Curriculum Vitae Jonathan Yaakov Epstein

Total Page:16

File Type:pdf, Size:1020Kb

Curriculum Vitae Jonathan Yaakov Epstein Curriculum Vitae Jonathan Yaakov Epstein January 27, 2020 General Information University address: FSU/Asolo Conservatory for Actor Training Department of Fine Arts School of Theatre 5555 N. Tamiami Trail rm 3058 Florida State University Sarasota, Florida 34243 Phone: 413 281-6859 E-mail address: [email protected] Professional Preparation 1977 Bachelor's Degree, HARVARD UNIVERSITY. Major: English and American Literature and Language. Boylston Prize in Rhetoric and Oratory. Nondegree Education and Training 2003–2004 Plastiques with Andrei Gregory. 1994–1997 Verse Structure with John Barton. 1988–1991 Shakespeare & Company. 1977–1978 Webber-Douglas Academy of Dramatic Art, London, England. 1973–1977 Styles with Norman Ayrton. 1973–1974 Kabuki with Onoe Kuroemon II. Professional Experience 2013–present Specialized Teaching Faculty III, Asolo Conservatory, School of Theatre, Department of Fine Arts, Florida State University. Responsible for the Shakespeare performance training of the second-year MFA candidates. Vita for Jonathan Yaakov Epstein 1990–present Senior Faculty, Shakespeare & Company. Senior Faculty Member, leadership teaching role in the Company's month-long intensive workshops for actors, as well as at weekend and week-long workshops both on and off-campus. Training and mentorship of new teachers. Planning and devising of the curriculum and development of the Company's aesthetic. Represent the Company as a guest artist at universities and at other theatre companies. This position requires a complete and thorough familiarity with all of Shakespeare's plays and with the broad range of criticism and analysis, a thorough grounding in the principles of playing, working capacity in combat, dance, and scholarly analysis, as well as an in-depth familiarity with Kristin Linklater's approach to voice-work, including the whole Classical Progression as well as Sound and Movement. 2005–2009 Associate Artist, Berkshire Theatre Festival. 2003–2004 Adjunct Professor, Boston University School of Law. Co-Leader with Professor Wendy Gordon of graduate seminar in Rhetoric and Intellectual Property law. 1995–2004 Artistic Associate, Shakespeare & Company. 1997–1998 Adjunct Professor, Theatre, Massachusetts Institue of Technology. Lead introductory classes in acting technique and voice for the actor. 1979–1980 Founding General Manager, The Hasty Pudding Summer Theatre. Rehabilitated a decrepit performance space. Reorganized and supervised restaurant and bar services. Coordinated community relations and casting. Language Proficiency German - intermediate in speaking and writing; advanced in reading. Hebrew - intermediate in speaking and reading; rudimentary in writing. Latin - intermediate in speaking; advanced in reading; rudimentary in writing. Yiddish - rudimentary in speaking and reading; none in writing. Artist/Designer in Residence 2004–2010 The Hotchkiss School. 1999–2001 Cornell University. 1997–2001 Western Michigan University. Page 2 Vita for Jonathan Yaakov Epstein 1999 Cornish College. 1999 Intiman Theatre Company. 1999 Seattle Shakespeare Theatre. 1999 University of Washington. 1998–1999 Malcolm X University. 1993–1996 Wake Forest University. 1993–1994 Dartmouth College. 