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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, -
Masculinity and Effeminacy in Early Modern Drama
University of Rhode Island DigitalCommons@URI Open Access Dissertations 2020 “THE SKIPPING KING”: MASCULINITY AND EFFEMINACY IN EARLY MODERN DRAMA Danielle Johanna Sanfilippo University of Rhode Island, [email protected] Follow this and additional works at: https://digitalcommons.uri.edu/oa_diss Recommended Citation Sanfilippo, Danielle Johanna, “THE" SKIPPING KING”: MASCULINITY AND EFFEMINACY IN EARLY MODERN DRAMA" (2020). Open Access Dissertations. Paper 1166. https://digitalcommons.uri.edu/oa_diss/1166 This Dissertation is brought to you for free and open access by DigitalCommons@URI. It has been accepted for inclusion in Open Access Dissertations by an authorized administrator of DigitalCommons@URI. For more information, please contact [email protected]. “THE SKIPPING KING”: MASCULINITY AND EFFEMINACY IN EARLY MODERN DRAMA BY DANIELLE JOHANNA SANFILIPPO A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN ENGLISH UNIVERSITY OF RHODE ISLAND 2020 DOCTOR OF PHILOSOPHY DISSERTATION OF DANIELLE JOHANNA SANFILIPPO APPROVED: Dissertation Committee: Major Professor Travis Williams Jean Walton Rachel Walshe Nasser H. Zawia DEAN OF THE GRADUATE SCHOOL UNIVERSITY OF RHODE ISLAND 2020 Abstract This dissertation analyzes depictions of effeminacy and anxiety surrounding masculinity in early modern drama. Effeminacy is a frequently used term in the literature of the period, occurring seven times in Shakespeare alone. For my research, I combine literary analysis and performance criticism. I consulted the National Theatre Archives in London and the Shakespeare Birthplace Trust in Stratford to analyze performances of early modern plays. Effeminacy is a wide-reaching mode of being that makes several layers of meaning. For royals and men of rank, the presumption of effeminacy is a danger to the realm. -
Black Girl Magic: the (Re)Imagining of Hermione Granger: an Analysis and Autoethnography
DePaul University Via Sapientiae College of Liberal Arts & Social Sciences Theses and Dissertations College of Liberal Arts and Social Sciences 6-2021 Black girl magic: the (re)imagining of Hermione Granger: an analysis and autoethnography Kandice Rose DePaul University, [email protected] Follow this and additional works at: https://via.library.depaul.edu/etd Recommended Citation Rose, Kandice, "Black girl magic: the (re)imagining of Hermione Granger: an analysis and autoethnography" (2021). College of Liberal Arts & Social Sciences Theses and Dissertations. 306. https://via.library.depaul.edu/etd/306 This Thesis is brought to you for free and open access by the College of Liberal Arts and Social Sciences at Via Sapientiae. It has been accepted for inclusion in College of Liberal Arts & Social Sciences Theses and Dissertations by an authorized administrator of Via Sapientiae. For more information, please contact [email protected]. DePaul University Black Girl Magic: The (re)Imagining of Hermione Granger An Analysis and Autoethnography Kandice Rose Critical Ethnic Studies Graduate Candidate June 2021 1 INTRODUCTION I'd very much like to say that I've always loved to read, but that would be patently false. At the age of 6, when I was in the first grade, the grade where Americans generally learn to read, I absolutely hated it. My teacher, Mrs. Johnson, would call on students to stand up and read passages to the class. I would stare in awe as other kids would read their sentences flawlessly, even as butterflies rattled in my stomach, as I waited in dread for her to call on either myself or my twin sister. -
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. -
Royal Shakespeare Company Returns to London's Roundhouse.Pdf
