Lantern Theater Company Presents William Shakespeare's Othello
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Shakespeare in Love
FEB Shakespeare 26 MAR in Love 29 Based on the screenplay by Marc Norman & Tom Stoppard Adapted for the stage by Lee Hall Music by Alex Bechtel Directed by Matt Pfeiffer Welcome to Shakespeare in Love. Every year, many of you cry out to us “Dear God, no more Shakespeare!” While others plead “I loved your Winter’s Tale, your Richard III. Please put on Midsummer. I beg you for a Twelfth Night.” With Shakespeare In Love, the Purists and the Never Barders may unite to curse us with a plague on both our houses, but if they — and you — are someone who loves love, well then . Here is a love letter to romantic love, to the theatre, and to the rebellious, transgressive, mysterious, and glorious madness of both. Whether you keep Shakespeare close to your heart or far from it, we invite you to celebrate what he loved most: the stage, its players, poetry . and a dog. Zak Berkman, Producing Director Lend me your ears Matt Pfeiffer, Director I’ve been really blessed to spend most of my career working on the plays of William Shakespeare. I believe his plays are foundational to Western culture. Love him or hate him, his infuence is an essential part of our understanding of stories and storytelling. And I’ve had the privilege for the last six years of fostering a specifc approach to his plays. I found that attempting to be in conversation with the principals of the theatre practices of Shakespeare’s time was a good starting place—not so much aesthetically, but logistically. -
February 7, 2021
VILLANOVA THEATRE PRESENTS STREAMING JANUARY 28 - FEBRUARY 7, 2021 About Villanova University Since 1842, Villanova University’s Augustinian Catholic intellectual tradition has been the cornerstone of an academic community in which students learn to think critically, act compassionately and succeed while serving others. There are more than 10,000 undergraduate, graduate and law students in the University’s six colleges – the College of Liberal Arts and Sciences, the Villanova School of Business, the College of Engineering, the M. Louise Fitzpatrick College of Nursing, the College of Professional Studies and the Villanova University School of Law. As students grow intellectually, Villanova prepares them to become ethical leaders who create positive change everywhere life takes them. In Gratitude The faculty, staff and students of Villanova Theatre extend sincere gratitude to those generous benefactors who have established endowed funds in support of our efforts: Marianne M. and Charles P. Connolly Jr. ’70 Dorothy Ann and Bernard A. Coyne, Ph.D. ̓55 Patricia M. ’78 and Joseph C. Franzetti ’78 The Donald R. Kurz Family Peter J. Lavezzoli ’60 Patricia A. Maskinas Msgr. Joseph F. X. McCahon ’65 Mary Anne C. Morgan ̓70 and Family & Friends of Brian G. Morgan ̓67, ̓70 Anthony T. Ponturo ’74 Eric J. Schaeffer and Susan Trimble Schaeffer ’78 The Thomas and Tracey Gravina Foundation For information about how you can support the Theatre Department, please contact Heather Potts-Brown, Director of Annual Giving, at (610) 519-4583. gratefully acknowledges the generous support of our many patrons & subscribers. We wish to offer special thanks to our donors. 20-21 Benefactors A Running Friend William R. -
King and Country: Shakespeare’S Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company
2016 BAM Winter/Spring #KingandCountry Brooklyn Academy of Music Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board BAM, the Royal Shakespeare Company, and Adam E. Max, Vice Chairman of the Board The Ohio State University present Katy Clark, President Joseph V. Melillo, Executive Producer King and Country: Shakespeare’s Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company BAM Harvey Theater Mar 24—May 1 Season Sponsor: Directed by Gregory Doran Set design by Stephen Brimson Lewis Global Tour Premier Partner Lighting design by Tim Mitchell Music by Paul Englishby Leadership support for King and Country Sound design by Martin Slavin provided by the Jerome L. Greene Foundation. Movement by Michael Ashcroft Fights by Terry King Major support for Henry V provided by Mark Pigott KBE. Major support provided by Alan Jones & Ashley Garrett; Frederick Iseman; Katheryn C. Patterson & Thomas L. Kempner Jr.; and Jewish Communal Fund. Additional support provided by Mercedes T. Bass; and Robert & Teresa Lindsay. #KingandCountry Royal Shakespeare Company King and Country: Shakespeare’s Great Cycle of Kings BAM Harvey Theater RICHARD II—Mar 24, Apr 1, 5, 8, 12, 14, 19, 26 & 29 at 7:30pm; Apr 17 at 3pm HENRY IV PART I—Mar 26, Apr 6, 15 & 20 at 7:30pm; Apr 2, 9, 23, 27 & 30 at 2pm HENRY IV PART II—Mar 28, Apr 2, 7, 9, 21, 23, 27 & 30 at 7:30pm; Apr 16 at 2pm HENRY V—Mar 31, Apr 13, 16, 22 & 28 at 7:30pm; Apr 3, 10, 24 & May 1 at 3pm ADDITIONAL CREATIVE TEAM Company Voice -
The Game Is Afoot at Lantern Theater Company with The
