:30 a.m. Lunch Room: Monologue Workshop by appointment. 9:00 – 9:55 a.m. Play Lab Room A: Lillian DeRitter and Anthea Carns’ Bad Hamlet Room B: Kenneth L. Stilson’s The Cow and the Milk Room C: Ryan Buen’s The Pigeon Play 10:00 – Noon Play Lab Room A: E.J.C. Calvert’s The Bird Girl Room B: George Sapio’s And They Lived Happily Ever After Room C: Michael S. Parsons’ Fire Dance Noon – 12:45 p.m. Lunch. 12:45 – 2:10 p.m. Room A: Improvisation in Rehearsal with Marshall W. Mason. An interactive workshop demonstrating how a director sets up an improvisation to use as a rehearsal technique for exploring characters, relationships, and prior circumstances. Actors wishing to participate in the demonstration should have some basic acquaintance with Meisner techniques and have read David Lindsay-Abaire’s Rabbit Hole.
Load more

Recommended publications
  • The American Film Musical and the Place(Less)Ness of Entertainment: Cabaret’S “International Sensation” and American Identity in Crisis
    humanities Article The American Film Musical and the Place(less)ness of Entertainment: Cabaret’s “International Sensation” and American Identity in Crisis Florian Zitzelsberger English and American Literary Studies, Universität Passau, 94032 Passau, Germany; fl[email protected] Received: 20 March 2019; Accepted: 14 May 2019; Published: 19 May 2019 Abstract: This article looks at cosmopolitanism in the American film musical through the lens of the genre’s self-reflexivity. By incorporating musical numbers into its narrative, the musical mirrors the entertainment industry mise en abyme, and establishes an intrinsic link to America through the act of (cultural) performance. Drawing on Mikhail Bakhtin’s notion of the chronotope and its recent application to the genre of the musical, I read the implicitly spatial backstage/stage duality overlaying narrative and number—the musical’s dual registers—as a means of challenging representations of Americanness, nationhood, and belonging. The incongruities arising from the segmentation into dual registers, realms complying with their own rules, destabilize the narrative structure of the musical and, as such, put the semantic differences between narrative and number into critical focus. A close reading of the 1972 film Cabaret, whose narrative is set in 1931 Berlin, shows that the cosmopolitanism of the American film musical lies in this juxtaposition of non-American and American (at least connotatively) spaces and the self-reflexive interweaving of their associated registers and narrative levels. If metalepsis designates the transgression of (onto)logically separate syntactic units of film, then it also symbolically constitutes a transgression and rejection of national boundaries. In the case of Cabaret, such incongruities and transgressions eventually undermine the notion of a stable American identity, exposing the American Dream as an illusion produced by the inherent heteronormativity of the entertainment industry.
    [Show full text]
  • At Play Fall-Winter 03.Qxd
    representing the american theatre by publishing and licensing the works of new and established playwrights JacquesBrelisAliveandWell Polly Pen on Writing Musicals Cowgirls’ Mary Murfitt Issue 9, Fall/Winter 2003 MUSICALS INTERVIEW WITH A BAT BOY Director of Professional Rights Robert Vaughan and Director of Publications Michael Fellmeth met with Bat Boy in the Palm Court of the Plaza Hotel in Manhattan to talk about growing up in a cave in Hope Falls, West Virginia, Bat Boy: The Musical, and his rise to global celebrity as the lead in a hit show about his own life. The pointy- eared, fanged star arrived with an entourage of bodyguards, personal assistants, agent, lawyer and publi- cist. Bat Boy, immaculately clad in Savile Row, seemed only vaguely aware of their presence. He greeted us warmly, sat down, lit a miniature cigar and ordered a bloody mary. continued on next page FELLMETH. Let me begin by saying how taken I EDGAR. Ahhh, Jenna. Jenna the Menace, that lips” motion.) Perhaps we’d best not discuss Dr. am with your voice, Bat Boy. Did you have any was my pet name for her. She was such a terror. Parker. That is a difficult subject for me. formal training? The media had it all wrong, though. It was she FELLMETH. Understandably so. A father who BAT BOY. Please don’t call me Bat Boy. My name who took to following me. After I finally got a abandoned you in infancy to be raised by bats is Edgar. restraining order she went on that binge in Texas and then — as if that weren’t enough — tried to FELLMETH.