Royal Shakespeare Company returns to London’s Roundhouse from November 2010 with 10 week season • One company of 44 actors playing 228 roles • Six full-scale Shakespeare productions • Two Young People’s Shakespeares – innovative, distilled productions adapted for young people • Education projects across London and at the Roundhouse • One specially constructed 750-seat thrust stage auditorium – bringing audiences closer to the action – in one iconic venue Following its hugely successful, Olivier award-winning Histories Season in 2008, the RSC returns to London’s Roundhouse in November 2010 to present a ten-week repertoire of eight plays by Shakespeare – six full-scale productions and two specially adapted for children and families. This is the first chance London audiences will have to see the RSC’s current 44-strong ensemble, who have been working together in Stratford-upon-Avon since January 2009. The RSC Ensemble is generously supported by The Gatsby Charitable Foundation and The Kovner Foundation. The season opens with Rupert Goold’s production of Romeo and Juliet and runs in repertoire to 5 February next year, with Michael Boyd’s production of Antony and Cleopatra; The Winter’s Tale directed by David Farr; Julius Caesar directed by Lucy Bailey; As You Like It, directed by Michael Boyd; and David Farr’s King Lear (see end of release for production details at a glance). All six productions have been developed throughout their time in the repertoire and are revised and re-rehearsed with each revival in Stratford, Newcastle, London and finally for next year’s residency in New York. The season also includes the RSC’s two recent Young People’s Shakespeare (YPS) productions created especially for children and families, and inspired by the Stand Up For Shakespeare campaign which calls for more children and young people to See Shakespeare Live, Start Shakespeare Earlier and Do Shakespeare on their Feet – Hamlet, directed by Tarell Alvin McCraney, and The Comedy of Errors (in association with Told by an Idiot), directed by Paul Hunter. -
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. -
Amaka Okafor
Amaka Okafor Theatre Title Role Director Producer Nora: A Doll's House Nora 3, Christine 2 Elizabeth Freestone The Young Vic The Son Sofia Michael Longhurst Duke Of York's The Son Sofia Michael Longhurst The Kiln Theatre Macbeth Lady Macduff Rufus Norris National Theatre I'm Not Running Meredith Ikeji Neil Armfield National Theatre Grimly Handsome Natalia/Nelly/Nally/Noplop Sam Pritchard & Chloe Lamford Royal Court Saint George and the Dragon Elsa Lyndsey Turner National Theatre Hamlet Guildenstern Robert Icke Almeida Theatre Peter Pan Nibs/Jane Sally Cookson National Theatre I See You DJ Mavovo Noma Dumezweni Royal Court Theatre Hamlet Palace Official Lyndsey Turner Sonia Freidman Productions Mermaid Mermaid Polly Teale Shared Experience Bird Leah Jane Fallowfield Tour Glasgow Girls Amal Cora Bissett Citizens Theatre Glasgow Girls Amal Cora Bissett NTS/Citizens Theatre Glasgow/Stratford East Dr Korczak's Example Stephanie Amy Leach Manchester Royal Exchange/Arcola The Bacchae The Bacchae John Tiffany & Steven Hoggett National Theatre of Scotland Branded Rox Matt Wilde Old Vic The Artists Partnership 21-22 Warwick Street, Soho, London W1B 5NE (020) 7439 1456 Old Vic 24 Hour Plays Sally Abigail Graham Old Vic Television Title Role Director Producer The Responder DI Debbie Barnes Fien Troch Dancing Ledge / BBC Grace DC Emma Jane Boutwood John Alexander ITV Des Emily Lewis Arnold ITV / New Pictures Vera 10 Laura Whitelock Paul Gay ITV The Split 2 Chloe Paula van Der Oest BBC The Artists Partnership 21-22 Warwick Street, Soho, London W1B 5NE (020) 7439 1456. -
I Can't Recall As Exciting a Revival Sincezeffirelli Stunned Us with His