1991–1994 Amherst College. Honors, Awards, and Prizes Graduate Teaching Award nominee, Florida State University (2018). Graduate Teaching Award nominee, Florida State University (2017). Graduate Teaching Award nominee, Florida State University (2015). Best Short Film, Indie Spirit Film Festival (2009). Elliot Norton Award nominee, Best Solo Performance, Elliot Norton Awards (2007). Elliot Norton Award nominee Best Performance, Small Company, Elliot Norton Awards (2005). IRNE Award - Best Actor, Independent Reviewers of New England (1999). Elliot Norton Award - Best Actor, Large Company, Elliot Norton Awards (1998). Elliot Norton Award - Best Boston Actor, Elliot Norton Awards (1991). Current Membership in Professional Organizations Actors' Equity Association 1979-Present SAG-AFTRA 1984-Present Teaching Courses Taught BUSINESS OF THEATRE Fall Term CLASSICAL PERFORMANCE Fall Term (TPP5146) CLASSICAL PERFORMANCE SPRING TERM (TPP5146) CLASSICAL PERFORMANCE Fall Term (TPP5146) CLASSICAL PERFORMANCE Spring Term (TPP5146) INTRODUCTION TO THEATRE Summer Term in London (THE2000) Page 3 Vita for Jonathan Yaakov Epstein CLASSICAL PERFORMANCE Fall Term (TPP5146) CLASSICAL PERFORMANCE Spring Term (TPP5146) CLASSICAL PERFORMANCE Fall term (TPP5146) CLASSICAL PERFORMANCE Spring Term (TPP5146) CLASSICAL PERFORMANCE Fall Term (TPP5146) CLASSICAL PERFORMANCE Spring term (TPP5146) CLASSICAL PERFORMANCE Fall term (TPP5146) Additional Teaching Not Reported Elsewhere Epstein, J. Y. (2005–2009). Master Teacher. Berkshire Theatre Festival. Epstein, J. Y. (1990–2013). Master Teacher. Shakespeare & Company. Adult Education Epstein, J. (2016). Exploration of Macbeth. Longboat Key Education Cneter. Epstein, J. (2015–2016). Three Adult Education courses in Shakespeare's Sonnets and As You Like It and Macbeth. Longboat Key Education center. ADULT EDUCATION/OUTREACH Epstein, J. (2016). ADAPTATION AND PERFORMANCE OF MACBETH. LONGBOAT KEY EDUCATION CENTER. PROFESSIONAL MASTER CLASS SERIES Epstein, J. (2015–2017). THE SHAKESPEARE STUDIO. SHAKESPEARE & COMPANY. Research and Original Creative Work Publications Invited Monographs Epstein, J. (2017). The Merchant of Venice - Hineni [Monograph]. Quarto, Fall/Winter 2017, 14. Retrieved from stahome.org/quarto Page 4 Vita for Jonathan Yaakov Epstein Epstein, J. (2016). Hineni [Monograph]. Shakespeare & Company 2016, 1, 21-24. Retrieved from shakespeare.org/files/resources/themerchantofvenice-hineni.pdf Invited Reviews Epstein, J. (2016). Shylock Is My Name, by Howard Jacobson. Berkshire Jewish Voice, Vol 24 #8, 21. Retrieved from https://issuu.com/jewishfederationoftheberkshires/docs/berkjv_nov_16_web/21 Nonrefereed Books Epstein, J. (submitted). KING HENRY THE FOURTH Parts One and Two Presented in One Evening. Manuscript submitted for publication. Presentations Invited Presentations at Conferences Epstein, J. (presented 2016). Macbeth: Problems in Contemporary Presentation of Early Modern Drama. Presentation at 20th Annual Conference on Renaissance and Medieval Studies, New College of Florida, Sarasota, Florida. (International) Invited Lectures and Readings of Original Work Epstein, J. Y. (2013). Shakespeare's Sonnets and the Story Behind Them. Delivered at OLLI, Berkshire Community College. (Regional) Epstein, J. Y. (2008). Much to do With Hate but More with Love. Delivered at Hotchkiss School, Elfers Hall, Lakeville CT. (Regional) Epstein, J. Y. (2004). Shakespeare's Sonnets and the Story Behind Them. Delivered at Berkshire Athenaeum. (Regional) Original Creative Works Scripts or Screenplays Epstein, J. (Writer). (2014). King Henry the Fourth, Parts 1 and 2 [Adaptation of two plays into one]. Shakespeare & Company. Page 5 Vita for Jonathan Yaakov Epstein Epstein, J. Y. (Writer). (2013). License My Roving Hands [Theatrical Concert]. New Marlborough, Massachusetts. Studio Recordings Epstein, J. Y. (Narrator). (2013). My Father's Moustache [Audiobook]. [CD 00261 37416], Henry David Epstein. Epstein, J. Y. (Creator). (2010). Much to do With Hate but More with