    [Show full text]
  • Large-Print-Mag-Nov-19.Pdf
    CHAPTER 11.19 ART Garth Evans But, Hands Have Eyes: Six decades of sculpture Until 26.01.20 ‘But, Hands Have Eyes’ is a solo exhibition featuring six decades of sculpture. Alongside works produced in the UK in the 1960s and 70s, Evans also presents a body of work for their UK premiere, that he has produced in the United States since his move there in 1981. The work of Garth Evans is integral to the history of British sculpture. Experimenting with the potential of scale, weight, medium and form, Evans’ work comprises both a formal and conceptual approach. He is always interested in interrogating established boundaries and, as a result, his sculptures are made from a diverse range of materials including ceramics, steel, leather and fibreglass. Evans states that many of his works, even when most abstract, are “triggers for, and containers of, particular identifiable memories”. Ultimately, Garth Evans’ works are ambiguous, multi-faceted and completely original. Talks at 4 16.11.19 FREE Are you interested in finding out a little bit more about our latest exhibition? Then why not join us for a free and informal guided tour! Our ‘Talks at 4’ are led by our wonderful gallery assistants and are a great way to delve a little deeper into our current exhibition by Garth Evans and his approach to his work. No two talks are the same so come along and be a part of the conversation. Art in the Bar Jon Pountney Waiting For The Light Until 14.02.20 ‘Waiting for the Light’ is a body of photographic works that capture a particular type of light; a harsh, acutely angled low sunlight that gives the scenes in Jon Pountney’s images a somewhat surreal and melancholy feel.
    [Show full text]
  • Reminder List of Productions Eligible for the 90Th Academy Awards Alien
    REMINDER LIST OF PRODUCTIONS ELIGIBLE FOR THE 90TH ACADEMY AWARDS ALIEN: COVENANT Actors: Michael Fassbender. Billy Crudup. Danny McBride. Demian Bichir. Jussie Smollett. Nathaniel Dean. Alexander England. Benjamin Rigby. Uli Latukefu. Goran D. Kleut. Actresses: Katherine Waterston. Carmen Ejogo. Callie Hernandez. Amy Seimetz. Tess Haubrich. Lorelei King. ALL I SEE IS YOU Actors: Jason Clarke. Wes Chatham. Danny Huston. Actresses: Blake Lively. Ahna O'Reilly. Yvonne Strahovski. ALL THE MONEY IN THE WORLD Actors: Christopher Plummer. Mark Wahlberg. Romain Duris. Timothy Hutton. Charlie Plummer. Charlie Shotwell. Andrew Buchan. Marco Leonardi. Giuseppe Bonifati. Nicolas Vaporidis. Actresses: Michelle Williams. ALL THESE SLEEPLESS NIGHTS AMERICAN ASSASSIN Actors: Dylan O'Brien. Michael Keaton. David Suchet. Navid Negahban. Scott Adkins. Taylor Kitsch. Actresses: Sanaa Lathan. Shiva Negar. AMERICAN MADE Actors: Tom Cruise. Domhnall Gleeson. Actresses: Sarah Wright. AND THE WINNER ISN'T ANNABELLE: CREATION Actors: Anthony LaPaglia. Brad Greenquist. Mark Bramhall. Joseph Bishara. Adam Bartley. Brian Howe. Ward Horton. Fred Tatasciore. Actresses: Stephanie Sigman. Talitha Bateman. Lulu Wilson. Miranda Otto. Grace Fulton. Philippa Coulthard. Samara Lee. Tayler Buck. Lou Lou Safran. Alicia Vela-Bailey. ARCHITECTS OF DENIAL ATOMIC BLONDE Actors: James McAvoy. John Goodman. Til Schweiger. Eddie Marsan. Toby Jones. Actresses: Charlize Theron. Sofia Boutella. 90th Academy Awards Page 1 of 34 AZIMUTH Actors: Sammy Sheik. Yiftach Klein. Actresses: Naama Preis. Samar Qupty. BPM (BEATS PER MINUTE) Actors: 1DKXHO 3«UH] %LVFD\DUW $UQDXG 9DORLV $QWRLQH 5HLQDUW] )«OL[ 0DULWDXG 0«GKL 7RXU« Actresses: $GªOH +DHQHO THE B-SIDE: ELSA DORFMAN'S PORTRAIT PHOTOGRAPHY BABY DRIVER Actors: Ansel Elgort. Kevin Spacey. Jon Bernthal. Jon Hamm. Jamie Foxx.