Royal Shakespeare Company The Courtyard Theatre Southern Lane Stratford-upon-Avon Warwickshire CV37 6BB Tel: +44 1789 296655 Fax: +44 1789 294810 www.rsc.org.uk ★★★★★ Zeffirelli stunned us with his verismo in1960 uswithhisverismo stunned Zeffirelli since arevival asexciting recall I can’t The Guardian on Romeo andJuliet 2009/2010 134th report Chairman’s report 3 of the Board Artistic Director’s report 4 To be submitted to the Annual Executive Director’s report 7 General Meeting of the Governors convened for Friday 10 September 2010. To the Governors of the Voices 8 – 27 Royal Shakespeare Company, Stratford-upon-Avon, notice is hereby given that the Annual Review of the decade 28 – 31 General Meeting of the Governors will be held in The Courtyard Transforming our Theatres 32 – 35 Theatre, Stratford-upon-Avon on Friday 10 September 2010 commencing at 4.00pm, to Finance Director’s report 36 – 41 consider the report of the Board and the Statement of Financial Activities and the Balance Sheet Summary accounts 42 – 43 of the Corporation at 31 March 2010, to elect the Board for the Supporting our work 44 – 45 ensuing year, and to transact such business as may be transacted at the Annual General Meetings of Year in performance 46 – 49 the Royal Shakespeare Company. By order of the Board Acting companies 50 – 51 The Company 52 – 53 Vikki Heywood Secretary to the Governors Corporate Governance 54 Associate Artists/Advisors 55 Constitution 57 Front cover: Sam Troughton and Mariah Gale in Romeo and Juliet Making prop chairs at our workshops in Stratford-upon-Avon Photo: Ellie Kurttz Great work • Extending reach • Strong business performance • Long term investment in our home • Inspiring our audiences • first Shakespearean rank Shakespearean first Hicks tobeanactorinthe Greg Proves Chairman’s Report A belief in the power of collaboration has always been at the heart of the Royal Shakespeare Company. -
Romeo and Juliet Teacher Handbook 2016-17
Lady Capulet Barbara Gaines Artistic Director Carl and Marilynn Table of Contents Thoma Endowed Chair Preface . .1 . Art That Lives . .2 . Bard’s Bio . 3. Criss Henderson The First Folio . .3 Executive Director Shakespeare’s England . 4. The English Renaissance Theater . 5 Chicago Shakespeare Theater is Chicago’s professional theater The Courtyard-style Theater . 7. A Brief History of Touring Shakespeare . .8 . dedicated to the works of William Shakespeare. Founded as Shakespeare Timelines . 11 Repertory in 1986, the company moved to its seven-story home on Navy Pier in 1999. In its Elizabethan-style courtyard theater, 500 seats on three levels wrap around a deep thrust stage—with only nine rows separating Shakespeare’s the farthest seat from the stage. Chicago Shakespeare also features a flexible 180-seat black box studio theater, a Teacher Resource Center, Romeo and Juliet and a Shakespeare specialty bookstall. In 2016, construction began on Dramatis Personae . .13 . a. new, innovative performance venue, The Yard at Chicago Shakespeare. Families and Feuds Relationship Web . 13. The year-round, flexible venue can be configured in a variety of shapes The Story . 14 and sizes with audience capacities ranging from 150 to 850, defining the Act by Act Synopsis . 14. S omething Borrowed, Something New: audience–artist relationship to best serve each production. Shakespeare’s Sources . 16 Now in its thirtieth season, the Theater has produced nearly the entire T o Have and To Hold: Shakespeare canon: All’s Well That Ends Well, Antony and Cleopatra, As Elizabethans and their Bonds of Marriage . .17 . Shakespeare, Tragedy, and Us. 19 You Like It, The Comedy of Errors, Cymbeline, Edward III, Hamlet, Henry IV Parts 1 and 2, Henry V, Henry VI Parts 1, 2 and 3, Henry VIII, Julius Caesar, King John, King Lear, Love’s Labor’s Lost, Macbeth, Measure Scholars’ Perspectives for Measure, The Merchant of Venice, The Merry Wives of Windsor, A The Timeless Tragedy . -
Linda by Penelope Skinner and the Wasp by Morgan Lloyd Malcolm Performance Reviews
Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 13 | 2016 Thomas Spence and his Legacy: Bicentennial Perspectives Linda by Penelope Skinner and The Wasp by Morgan Lloyd Malcolm Performance reviews William C. Boles Electronic version URL: http://journals.openedition.org/miranda/9420 DOI: 10.4000/miranda.9420 ISSN: 2108-6559 Publisher Université Toulouse - Jean Jaurès Electronic reference William C. Boles, “Linda by Penelope Skinner and The Wasp by Morgan Lloyd Malcolm ”, Miranda [Online], 13 | 2016, Online since 23 November 2016, connection on 16 February 2021. URL: http:// journals.openedition.org/miranda/9420 ; DOI: https://doi.org/10.4000/miranda.9420 