Pygmalion by George Bernard Shaw

Total Page:16

File Type:pdf, Size:1020Kb

Pygmalion by George Bernard Shaw SANTA MONICA REP READS Pygmalion by George Bernard Shaw SUN / MAR 10 / 2:00 PM Yael Berkovich* ELIZA DOOLITTLE Troy Dunn* HENRY HIGGINS Ewan Chung* COL. PICKERING Beege Barkette MRS. HIGGINS / HOSTESS / BYSTANDER Jon Sperry* ALFRED DOOLITTLE/HOST/BYSTANDER Linda Larsen* MRS. PEARCE / MRS. EYNSFORD-HILL Mike Niedzwiecki THE HUNGARIAN Wade Gasque* FREDDY EYNSFORD-HILL Cecelia Sandoval CLARA EYNSFORD-HILL * This production is presented under the auspices of the Actors’ Equity Los Angeles Membership Company Rule. Sarah Gurfield DIRECTOR Adrienne Johnson-Lister STAGE MANAGER Theatre at The Broad Stage made possible in part by generous gifts from Bill & Laurie Benenson and Susan Stockel. Santa Monica Rep Reads at The Broad Stage made possible in part by generous gifts from James & Laura Maslon and the Attias Family Foundation. Support for Santa Monica Rep's Programming provided by Kiwanis Club of Santa Monica, City of Santa Monica Cultural Affairs and Individual Donors PERFORMANCES MAGAZINE 16 ABOUT THE PROGRAM Inspired by the Greek myth of the same name, PYGMALION tells the story of Professor Henry Higgins’s attempt to transform Cockney flower girl Eliza Doolittle into a Society Lady. Cloaked in witty humor, Shaw examines the superficiality of class behavior, class distinctions and social mobility. Pygmalion remains Shaw's most popular play, transcending cultural and language barriers since its first production in 1913. Audiences also know it as the inspiration for the highly romanticized 1956 stage musical and 1964 film,My Fair Lady. GEORGE BERNARD SHAW (1856– 1950) was an Irish playwright, critic, his reputation as a dramatist was polemicist and political activist. secured with a series of critical and He wrote more than 60 plays, popular successes, including Major including Man and Superman (1902), Barbara, The Doctor's Dilemma and Pygmalion (1912) and Saint Joan Caesar and Cleopatra; in 1938, (1923). With a range incorporating Shaw won the Best Screenplay both contemporary satire and Oscar for his film adaptation of historical allegory, Shaw became Pygmalion. Scholarly and critical the leading dramatist of his opinion has varied about his works, generation, and was awarded the but Shaw has regularly been rated 1925 Nobel Prize for Literature. as second only to Shakespeare Influenced by Henrik Ibsen, he among British dramatists. The term sought to introduce a new realism Shavian has entered the lexicon as into English-language drama, using encapsulating Shaw's ideas and his his plays as vehicles to disseminate means of expressing them. his political, social and religious ideas. By the early 20th century, ABOUT THE ARTISTS Founded in 2010, SANTA MONICA REP has produced nearly 40 play readings, productions and special events, including co-presenting the SHINE Storytelling Salon, where hundreds of storytellers have shared their personal triumphs and tribulations. Community is at the heart of our work: Santa Monica Rep has served thousands of community members through our free Staged Readings at the Santa Monica Public Library and over two thousand public-school students through our SM Rep Reads collaborations with The Broad Stage. PERFORMANCES MAGAZINE 17.
Recommended publications
  • Pygmalion My Fair Lady
    a comparison of the first scene of: PYGMALION with the first scene of: MY FAIR LADY I-1-1 PYGMALION by George Bernard Shaw ACT ONE Scene One Covent Garden at 11.15 p.m. Torrents of heavy summer rain. Cab whistles blowing frantically in all directions. Pedestrians running for shelter into the market and under the portico of St. Paul's Church, where there are already several people, among them a lady and her daughter in evening dress. They are all peering out gloomily at the rain, except one man with his back turned to the rest, who seems wholly preoccupied with a notebook in which he is writing busily. The church clock strikes the first quarter. THE DAUGHTER (in the space between the central pillars, close to the one on her left) I'm getting chilled to the bone. What can Freddy be doing all this time? He's been gone twenty minutes. THE MOTHER (on her daughter's right) Not so long. But he ought to have got us a cab by this. A BYSTANDER (on the lady's right) He won't get no cab not until half-past eleven, missus, when they come back after dropping their theatre fares. THE MOTHER But we must have a cab. We can't stand here until half-past eleven. It's too bad. I-1-2 THE BYSTANDER Well, it ain't my fault, missus. THE DAUGHTER If Freddy had a bit of gumption, he would have got one at the theatre door. THE MOTHER What could he have done, poor boy? THE DAUGHTER Other people got cabs.