    [Show full text]
  • Michael Warren Powellis
    WELCOME to the Fifteenth Annual Last Frontier Theatre Conference. We at Prince William Sound Community College are very proud of this event, and hopefully by the end of the week you will see why. I started coming to Valdez (for the Conference) in 1995, its third year, and it became an annual pilgrimage for me. I quit jobs to make it here. I ran up credit cards. I did whatever it took for me to get to spend the week here. I crashed on the floor at the college, survived off the food at receptions, and worked on whatever anyone asked me to. No one was more important to me in those early years than Michael Warren Powell, the first coordinator of the Play Lab. I remember being in awe of how insightful the responding panel was critiquing plays that were all (in my opinion) pretty problematic. Michael and the other panelists became my idols. Which made it all the more important to me when one day I was hanging out with friends at the picnic tables in the middle of the park strip and we saw Michael walking our direction. He came up and engaged us in conversation, and we became friends. He let us know that he considered us his peers. In the late 90s, I decided that, of all the people I had met, there was no one whose life I wanted to emulate more than Michael’s. I made producing new work and nurturing playwrights my focus, and the answer to most of my questions can be found in the answer to the question “What would Michael do?” I am very excited to have him back with us this year.
    [Show full text]
  • A List of Influential Native Americans
    Tuesday, 4.21.15 ON THE WEB: www.yankton.net views VIEWS PAGE: [email protected] PAGE 4 PRESS&DAKOTAN The Press Dakotan THE DAKOTAS’ OLDEST NEWSPAPER | FOUndED 1861 Yankton Media, Inc., 319 Walnut St., Yankton, SD 57078 CONTACT US OPINION PHONE: (605) 665-7811 (800) 743-2968 Oklahoma City In NEWS FAX: (605) 665-1721 ADVERTISING FAX: (605) 665-0288 A Post-9/11 Age WEBSITE: www.yankton.net erhaps the obsessive nature of our post-9/11 universe can best be ––––– illustrated by how much attention that we, as a nation, generally SUBSCRIPTIONS/ DIDN’T devote to the 20th anniversary of the Oklahoma City bomb- CIRCULATION ing this past weekend. PTo be sure, there was attention paid to that terrible event back in Extension 104 [email protected] 1995, when 168 people, including 19 children, were killed and more than CLASSIFIED ADS 600 were injured in a shocking act of domestic terrorism. Up until 9/11, Extension 108 this event was the single deadliest terrorist attack on U.S. soil, and it was [email protected] treated as such when it happened. But judging from the general national conversation, the anniversary NEWS DEPT. seemed more like a recollection of echoes from a long-ago time that only The Rez Of The Story Extension 114 moderately resonates today. [email protected] This isn’t true, of course, but we have changed a lot since that awful SPORTS DEPT. morning 20 years ago. And amid those momentous changes— and after all Extension 106 the grieving we have endured from other events and other re-alterations of [email protected] our thinking — it may be somewhat understandable that we see Oklahoma A List Of Influential ADVERTISING DEPT.
    [Show full text]
  • The National Bank of Indianapolis Summer Nights Film Series Returns to Newfields 6/4 Tickets Go on Sale May 21 for Members, May 28 for Public
    FOR IMMEDIATE RELEASE Images available upon request. The National Bank of Indianapolis Summer Nights Film Series returns to Newfields 6/4 Tickets go on sale May 21 for members, May 28 for public INDIANAPOLIS, May 17, 2021–The beloved summer tradition, The National Bank of Indianapolis Summer Nights Film Series returns to Newfields on Fridays and select Saturdays this June, July and August. Over the summer, 14 films will be shown —everything from classic black-and-white films to modern blockbusters. “Supporting the Summer Nights Film Series is a way for us to give back to our city, and to support our community in an engaging and meaningful way,” said Ann Merkel, senior vice president and chief market development officer at The National Bank of Indianapolis. “We dedicate our resources to activities that create a stronger community and enhance the quality of life for all who live here. We are pleased to be celebrating 10 years as the title sponsor of this beloved program.” New this year and to maintain a safe social distance and reduced capacity in The Amphitheater, Summer Nights tickets will be sold as boxed seating that can accommodate one to four individuals. Each box will be seven feet by eight feet and be spaced six feet apart from others. For everyone’s health and safety, the boxes will be sold at a fixed price with a maximum of four tickets. Tickets go on sale for members on May 21 at 11 a.m. and for the public on May 28 at 11 a.m. Ticket boxes of four are $36 for members and $48 for public.