This text was automatically generated on 16 February 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Linda by Penelope Skinner and The Wasp by Morgan Lloyd Malcolm 1 Linda by Penelope Skinner and The Wasp by Morgan Lloyd Malcolm Performance reviews William C. Boles Factual information about the shows 1 Play : Linda by Penelope Skinner Place : Royal Court Theatre Downstairs (London) Running time : November, 29th, 2015-January, 9th, 2016 Director : Michael Longhurst Set Designer : Es Devlin Costume Designer : Alex Lowde Lighting Designer : Lee Curran Composer and Sound Designer : Richard Hammarton Video Designer : Luke Halls Movement Director : Imogen Knight Cast : Imogen Byron, Karla Crome, Jaz Deol, NomaDumezweni, Amy Beth Hayes, Dominic Mafham, -
Hampstead Theatre Announces Casting for the Intelligent Homosexual’S Guide to Capitalism and Socialism with a Key to the Scriptures
19 August 2016 Hampstead Theatre announces casting for The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures THE INTELLIGENT HOMOSEXUAL’S GUIDE TO CAPITALISM AND SOCIALISM WITH A KEY TO THE SCRIPTURES A play by Tony Kushner Directed by Michael Boyd Starring Tamsin Greig Designer Tom Piper Sound designer/ composer David Paul Jones Casting Ginny Schiller Tuesday 18 October – 26 November 2016 Press Night Monday 24 October ‘The best thing I ever did was the worst thing I ever did. And it all came to nothing. It makes no sense to anyone, what we did, it’s written in a language no one reads anymore, it’s… incredible’ Hampstead Theatre presents the UK premiere of Pulitzer prize winning Tony Kushner’s The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures, directed by Olivier award winning Michael Boyd. Tamsin Greig will play the role of Empty having last been seen at Hampstead Theatre in William Boyd’s Longing. The cast also includes David Calder, Richard Clothier, Daniel Flynn, Sara Kestelman, Katie Leung, Luke Newberry, Sirine Saba, Lex Shrapnel, Katy Stephens and Rhashan Stone. Shot through with characteristic wit and searing passion, Tony Kushner’s latest play is the story of a family grappling to find meaning in a landscape they no longer recognise and an epic exploration of humanity’s compulsive search for Utopias, both personal and political. This newly revised draft of the play is the result of last autumn’s development workshop at Hampstead, led by Kushner and Boyd. -
An Ecocritical and Performance History of King Lear. London: Bloomsbury Academic, 2017
Hamilton, Jennifer Mae. "Bibliography." This Contentious Storm: An Ecocritical and Performance History of King Lear. London: Bloomsbury Academic, 2017. 199–222. Environmental Cultures. Bloomsbury Collections. Web. 29 Sep. 2021. <>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 29 September 2021, 07:34 UTC. Copyright © Jennifer Hamilton 2017. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. Bibliography Manuscripts, Archival Materials, Illustrations and Rare Publications A most true and Lamentable Report, of a great Tempest of haile which fell upon a Village in Kent, called Stockbery, about three myles from Cittingborne, the nineteenth day of June last past. 1590. Whereby was destroyed a great abundance of corn and fruite, to the impoverishing and undoing of divers men inhabiting within the same Village. Thomas Butter, London, 1590. Available at Early English Books Online, http://eebo.chadwyck.com (accessed 12 August 2011). Andersen, Hans Christian. Pictures of Travel: In Sweden amongst the Hartz Mountains, and in Switzerland, with a visit at Charles Dickens’s House. Boston: Houghton, Mifflin and Company, 1871. Barry, James. King Lear Weeping Over the Dead Body of Cordelia, c. 1776–8. Oil on Canvas, Tate Britain. Available online: http://www.tate.org.uk/art/artworks/barry- king-lear-weeping-over-the-dead-body-of-cordelia-t00556 (accessed 6 October 2010). Craig, Edward Gordon. The Storm in King Lear, 1920. Woodcut. Victoria and Albert Museum, E.1146–1924. Available online: http://collections.vam.ac.uk/item/ O766388/print-the-storm-in-king-lear/ (accessed 6 February 2012).