Love [Video recording of public lecture]. [DVD], Video Heritage Productions. Epstein, J. Y. (Creator). (2010). Shakespeare's Sonnets [Live recording]. [Artistic direction by J Y Epstein]. [DVD], Video Heritage Productions. Epstein, J. Y. (Narrator). (2009). Poets of Nature [Audiobook]. [Audiobook, isbn 0981809106], BMA Audio. Epstein, J. Y. (Narrator). (2007). The Seige of London [Audiobook]. [CD Set, ISBN 0966340191], BMA Audio. Epstein, J. Y. (Narrator). (2006). The Aspern Papers [Audiobook]. [CD Set, ISBN 0966340175], BMA. Performances Invited Performances Epstein, J. (Robin). (2019). The Children [Theatrical]. [Origination of the work by Lucy Kirkwood]. [Artistic direction by James Warwick]. Elaine Bernstein Theatre: Shakespeare & Company. Epstein, J. (Gustav). (2018, June–August). The Creditors [Theatrical]. [Origination of the work by August Strindberg]. [Artistic direction by Nicole Ricciardi]. Elayne Bernstein Theatre: Shakespeare & Company. Epstein, J. (Aaron Root). (2018, January). Mumbet [Feature Film Workshop]. [Origination of the work by Stephen Glanz]. [Artistic direction by Octavia Spencer/Alethea Root]. Mahaiwe Theatre: Berkshire International Film Festival. Epstein, J. (Husband). (2018). QWERTY [Theatrical]. [Origination of the work by Joan Ackermann]. [Artistic direction by Joan Ackermann]. Great Barrington, Massachusetts: Mixed Company. Page 6 Vita for Jonathan Yaakov Epstein Epstein, J. (David Hare). (2017, August). Via Dolorosa [Theatrical]. [Origination of the work by David Hare]. [Artistic direction by Allyn Burrows]. Lenox, Ma: Shakespeare & Company. Epstein, J. (Cymbeline). (2017, June–August). Cymbeline [Theatrical]. [Origination of the work by William Shakespeare]. [Artistic direction by Tina Packer]. Lenox, Ma: Shakespeare & Company. Epstein, J. (Shylock). (2016). Merchant of Venice [Theatrical]. [Artistic direction by Tina Packer]. Lenox, MA: Shakespeare & Company. Epstein, J. (Arthur Fenwick). (2015, January–April). Our Betters [Theatrical]. [Artistic direction by Michael Donald Edwards]. Mertz theatre: Asolo Rep. Epstein, J. (King Henry). (2014). King Henry the Fourth [Stage]. [Origination of the work by Shakespeare, adapted by Jonathan Epstein]. [Artistic direction by Jonathan Epstein]. Lenox, MA: Shakespeare & Company. Epstein, J. (Peter Quince). (2014). Midsummer
Recommended publications
  • Bonnie Jo Campbell Starring
    Presents Wri*en & Directed by: Haroula Rose Based on the Novel by: Bonnie Jo Campbell Starring: Kenadi DelaCerna, John Ashton (Beverly Hills Cop, Midnight Run, Gone Baby Gone), Tatanka Means (The Son, Saints & Strangers, Tiger Eyes), Ajuawak Kapashesit (Indian Horse, Caleb, “Outlander”), Sam Straley (Hala, “The Kids Are Alright,” “Chicago P.D.”), Coburn Goss (Man of Steel, Batman v Superman: Dawn of JusDce, What Women Want), Lindsay Pulsipher (“True Blood,” “JusHfied,” “HaKields & McCoys”), Kenn E. Head (“ER,” Brat 2, “Chicago Fire”) 92 mins // USA // Color // English Website // Facebook // Twi*er // Instagram Publicity Contacts [email protected] | [email protected] Falco Ink. 212-445-7100 FESTIVALS & AWARDS Bentonville Film FesHval - Centerpiece SelecHon, World Premiere Efebo d'Oro, Palermo Italy (internaHonal premiere) - WINNER of the Golden Efebo, WINNER Award presented by League of Women (for portrayal of women in film) Tallgrass Film FesHval - WINNER Stubbornly Independent Award Oxford Film FesHval - WINNER Alice Guy Blache Emerging Female Filmmaker Award Bend Film FesHval - WINNER Best Director Boston Film FesHval - WINNER Best Director Sun Valley Film FesHval - WINNER One In A Million Award MINT ( Montana InternaHonal) - WINNER Best Film, WINNER Special Jury Award for Best AcHng Gallup Film FesHval — WINNER Best Actress; WINNER Best NarraHve Feature Film Will Rogers MoHon Picture Film FesHval - WINNER , Best Indigenous Feature Blow-Up Chicago Arthouse Film FesHval - FINALIST , Stanley Kubrick Award Red NaHon Film