For further ticket information: Lantern Theater Company Box Office (215) 829‐0395 or lanterntheater.org For further press information: Debbie Fleischman Mailing Address (215) 735‐7356 Lantern Theater Company P.O. Box 53428 Philadelphia, PA 19105-3428 THE GAME IS AFOOT AT LANTERN THEATER COMPANY Theater Address Lantern Theater Company WITH THE HOUND OF THE BASKERVILLES MAY 28‐JUNE 28 At St. Stephen’s Theater 10th & Ludlow Streets Philadelphia, PA 19107 Madcap mayhem and farcical hilarity set the tone for Lantern Theater Box Office Company’s production of The Hound of the Baskervilles by Sir Arthur Conan 215.829.0395 Doyle, adapted by Steven Canny and John Nicholson which closes the Administrative Office 215.829.9002 Lantern’s season, running May 28‐June 28. Directed by Matt Pfeiffer, the Fax 215.829.1161 three‐person cast features Damon Bonetti, Daniel Fredrick and Dave Email Johnson in multiple, quick‐change roles. [email protected] Web www.lanterntheater.org The Hound of the Baskervilles runs May 28 –June 28, 2015 (press opening: Wednesday, June 3, at 7 p.m.). Tickets are $22 – $39 and are available online at lanterntheater.org or by calling the Lantern Box Office at (215) 829‐ 0395. Discounts are available for seniors 65 and up, groups of 10 or more and U.S. military personnel. $10 student rush tickets are available 10 minutes before curtain with valid ID; cash only. $10 industry tickets are available online, by phone or at the box office. One of Sir Arthur Conan Doyle's most beloved Holmes mysteries gets a zany makeover when performed by a trio of endearing clowns and klutzes. -
(With) Shakespeare (/783437/Show) (Pdf) Elizabeth (/783437/Pdf) Klett
11/19/2019 Borrowers and Lenders: The Journal of Shakespeare and Appropriation ISSN 1554-6985 V O L U M E X · N U M B E R 2 (/current) S P R I N G 2 0 1 7 (/previous) S h a k e s p e a r e a n d D a n c e E D I T E D B Y (/about) E l i z a b e t h K l e t t (/archive) C O N T E N T S Introduction: Dancing (With) Shakespeare (/783437/show) (pdf) Elizabeth (/783437/pdf) Klett "We'll measure them a measure, and be gone": Renaissance Dance Emily Practices and Shakespeare’s Romeo and Juliet (/783478/show) (pdf) Winerock (/783478/pdf) Creation Myths: Inspiration, Collaboration, and the Genesis of Amy Romeo and Juliet (/783458/show) (pdf) (/783458/pdf) Rodgers "A hall, a hall! Give room, and foot it, girls": Realizing the Dance Linda Scene in Romeo and Juliet on Film (/783440/show) (pdf) McJannet (/783440/pdf) Prokofiev’s Romeo and Juliet: Some Consequences of the “Happy Nona Ending” (/783442/show) (pdf) (/783442/pdf) Monahin Scotch Jig or Rope Dance? Choreographic Dramaturgy and Much Emma Ado About Nothing (/783439/show) (pdf) (/783439/pdf) Atwood A "Merry War": Synetic's Much Ado About Nothing and American Sheila T. Post-war Iconography (/783480/show) (pdf) (/783480/pdf) Cavanagh "Light your Cigarette with my Heart's Fire, My Love": Raunchy Madhavi Dances and a Golden-hearted Prostitute in Bhardwaj's Omkara Biswas (2006) (/783482/show) (pdf) (/783482/pdf) www.borrowers.uga.edu/7165/toc 1/2 11/19/2019 Borrowers and Lenders: The Journal of Shakespeare and Appropriation The Concord of This Discord: Adapting the Late Romances for Elizabeth the -
2019 Seminar Abstracts: the King's Men and Their Playwrights
1 2019 Seminar Abstracts: The King’s Men and Their Playwrights Meghan C. Andrews, Lycoming College James J. Marino, Cleveland State University “Astonishing Presence”: Writing for a Boy Actress of the King’s Men, c. 1610-1616 Roberta Barker, Dalhousie University Although scholarship has acknowledged the influence of leading actors such as Richard Burbage on the plays created for the King’s Men, less attention has been paid to the ways in which the gifts and limitations of individual boy actors may have affected the company’s playwrights. Thanks to the work of scholars such as David Kathman and Martin Wiggins, however, it is now more feasible than ever to identify the periods during which specific boys served their apprenticeships with the company and the plays in which they likely performed. Building on that scholarship, my paper will focus on the repertoire of Richard Robinson (c.1597-1648) during his reign as one of the King’s Men’s leading actors of female roles. Surviving evidence shows that Robinson played the Lady in Middleton’s Second Maiden’s Tragedy in 1611 and that he appeared in Jonson’s Catiline (1611) and Fletcher’s Bonduca (c.1612-14). Using a methodology first envisioned in 1699, when one of the interlocutors in James Wright’s Historia Histrionica dreamt of reconstructing the acting of pre-Civil War London by “gues[sing] at the action of the Men, by the Parts which we now read in the Old Plays” (3), I work from this evidence to suggest that Robinson excelled in the roles of nobly born, defiant tragic heroines: women of “astonishing presence,” as Helvetius says of the Lady in The Second Maiden’s Tragedy (2.1.74). -