    [Show full text]
  • My Fair Lady
    LOS M usical Theatre presents Lerner and Loewe’s My Fair Lady Book and lyrics by ALAN JAY LERNER Music by FREDERICK LOEWE KINDLY SPONSORED BY Adapted from George Bernard Shaw’s Play and Gabriel Pascal’s Motion Picture “PYGMALION” 2 - 6 April 2019 Original Production Directed and Staged by Moss Hart Lewes Town Hall AUDITION PACK Visit losmusicaltheatre.org.uk for more information Tues 2 - Sat 6 April 2019 PRODUCTION TEAM Director: David Foster Musical Director: Ben Knowles Choreographer: Collette Goodwin Production Assistants: Nick Hazle and Amy Reynolds IMPORTANT EARLY DATES Wednesday 10 October, 8pm Launch night at Market Tower (MT) Monday 15 October, 7.30pm Audition workshop at MT with Musical Director/Choreographer Wednesday 17 October, 7.30pm Audition workshop at MT with Musical Director/Choreographer Monday 22 October, 7.30pm Audition workshop at MT with Musical Director/Choreographer Wednesday 24 October, 7.30pm Audition workshop at MT with Musical Director/Choreographer Sunday 28 October (times to be confirmed) Audition day at MT Monday 29 October, 7.30pm (if required) Recall day to be kept available in case call backs required Wednesday 7 November, 7.30pm First full company call CONTACT DETAILS David – 07710 855295 - [email protected] Ben – 07940 343053 - [email protected] • Collette – 07788 581940 – [email protected] Nick – 07756117037 - [email protected] • Amy – 07919 181690 - [email protected] My Fair Lady Lerner and Loewe’s My Fair Lady is one of the best-loved musicals of all time. Based on George Bernard Shaw’s play Pygmalion , Elisa Doolittle’s journey at the hands of Henry Higgins from flower girl to society lady has been enjoyed world-wide since the 1950s when it was first performed, both on stage and as a successful movie.
    [Show full text]
  • A Chronology of Works by and About Bernard Shaw
    A Chronology of Works By and About Bernard Shaw CONTENTS A. Shaw’s Novels, Plays and Commentary 2 B. Shaw’s Reviews and Criticism 5 C. Shaw’s Collected Writings and Letters 5 D. Biographies and Biographical Studies 8 E. Books and Essay Collections 9 F. Reference Books 15 G. Scholarly Editions of Shaw’s Plays 15 H. Bibliographies 16 I. Miscellanea 17 2 A. Shaw’s Novels, Plays and Commentary First date: year(s) written Second date: year of first performance Third date(s): year(s) of publication [in brackets] 1878 My Dear Dorothea: A Practical System of Moral Education for Females Embodied in a Letter to a Young Person of that Sex (ed. S. Winsten) [1906; 1956] 1878 Passion Play (fragment) [1971] 1879 Immaturity (novel) [1930] 1880 The Irrational Knot (novel) [ser. 1885-7; 1905] 1881 Love Among the Artists (novel) [ser. 1887-8; 1900] 1882 Cashel Byron’s Profession (novel) [ser. 1885-6; 1886; rev 1889, 1901] 1883 An Unsocial Socialist (novel) [ser. 1884; 1887] 1884 Un Petit Drame (playlet) [1959] 1884/92 Widowers’ Houses 1893 [1893; rev. 1898] 1887-88 An Unfinished Novel (novel fragment) [1958] 1889 Fabian Essays in Socialism (ed. Shaw) [1889; rev. 1908, 1931, 1948] 1890 Ibsen Lecture before the Fabian Society [1970] 1891 The Quintessence of Ibsenism (criticism) [1891; rev. 1913] 1893 The Philanderer 1905 [1898] 1893 Mrs Warren’s Profession 1902 [1898; rev. 1930] 1893-94 Arms and The Man 1894 [1898; rev. 1930] 1894 Candida 1897 [1898; rev. 1930] 1895 The Man of Destiny 1897 [1898; rev. 1930] 1895 The Sanity of Art (art criticism) [1895; rev.