    [Show full text]
  • Camera Operator/ Steadicam Operator
    PRINCESTONE ( +44 (0) 208 883 1616 8 [email protected] SIMON BAKER Assoc. BSC / GBCT / ACO Camera Operator/ Steadicam Operator FEATURES: Title Director / DOP Production Co BLITHE SPIRIT Edward Hall / Fred Films / Powderkeg Pictures / B Camera operator / Steadicam Ed Wilde Align Cast: Emilia Fox, Isla Fisher, Judy Dench, Dan Stevens DOWNTON ABBEY Michael Engler / Carnival Films / Focus Features / B Camera operator / Steadicam Ben Smithard Perfect World Pictures Cast: Hugh Bonneville, Matthew Goode, Maggie Smith, Michelle Dockerty,Tuppence Middleton PETER RABBIT 2 (UK Unit) Will Gluck / Sony Pictures / B Camera Operator Peter Menzies Jnr Rose Line Productions Cast: Domhnall Gleeson, Rose Byrne, James Corden HIS HOUSE Remi Weekes / New Regency / BBC Films Camera operator / Steadicam Jo Willems Cast: Sope Dirisu, Munmi Mosaku, Matt Smith FANTASTIC BEASTS: CRIMES OF GRINDLEWALD Stephen Woolfenden / Warner Bros 2nd Unit B camera /Steadicam Jean-Phillippe Gossart A&B camera/ Steadicam on Main Unit David Yates / Phillipe Rousselot Cast: Eddie Redmayne, Johnny Depp ALL THE MONEY IN THE WORLD Ridley Scott / Sony / Tristar / Imperative / B camera operator (2wks reshoots) Darius Wolski Scott Free Productions Cast: Christopher Plummer, Michelle Williams PETER RABBIT (UK Unit) Will Gluck / Columbia Pictures / B camera operator Peter Menzies Jnr Animal Logic Ent. Cast: Domhnall Gleeson, Rose Byrne, James Corden THE MAN WHO INVENTED CHRISTMAS Bharat Nalluri / Thunderbird / Bleeker Street B camera operator / Steadicam Ben Smithard Cast: Dan Stevens,
    [Show full text]
  • Playwright DAVID HARE Receives the Guild's 2017 GIELGUD AWARD
    But the culminating moments of a richly varied program Playwright DAVID HARE Receives were devoted to the GIELGUD AWARD FOR EXCELLENCE IN THE DRAMATIC ARTS and to the afternoon’s final presentation, for The Guild’s 2017 GIELGUD AWARD OUTSTANDING CONTRIBUTION TO BRITISH THEATRE.. That trophy went to LYN GARDNER, “a renowned theatre journalist, critic, n Sunday, October 15, at a memorable UK THEATRE author, and champion of the industry, whose invaluable O AWARDS luncheon in London’s historic GUILDHALL, one insights can most often be found in The Guardian and The of today’s most versatile dramatic artists received the 2017 Stage, of which she is an associate editor.” GIELGUD AWARD FOR EXCELLENCE IN THE DRAMATIC ARTS. Not only has DAVID HARE enriched our theatrical repertory resenting this year’s GIELGUD AWARD was FREDDIE FOX, with some of the most resonant and challenging stageplays of P an actor of impeccable pedigree who is admired for our era. He has also produced screenplays that have garnered films such as The Three Musketeers, Victor Frankenstein, The Riot Club, Pride, and Worried About the Boy, as well as for such stage roles as Bosie in The Judas Kiss, a David Hare drama about the tragic fall of Oscar Wilde. Mr. Fox talked about how much he’d enjoyed working not only with Sir David but with artistic director Jonathan Kent while co-starring in this Hampstead Theatre production. As he bestowed the 2017 GIELGUD trophy, he shared two messages from admirers of Sir David who were unable to attend the Guildhall luncheon.
    [Show full text]
  • The Playwright As Filmmaker: History, Theory and Practice, Summary of a Completed Thesis by Portfolio OTHNIEL SMITH, University of Glamorgan