    [Show full text]
  • CV George Every 1St AD
    GEORGE EVERY, 1ST A.D. Full Member of the British AD Guild for Films & Commercials CURRICULUM VITAE Diary Service : EXEC Management Mob : +44 (0)7515 385 491 Tel 01753 646 677 [email protected] [email protected] RESUME I have been a 1st AD for 22 years. I have wide experience in features, tv drama and commercials. My credits as a key 1st include features for Oscar winners James Ivory, Norman Jewison, Kevin Macdonald, Régis Wargnier, Florian Zeller and Graham Moore as well as Oscar nominated Tran Anh Hung. I have worked with a large number of A-list talent and have extensive experience of working abroad, including the Far East, South America, Africa, and all over Europe. I was based in Paris for 15 years and speak bilingual French. I returned to London in 2007. FILM & TV DRAMA CREDITS as 1st AD Year Film Format Director 2021 The Son (See Saw Films) Feature Florian Zeller Cast : Hugh Jackman, Laura Dern, Vanessa Kirby, Zen Macgrath Wraps 1st October 2021 Living (Number 9 Films) Feature Oliver Hermanus Cast : Bill Nighy, Aimee Lou Wood, Alex Sharp Period : 1950s. Location : London 2021 The Outfit (FilmNation) Feature Graham Moore Cast : Sir Mark Rylance, Sir Simon Russell Beale, Johnny Flynn, Dylan O’Brien Period : 1950s. Location : Studio,London 2020 My Name is Lizzie (Story Films) TV Drama Niall MacCormick 4-part mini series for Channel 4 Cast : Niamh Algar, Harry Treadaway, Sion Daniel Young Period : 1990s. Location : London 2019 The Father (Trademark Films) Feature Florian Zeller Cast : Sir Anthony Hopkins, Olivia Colman, Rufus Sewell, Olivia Williams, Mark Gatiss.
    [Show full text]
  • 2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS
    2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS BEST FIRST SCREENPLAY 2012 NOMINEES (Winners in bold) *Will Reiser 50/50 BEST FEATURE (Award given to the producer(s)) Mike Cahill & Brit Marling Another Earth *The Artist Thomas Langmann J.C. Chandor Margin Call 50/50 Evan Goldberg, Ben Karlin, Seth Rogen Patrick DeWitt Terri Beginners Miranda de Pencier, Lars Knudsen, Phil Johnston Cedar Rapids Leslie Urdang, Dean Vanech, Jay Van Hoy Drive Michel Litvak, John Palermo, BEST FEMALE LEAD Marc Platt, Gigi Pritzker, Adam Siegel *Michelle Williams My Week with Marilyn Take Shelter Tyler Davidson, Sophia Lin Lauren Ambrose Think of Me The Descendants Jim Burke, Alexander Payne, Jim Taylor Rachael Harris Natural Selection Adepero Oduye Pariah BEST FIRST FEATURE (Award given to the director and producer) Elizabeth Olsen Martha Marcy May Marlene *Margin Call Director: J.C. Chandor Producers: Robert Ogden Barnum, BEST MALE LEAD Michael Benaroya, Neal Dodson, Joe Jenckes, Corey Moosa, Zachary Quinto *Jean Dujardin The Artist Another Earth Director: Mike Cahill Demián Bichir A Better Life Producers: Mike Cahill, Hunter Gray, Brit Marling, Ryan Gosling Drive Nicholas Shumaker Woody Harrelson Rampart In The Family Director: Patrick Wang Michael Shannon Take Shelter Producers: Robert Tonino, Andrew van den Houten, Patrick Wang BEST SUPPORTING FEMALE Martha Marcy May Marlene Director: Sean Durkin Producers: Antonio Campos, Patrick Cunningham, *Shailene Woodley The Descendants Chris Maybach, Josh Mond Jessica Chastain Take Shelter
    [Show full text]
  • 1999 Prince (I've Had) the Time of My Life Dirty Dancing 3 A.M
    Title 1999 Prince (I've Had) the Time of My Life Dirty Dancing 3 a.m. Matchbox 20 A Lot of Lovin' to Do Charles Strouss Bye, Bye Birdie A Thousand Miles Vanessa Carlton A Whole New World Aladdin Aladdin A Wonderul Guy Rodgers & Hammerstein South Pacific All I Ask of You Andrew Lloyd Webber Phantom of the Opera Duet Another Suitcase in Another Hall Andrew Lloyd Webber Evita Anthem Chess Chess Anything You Can Do Irving Berlin Annie Get Your Gun Duet Apologize One Republic Bad Michael Jackson Bali Hai Rodgers & Hammerstein South Pacific Barnum (Complete Score) Cy Coleman Barnum Beautiful Christina Aguilera Beauty and the Beast Beauty and the Beast Beauty and the Beast Beauty School Dropout Grease Grease Beethoven Day You're a Good Man Charlie Brown You're a Good Man Charlie Brown Before I Gaze at You Again Lerner & Loewe Camelot Believe Cher Bennie & the Jets Elton John Best of Beyonce (Anthology) Beyonce Better Edward Kleban A Class Act Bewtiched Ella Fitzgerald Pal Joey Beyond the Sea Bobby Darin Black Coffee Ella Fitzgerald Blackbird The Beatles Blue Christmas Elvis Presley Blue Moon Elvis Presley Bohemian Rhapsody Queen Bombshell (music from SMASH) Marc Shaiman Bombshell Born this Way Lady Gaga Bosom Buddies Jerry Herman Mame Duet Both Sides Now Joni Mitchell Brand New You Jason Robert Brown 13, the Musical Breeze Off the River The Full Monty The Full Monty Bring Him Home Boublil & Schoenberg Les Miserables Bring On the Men Leslie Bricusse Jekyll & Hyde Broadway Baby Stephen Sondheim Follies Broadway, Here I Come Smash Smash Brown-Eyed