    [Show full text]
  • Misalliance the Articles in This Study Guide Are Not Meant to Mirror Or Interpret Any Productions at the Utah Shakespeare Festival
    Insights A Study Guide to the Utah Shakespeare Festival Misalliance The articles in this study guide are not meant to mirror or interpret any productions at the Utah Shakespeare Festival. They are meant, instead, to be an educational jumping-off point to understanding and enjoying the plays (in any production at any theatre) a bit more thoroughly. Therefore the stories of the plays and the interpretative articles (and even characters, at times) may differ dramatically from what is ultimately produced on the Festival’s stages. Insights is published by the Utah Shakespeare Festival, 351 West Center Street; Cedar City, UT 84720. Bruce C. Lee, communications director and editor; Phil Hermansen, art director. Copyright © 2011, Utah Shakespeare Festival. Please feel free to download and print Insights, as long as you do not remove any identifying mark of the Utah Shakespeare Festival. For more information about Festival education programs: Utah Shakespeare Festival 351 West Center Street Cedar City, Utah 84720 435-586-7880 www.bard.org. Cover photo: William Leach (left) and Jody Barrett in Misalliance, 1991. Contents Information on the Play Synopsis 4 CharactersMisalliance 5 About the Playwrights 6 Scholarly Articles on the Play Misalliance and Shaw: Extraordinary 8 A “Discussion” Play 9 The Entertaining Gospel 12 Utah Shakespeare Festival 3 351 West Center Street • Cedar City, Utah 84720 • 435-586-7880 Synopsis: Misalliance In the garden pavilion of his father’s house, Johnny Tarleton is lounging comfortably, when his sister Hypatia’s fiance, Bentley Summerhays, arrives with an offensive air of superiority. Threatened with a beating, Bentley throws himself on the floor and screams, bringing Mrs.
    [Show full text]
  • The Central Theme of Education in Shaw's Pygmalion
    www.the-criterion.com The Criterion [email protected] An International Journal in English ISSN 0976-8165 The Central Theme of Education in Shaw’s Pygmalion Dr. D. Prasad Assistant Professor of English, Jeppiaar Engineering College, Chennai – 600 119 Tamilnadu, India The Central Theme of Education The contribution on Bernard Shaw to the modern English drama is significant. He discusses a serious problem of the contemporary society as intensely as he can. Therefore the readers call his plays ‘Comedies of Purpose’ In writing plays, Shaw had the deliberate object of converting the society to his views and ideas. He had no other incentive to write plays. G.K. Chesterton says: Bernard Shaw has much affinity to Plato in his instinctive elevation of temper, his courageous pursuit of ideas as far as they will go; his civic idealism, and also, it must be confessed, in his dislike of poets and a touch of delicate inhumanity (GeorgeBernard Shaw: 53) Education is enlightenment. Like a rainbow, it unfurls many hues, right from child development up to higher education. It also hovers into remedial programmes for backward students. It is an artistic science and a scientific art. It is not reading books but understanding. It is the art of imparting knowledge, not thrusting knowledge, into the unwilling throat. In Pygmalion, education is used as a tool for emancipating working class individuals. Eliza gets uprooted and has to give up personal feature. Language is linked up with identity and finds a new identity through education. Eliza’s transformation demonstrates that social distinctions such as accents, age, class barriers can be overcome by language training.
    [Show full text]
  • {PDF} the First Quarto of Hamlet 1St Edition Ebook
    THE FIRST QUARTO OF HAMLET 1ST EDITION PDF, EPUB, EBOOK William Shakespeare | 9780521653909 | | | | | The First Quarto of Hamlet 1st edition PDF Book The Murder of Gonzago is played before the assembled court, but is interrrupted when Claudius suddenly rises and leaves. This is the only modernised critical edition of the quarto in print. Scarce thus. The First Quarto of Hamlet. A handful of sources contributed significantly to the creation of Hamlet. King Richard II. Condition: Very Good. The first critic of the , first Spanish translation of Shakespeare's Hamlet. British Library copies of Hamlet contains detailed bibliographic descriptions of all the quarto copies of the play. Great Neck, N. Perhaps most crucially, Amleth lacks Hamlet's melancholy disposition and long self-reflexive soliloquies, and he survives after becoming king" British Library. Nevertheless, there is some evidence that Shakespeare did at least consult Saxo. There is an entire scene between Horatio and Gertrude in which Horatio tells her that Hamlet has escaped from the ship after discovering Claudius' plan to kill him. Protected under mylar cover. Published by Printed for P[hilip] C[hetwinde], London Theatrical adaption. Some scenes take place at a different point in the story — for example Hamlet's " To be, or not to be " soliloquy occurs in Act Two, immediately after Polonius proposes to set up an "accidental" meeting between Hamlet and Ophelia. According to the title page, the play was printed 'as it is now acted at His Highness the Duke of York's Theatre. Namespaces Article Talk. Occasional neat underlinings and scholarly notes, some minor marginal wormholes.