    Networking Knowledge: Journal of the MeCCSA Postgraduate Network, Vol 1, No 2 (2007) ARTICLE The Playwright as Filmmaker: History, Theory and Practice, Summary of a completed thesis by portfolio OTHNIEL SMITH, University of Glamorgan ABSTRACT This paper summarises my doctoral research into the work of dramatists who became filmmakers – specifically Preston Sturges, Rainer Werner Fassbinder, David Mamet, and Neil Labute. I began with the hypothesis that there is something distinctive about the work of filmmakers who have a background in writing for text-based theatre, an arena where the authorship is, on the whole, not a vexatious issue, as is the case in commercial cinema. Through case studies involving textual and contextual analyses of their films, I found common threads linking their work, in respect both of their working methods and their approach to text and performance. From this, I evolved a theoretical position involving the development of a tentative ‘dogme’ designed to smooth the path between writing plays and making films, and produced short no- budget videos illustrating it. KEYWORDS Theatre/film, Dogme, theoretical practice, Mamet, Fassbinder. Introduction The aim of this project – a thesis by portfolio, completed at the now-defunct Film Academy at the University of Glamorgan – was to contribute to that area within film theory where creativity is taken seriously as a field of study; an attempt to reconcile theory with artistry, without attempting to theorise artistry. The ‘theatrical’ is often characterised as the ‘other’ of the cinematic, within both popular and scholarly discourse. My intention was to examines the interface between the two forms, and isolate those aspects of the theatrical aesthetic which can be profitably employed within cinema, looking at the issue from the perspective of the working dramatist – my background being as a writer for theatre, radio and television.
    [Show full text]
  • David Hare, Surrealism, and the Comics Mona Hadler Brooklyn College and the Graduate Center, CUNY
    93 David Hare, Surrealism, and the Comics Mona Hadler Brooklyn College and The Graduate Center, CUNY The history of the comic book in the United States has been closely allied with mass culture debates ranging from Clement Greenberg’s 1939 essay “Avant-Garde and Kitsch” to Fredric Wertham’s attack on the comic book industry in his now infamous 1954 book, Seduction of the Innocent. An alternative history can be constructed, however, by linking the comics to the expatriate Surrealist community in New York in the thirties and early forties with its focus on fantasy, dark humor, the poetics and ethics of evil, transgressive and carnivalesque body images, and restless desire. Surrealist artists are well known for their fascination with black humor, pulp fi ction, and crime novels—in particular the popular series Fantômas. Indeed, the image of the scoundrel in elegant attire holding a bloody dagger, featured in the writings of the Surrealist Robert Desnos (Color Plate 10), epitomized this darkling humor (Desnos 377-79).1 Pictures of Fantômas and articles on the pulp market peppered the pages of Surrealist magazines in Europe and America, from Documents in France (1929-1930) to VVV and View in New York in the early forties. By moving the discussion of the comics away from a Greenbergian or Frankfurt school discourse on mass culture to the debates surrounding Surrealism, other issues come to the fore. The comics become a site for the exploration of mystery, the imagination, criminality, and freedom. The comic book industry originated in the United States in the late thirties and early forties on the heels of a booming pulp fi ction market.