1 Orson Welles' Three Shakespeare Films: Macbeth, Othello, Chimes At
1 Orson Welles’ three Shakespeare films: Macbeth, Othello, Chimes at Midnight Macbeth To make any film, aware that there are plenty of people about who’d rather you weren’t doing so, and will be quite happy if you fail, must be a strain. To make films of Shakespeare plays under the same constraint requires a nature driven and thick-skinned above and beyond the normal, but it’s clear that Welles had it. His Macbeth was done cheaply in a studio in less than a month in 1948. His Othello was made over the years 1949-1952, on a variety of locations, and with huge gaps between shootings, as he sold himself as an actor to other film- makers so as to raise the money for the next sequence. I’m going to argue that the later movie shows evidence that he learned all kinds of lessons from the mistakes he made when shooting the first, and that there is a huge gain in quality as a consequence. Othello is a minor masterpiece: Macbeth is an almost unredeemed cock-up. We all know that the opening shot of Touch of Evil is a virtuoso piece of camerawork: a single unedited crane-shot lasting over three minutes. What is not often stressed is that there’s another continuous shot, less spectacular but no less well-crafted, in the middle of that film (it’s when the henchmen of Quinlan, the corrupt cop, plant evidence in the fall-guy’s hotel room). What is never mentioned is that there are two shots still longer in the middle of Macbeth . -
Othello: a Teacher's Guide
A TEACHER’S GUIDE TO THE SIGNET CLASSIC EDITION OF WILLIAM SHAKESPEARE’S OTHELLO By DEBRA (DEE) JAMES, University of North Carolina at Asheville SERIES EDITORS: W. GEIGER ELLIS, ED.D., UNIVERSITY OF GEORGIA, EMERITUS and ARTHEA J. S. REED, PH.D., UNIVERSITY OF NORTH CAROLINA, RETIRED A Teacher’s Guide to the Signet Classic Edition of William Shakespeare’s Othello 2 INTRODUCTION Othello, like all of Shakespeare’s plays, particularly the tragedies, is complex and subtly nuanced. Through its complexities and subtleties, Shakespeare makes us care about the characters who people this story. We understand their weaknesses and their strengths, their passions and their nobility. In our engagement in their lives and our pondering over what has gone wrong and why, we are given the opportunity to analyze human life both in the abstract and in the particular of our own lives. Shakespeare’s ability to involve us in the lives and fortunes of his characters is one of the best reasons for reading, rereading, and teaching Othello. Othello has particular gifts to offer to teenagers. It is a play about passion and reason. Intense feelings are exhibited here: love, hate, jealousy, envy, even lust. Teenagers struggling with their own passions can empathize with both Roderigo’s and Othello’s plight. It is also a play that examines, as do Shakespeare’s other works, human relationships and interactions. For teenagers in the first rush of attempting to understand how romantic relationships work and when and why they might fail, this text provides much to ponder. In addition, studying the play gives young people a rich literary vehicle for developing their critical thinking and analytical reading skills. -
Shakespeare's Cymbeline and the Mystical
International Journal of Transpersonal Studies Volume 32 | Issue 2 Article 13 7-1-2013 Shakespeare’s Cymbeline and the Mystical Particular: Redemption, Then and Now, for a Disassembled World Judy Schavrien Sofia University Follow this and additional works at: https://digitalcommons.ciis.edu/ijts-transpersonalstudies Part of the Philosophy Commons, Psychology Commons, Religion Commons, and the Sociology Commons Recommended Citation Schavrien, J. (2013). Schavrien, J. (2013). Shakespeare’s Cymbeline and the mystical particular: Redemption, then and now, for a disassembled world. International Journal of Transpersonal Studies, 32(2), 122–140.. International Journal of Transpersonal Studies, 32 (2). http://dx.doi.org/10.24972/ijts.2013.32.2.122 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Special Topic Article is brought to you for free and open access by the Journals and Newsletters at Digital Commons @ CIIS. It has been accepted for inclusion in International Journal of Transpersonal Studies by an authorized administrator of Digital Commons @ CIIS. For more information, please contact [email protected]. Shakespeare’s Cymbeline and the Mystical Particular: Redemption, Then and Now, for a Disassembled World Judy Schavrien Sophia University Palo Alto, CA, USA Cymbeline reflected Shakespeare’s late-in-life aspirations for a world redeemed. Those in baroque England, past the first burgeoning of Renaissance vision, were nevertheless making a literal New World abroad. Likewise, Shakespeare arrived at a vision both post-innocent and post-tragic. As they compared to tragic heroes, he down-sized the late play characters; still, he granted them a gentler end. -