    [Show full text]
  • MISALLIANCE : Know-The-Show Guide
    The Shakespeare Theatre of New Jersey MISALLIANCE: Know-the-Show Guide Misalliance by George Bernard Shaw 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 MISALLIANCE: Know-the-Show Guide In This Guide – MISALLIANCE: From the Director ............................................................................................. 2 – About George Bernard Shaw ..................................................................................................... 3 – MISALLIANCE: A Short Synopsis ............................................................................................... 4 – What is a Shavian Play? ............................................................................................................ 5 – Who’s Who in MISALLIANCE? .................................................................................................. 6 – Shaw on — .............................................................................................................................. 7 – Commentary and Criticism ....................................................................................................... 8 – In This Production .................................................................................................................... 9 – Explore Online ...................................................................................................................... 10 – Shaw: Selected
    [Show full text]
  • How Ovid's “Pygmalion”
    The Complex Relationship of Ars and Natura: How Ovid’s “Pygmalion” Employs the Power of the Artist Kelsey Littlefield ‘17 ublius Ovidius Naso, commonly known as Ovid, was a Roman poet and author who lived during the reign of P Augustus Caesar. He is renowned as poet of great variety and skill, and no work so wonderfully displays his talent as his Metamorphoses, a massive volume of mythological stories of transformation. Throughout the Metamorphoses, art and nature serve as unifying themes and are present in some capacity in each myth Ovid recounts. In particular, art and nature are prevalent in the myth of Pygmalion, a sculptor who falls in love with his ivory creation. An important contrast develops between art and nature in this story, and that contrast speaks to how the senses are woven into both. Roman literature is fond of treating the subjects of art and nature, and their contrasting figures appear again and again in the best works of the Ancient World. These two didactic terms are often used in elegiac poetry as a means of deciphering the interwoven relationships among the poet, lover, and girl (poeta, amator, and puella).1 The poet and the lover are one in the same, as the poet attempts to express the love and the experience of the beloved (i.e., the puella) to his reader. There is also, however, a sense of lament, as in all elegiac poetry, as the beloved has an unattainable quality that eventually leaves the poet/lover in despair. The girl, more specifically Pygmalion’s own beloved,2 exemplifies the erotic nature displayed in Ovid’s version of elegiac poetry and the grappling of the role that the artist plays in shaping his own art.
    [Show full text]
  • The Hell Scene and Theatricality in Man and Superman
    233 The Amphitheatre and Ann’s Theatre: The Hell Scene and Theatricality in Man and Superman Yumiko Isobe Synopsis: Although George Bernard Shaw’s Man and Superman (1903) is one of his most important dramatic works, it has seldom been staged. This is because, in terms of content and direction, there are technical issues that make it difficult to stage. In particular, Act Three features a dream in Hell, where four dead characters hold a lengthy philosophical symposium, has been considered independent of the main plot of John Tanner and Ann Whitefield. Tanner’s dream emphatically asserts its theatricality by the scenery, the amphitheatre in the Spanish desert where Tanner dozes off. The scene’s geography, which has not received adequate attention, indicates the significance of the dream as a theatre for the protagonist’s destiny with Ann. At the same time, it suggests that the whole plot stands out as a play by Ann, to which Tanner is a “subject.” The comedy thus succeeds in expressing the playwright’s philosophy of the Superman through the play-within-a- play and metatheatre. Introduction Hell in the third act of Man and Superman: A Comedy and a Philosophy (1903) by George Bernard Shaw turns into a philosophical symposium, as the subtitle of the play suggests, and this intermediate part is responsible for the difficulties associated with the staging of the play. The scene, called “the Hell scene” or “Don Juan in Hell,” has been cut out of performances of the whole play, and even performed separately; however, the interlude by itself has attracted considerable attention, not only from stage managers and actors, but also from critics, provoking a range of multi-layered examinations.