    [Show full text]
  • A Festival of Restored Classics and Archival Prints from Cinema's
    3-7 May 2018 A Festival of Restored Classics and Archival Prints from Cinema’s Grand Heritage Presented in Partnership with the Australian Film Television and Radio School OPENING NIGHT experiences, trying to make a Treasure is his most acclaimed THU 3 MAY 6.30PM living in a range of menial jobs in work, frequently topping best Sri SANS LENDEMAIN 1960s Paris, infuse his first film, Lankan films of all time polls. “My Dir: Max OPHÜLS, France, 1939, Soleil Ô. “From the stylized and most controversial film… holds a 82 mins, b&w, sd., DCP (orig. surreal opening sequence to the strong social and political value 35mm), French with English episodic adventures of a particular in denouncing the system. The subtitles, UC/18+ man, the director presents a series character is trapped between two Sans lendemain was the of imaginative set pieces, linked cultures: the Western/British one penultimate picture cosmopolitan by voice-over narrative, that and his culture of origin…” (Lester director Max Ophüls made in investigate and dramatize a complex James Peries). pre-war France before leaving for of interrelated themes. A scathing Introduction by Adrienne Hollywood. Evelyn/Babs works attack on colonialism, the film is McKibbins. Restored in 2013 by the as one of four topless dancers also a shocking exposé of racism...” Film Foundation’s World Cinema at “La Sirene”. Babs has a fateful (Harvard Film Archives notes). Project at Cineteca di Bologna chance meeting with an old flame, Introduction by Peter Hourigan. /L'immagine ritrovata laboratory. In Georges, and fate throws up an Restoration Australian premiere.
    [Show full text]
  • Appendix Plays Discussed in This Book
    Appendix Plays Discussed in This Book Abe Lincoln in Illinois, Robert Sherwood. 1938 Broadway run: 472 performances. 1993 Lincoln Center revival: 27 previews, 40 performances. Abraham Lincoln, John Drinkwater. 1919 Broadway run: 193 per- formances. 1929 Broadway revival: 8 performances. Abraham Lincoln’s Big Gay Dance Party, Aaron Loeb. 2008 San Francisco. 2010 off-Broadway run. American Iliad, Donald Freed. 2001 Burbank, California. As the Girls Go, William Roos (book), Jimmy McHugh (music), Harold Adamson (lyrics). 1948 Broadway run: 414 performances. Assassins, John Weidman (book), Stephen Sondheim (music and lyrics). 1990 off-Broadway run: 73 performances. 1992 London revival. 2004 Broadway revival: 26 previews, 101 performances. The Best Man, Gore Vidal. 1960 Broadway run: 520 performances. 2000 Broadway revival: 15 previews, 121 performances. Bloody, Bloody Andrew Jackson, Alex Timbers (book), Michael Friedman (music and ly73rics). 2008 Los Angeles. 2009 and 2010 off-Broadway runs. Buchanan Dying, John Updike. 1976 Franklin and Marshall College. Bully! Jerome Alden. 1977 Broadway run: 8 previews, 8 performances. 2006 off Broadway revival. The Bully Pulpit, Michael O. Smith. 2008 off-Broadway. Camping with Henry and Tom, Mark St. Germain. 1995 off- Broadway run: 105 performances. Numerous regional theater revivals since then. An Evening with Richard Nixon, Gore Vidal. Broadway run: 14 previews, 16 performances. First Lady, Katherine Dayton and George S. Kaufman. 1935 Broadway run: 246 performances. 1952 off-Broadway revival. 1980 Berkshire Theater Festival revival. 1996 Yale Repertory Theatre revival. First Lady Suite, Michael John LaChiusa. 1993 off-Broadway run: 32 performances. Revivals include Los Angeles 2002, off Broadway 2004, and London 2009. 160 Appendix Frost/Nixon, Peter Morgan.