    [Show full text]
  • The Origin of Love Tour Songs and Stories of Hedwig with Special Guest Amber Martin Featuring the Songs of Hedwig by Stephen Trask Produced by Arktype
    FOR IMMEDIATE RELEASE CAP UCLA presents John Cameron Mitchell The Origin Of Love Tour Songs and Stories of Hedwig With special guest Amber Martin Featuring the songs of Hedwig by Stephen Trask Produced by ArKtype April 11 at The Theatre at Ace Hotel, DTLA “The Origin of Love [is] a punk-rock live behind the music episode of sorts and a gift to Hedwig heads everywhere.” — DC Theatre Scene UCLA’s Center for the Art of Performance (CAP UCLA) presents John Cameron Mitchell’s The Origin Of Love Tour on Saturday, April 11, at The Theatre at Ace Hotel in Downtown LA. Tickets starting at $28 are available now at cap.ucla.edu, 310-825-2101 and the Royce Hall box office. The Origin of Love Tour investigates Hedwig and The Angry Inch’s origins following 25- years of worldwide influence as one of alt-culture’s most beloved and enduring creations, and John Cameron Mitchell’s ideas and relationships to show business. In addition to songs from the gender-bending rock musical that opened off-Broadway in 1998, released as an acclaimed film in 2001, won the Tony Award for best musical revival in 2014, and has spawned legions of adoring “Hed-Head’s” worldwide, the audience will learn about Mitchell’s rebellion against Broadway tropes, meeting songwriter Trask and his beloved bandmember Jack who became his boyfriend, growing up queer in a military family, Platonic and Gnostic Christian philosophy and its connection to non- binary gender expression, and the influence of Lou Reed and David Bowie. Mitchell also performs songs from his podcast series Anthem: Homunculus and his last film, the punk-era How to Talk to Girls at Parties, as well as his recent acclaimed EP of Lou Reed covers with Eyelids and Peter Buck entitled “Turning Time Around.” New York Vocalist, Cabaret Star and Comedic Monologist Amber Martin joins Mitchell along with very special guests in this rousing performance.
    [Show full text]
  • New River Bro Aug 15
    August 28, 2009 New River Dramatists is in the 10th year of its mission: to help raise the standards of storytelling in theatre, film and television by assisting writers to achieve their best work; and to connect that work to producing entities . To the ears of most writers, this mission sounds angelic, and NRD’s assistance has been gratefully accepted by such literary lights as Denis Johnson and N. Scott Momaday, as well as by 68 other established and emerging playwrights. These talented artists have used NRD’s staff, facilities and its unique crafting process to develop 345 new plays and screen- plays, almost half of which have been either optioned or produced as plays or films. This is a stunning record of artistic and commercial success, especially by an organiza- tion of such modest resources as ours. And so, building on our achievement, I’m thrilled to announce the expansion of NRD’s mission: to nurture artistic excellence in poetry, fiction and music, along with the plays and screenplays it has so long fostered. And as we broaden our scope, we’re simplifying our name to just New River . But there’s more… Our Board of Directors recently chose for New River: • a beautiful new home – River House — that can support and fully accommo- date our growing mission. (See photos on page 4.) • a New River publishing imprint with McFarland & Co, Inc. is in the works; a first book of 3 New River plays is scheduled for late-2009 publication. • Master Classes – taught by prize-winning New River teachers – are taking place this fall.
    [Show full text]