RED VELVET: Know-The-Show Guide
The Shakespeare Theatre of New Jersey RED VELVET: Know-the-Show Guide Red Velvet by Lolita Chakrabarti Know-the-Show Audience Guide researched and written by the Education Department of The Shakespeare Theatre of New Jersey Artwork: Scott McKowen The Shakespeare Theatre of New Jersey RED VELVET: Know-the-Show Guide In This Guide – About the Playwright: Lolita Chakrabarti ................................................................................... 2 – The Life of Ira Aldridge .............................................................................................................. 3 – RED VELVET: A Short Synopsis .................................................................................................. 4 – Portrayals of Race in Shakespeare ............................................................................................. 5 – Who’s Who in the Play ............................................................................................................. 6 – British Abolition of Slavery ........................................................................................................ 7 – Acting Styles in the 19th Century .............................................................................................. 8 – Additional References Found in the Play ................................................................................... 9 – Commentary & Criticism ........................................................................................................ 10 – In this Production .................................................................................................................. -
Othello Background Information
Othello Background Information The Source of Othello Shakespeare delighted in taking old stories, adding his own particular brand of genius, and creating something new and better. He based Othello on a story in a collection of tales, called Hecatonimithi, written in 1565 by Giraldi Cinthio, an Italian. A short synopsis of the original story gives some indication of how Shakespeare merely borrowed stories and made them his own. • The heroine, called Disdemona, falls in love with a Moor. Her family agrees reluctantly to her marriage with him, and the couple lives together in Venice for awhile. • The Moor (given no name) is sent to command the troops in Cyprus. The Moor and Disdemona travel there together, and it's in Cyprus that the ensign (Shakespeare's lago) plots against them. • The ensign is in love with Disdemona. He feels that her rejection of him comes from her love of the captain (Shakespeare's Cassio). Therefore, the ensign's plot is against Disdemona, not the Moor. • The captain loses his job when he attempts a fight with another soldier; he isn't drunk, and the character of Roderigo has no counterpart. • The ensign steals Disdemona's handkerchief (while she is holding his child) and places it in the captain's house. The captain finds it and tries to return it to Desdemona, but he leaves quickly when he hears the Moor's voice. • Together, the Moor and the ensign kill Disdemona by hitting her on the head with a sandbag, and then making the roof collapse to make it look like an accident, The Moor is eventually killed by a relative of Disdemona, and the ensign is tortured to death for another crime. -
Love's Tragedy in Diverse Communities: Othello and Romeo and Juliet
Love's Tragedy in Diverse Communities: Othello and Romeo and Juliet Dr. Vernon Dickson, Mr. Carlos Escobar, Dr. Andy Strycharski, & Dr. James Sutton Florida International University October 14, 2016 Agenda 8:00 a.m. - 8:15 a.m. Registration and light breakfast 8:15 a.m. - 9:15 a.m. Context and rationale for PD and First Folio Exhibit feedback 9:15 a.m. - 11:30 a.m. William Shakespeare’s Othello Special presentation by Dr. Ayanna Thompson 11:30 p.m. - 12:30 p.m. Lunch 12:30 p.m. - 2:45 p.m. William Shakespeare’s Romeo and Juliet Special presentation by Dr. Carla Della Gatta 2:45 p.m. - 3:00 p.m. Final thoughts Most successful experience or activities teaching William Shakespeare’s Othello Difficulties with teaching the play or questions you have about the play How is this play relevant to issues of race, identity, and/or exile? Ideas taken from or inspired by Dr. Ayanna Thompson Questions for Dr. Ayanna Thompson Most successful experience or activities teaching Difficulties with teaching the play or questions you have about the play William Shakespeare’s Romeo and Juliet How is this play relevant to issues of race, identity, and/or exile? Ideas taken from or inspired by Dr. Carla Della Gatta Questions for Dr. Carla Della Gatta Further Readings: Dr. Ayanna Thompson Bland, Sheila Rose. “How I Would Direct Othello.” In Othello: New Essays by Black Writers, ed. Mythili Kaul. Washington, DC: Howard University Press, 1997. 29-41. Callaghan, Dympna. Shakespeare Without Women: Representing Gender and Race on the Renaissance Stage.