    [Show full text]
  • Joan of Arc in History and in Shaw Department of Enclish
    Joan of Arc in history and in Shaw Item Type text; Thesis-Reproduction (electronic) Authors Covey, Jewyl Monica, 1925- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 30/09/2021 14:04:43 Link to Item http://hdl.handle.net/10150/551296 JOAN OF ARC IN HISTORY AND IN SHAW by Jewyl Covey A Thesis Submitted to the Faculty of the DEPARTMENT OF ENCLISH In Partial Fulfillment of the Requirements For the Degree of . ^ MASTER OF ARTS In the Graduate College UNIVERSITY OF ARIZONA 1957 3 flu to -too S'? 3fi 5 od &Ovd n s i 1 3 STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from ttiis thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quota­ tion from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in their judgment the proposed use of the material is in the interests of scholar­ ship. In all other instances, however, permission must be obtained from the author.
    [Show full text]
  • My Fair Lady
    TEACHER RESOURCE GUIDE Teacher Resource Guide by Sara Cooper LINCOLN CENTER THEATER AT THE VIVIAN BEAUMONT André Bishop Adam Siegel Producing Artistic Director Hattie K. Jutagir Managing Director Executive Director of Development & Planning in association with Nederlander Presentations, Inc. presents LERNER & LOEWE’S Book and Lyrics Music Alan Jay Lerner Frederick Loewe Adapted from George Bernard Shaw’s play and Gabriel Pascal’s motion picture “Pygmalion” with Lauren Ambrose Harry Hadden-Paton Norbert Leo Butz Diana Rigg Allan Corduner Jordan Donica Linda Mugleston Manu Narayan Cameron Adams Shereen Ahmed Kerstin Anderson Heather Botts John Treacy Egan Rebecca Eichenberger SuEllen Estey Christopher Faison Steven Trumon Gray Adam Grupper Michael Halling Joe Hart Sasha Hutchings Kate Marilley Liz McCartney Justin Lee Miller Rommel Pierre O’Choa Keven Quillon JoAnna Rhinehart Tony Roach Lance Roberts Blair Ross Christine Cornish Smith Paul Slade Smith Samantha Sturm Matt Wall Michael Williams Minami Yusui Lee Zarrett Sets Costumes Lighting Sound Michael Yeargan Catherine Zuber Donald Holder Marc Salzberg Musical Arrangements Dance Arrangements Robert Russell Bennett & Phil Lang Trude Rittmann Mindich Chair Casting Hair & Wigs Production Stage Manager Musical Theater Associate Producer Telsey + Company Tom Watson Jennifer Rae Moore Ira Weitzman General Manager Production Manager Director of Marketing General Press Agent Jessica Niebanck Paul Smithyman Linda Mason Ross Philip Rinaldi Music Direction Ted Sperling Choreography Christopher Gattelli Directed by Bartlett Sher The Jerome L. Greene Foundation is the Lead Sponsor of MY FAIR LADY. Major support is also generously provided by: The Blanche and Irving Laurie Foundation • Florence Kaufman The New York Community Trust - Mary P. Oenslager Foundation Fund • The Ted & Mary Jo Shen Charitable Gift Fund The Bernard Gersten LCT Productions Fund • The Peter Jay Sharp Foundation’s Special Fund for LCT with additional support from the National Endowment for the Arts.
    [Show full text]
  • Pygmalion Study Guide April 16
    STUDY GUIDE 2004 CONTAINS ONTARIO CURRICULUM SUPPORT MATERIAL PYGMALION by Bernard Shaw Education Partner PRESENTS Pygmalion by Bernard Shaw This study guide for Pygmalion contains background informa- tion for the play, suggested themes and topics for discussion, and curriculum-based lessons that are designed by educators and theatre professionals. TABLE OF CONTENTS The lessons and themes for discussion are organized in mod- ules that can be used independently or interdependently ac- cording to your class’s level and time availability. The Players ..............................................................................3 The general information is on white paper and the lessons are on green. Running Time .........................................................................3 The Author..............................................................................4 THIS GUIDE WAS WRITTEN AND COMPILED BY DENIS The Characters ........................................................................5 JOHNSTON, DEBRA MCLAUCHLAN, AND JOHN SWEENEY. The Story .............................................................................6-7 ADDITIONAL MATERIALS WERE PROVIDED BY BARBARA WORTHY, JACKIE MAXWELL, AND SUE LEPAGE West End Gossip Sheet.........................................................8 Director’s Notes .....................................................................9 Classroom Application Before Attending the Play .............................................10-17 Pygmalion After Attending the Play................................................18-24
    [Show full text]