    [Show full text]
  • The Worricker Trilogy: Turks & Caicos and Salting the Battlefield
    Interview with Sir David Hare, Writer/Director of The Worricker Trilogy: Turks & Caicos and Salting the Battlefield Sundays, November 9 & 16, 2014 on MASTERPIECE CONTEMPORARY One of England’s foremost playwrights, screenwriters, and film directors, Sir David Hare completes his Worricker Trilogy on MASTERPIECE CONTEMPORARY with two more gripping dramas charting the exploits of spy-on-the-run Johnny Worricker, played by Bill Nighy. Turks & Caicos and Salting the Battlefield marvelously thicken the plot started by Page Eight, which first aired on MASTERPIECE in 2011. The two films bring Johnny together with fellow spook Margot Tyrrell (Helena Bonham Carter) and lead them to a heart-stopping denouement. It’s all in a day’s work for Hare, Academy Award® screenwriting nominee for The Hours and The Reader. Actually, the writing and directing were “completely exhausting,” he says in this interview with MASTERPIECE, in which he discusses his inspiration for the trilogy, the amazing cast, the spy genre, and much else. What is the genesis of the Worricker trilogy? When I wrote the first one Page[ Eight], the producer at the BBC said, “We can either make a feature film, in which case it will take three years to put the money and cast together. Or we can be filming in six months if you agree that it’s television.” And I said, “Okay, let’s do it on television.” Then the BBC immediately said, “Can we please have six?”—because quantity is something television understands. And I said, “No! It takes me a year to write one of these.” In the end, we all enjoyed ourselves so much on the first one that I agreed to do two more.
    [Show full text]
  • Past TRC Productions
    TRINITY REPERTORY COMPANY 201 Washington Street, Providence, RI 02903 PAST PRODUCTIONS Counting seasons: In the official count of seasons (1st, 2nd, 3rd, etc.), it may have been decided in 1970 to not count 1963-64 as the first season. Or a mistake in a brochure may have never been caught until it was much too late. Subscription brochures for the 1969-70 Season and 1970-71 Season both refer to the upcoming season as the 7th Season. Brochures for the 1967-68 and 1968-69 Seasons refer to them respectively as the 5th and 6th Seasons, but a brochure for the 1965-66 Season refers to that as the “second full season.” During the 1963-64 Season, Trinity Players on the Square was not a fully professional company and there were no actual performances in 1963. 1964-65 was the first full season with Adrian Hall as artistic director and Equity contracts. The counting of the seasons proceeded consecutively from the second 7th Season. *World Premiere Production **American Premiere Production ***Pre-Season Productions + Booked-In, Rental, or Competition Winner Productions 1963-1964 Season • 1st Director Playwright Designers The Hostage Ira Zuckerman Brendan Behan Sets: Sandra Tilles Costumes: Joyce Anderson Lighting: Thomas J. Aubin Sound: Vincent Vessela The House of Bernarda Alba Ira Zuckerman Frederico Garcia Lorca Sets: Morris Nathanson Costumes: Sue Neely Lighting: Thomas J. Aubin and Catie Calvo Sound: Bud Peltier American Dream Adrian Hall Edward Albee Sets: Richard L. Peterson and Carl Ravenal Costumes: Edith Brown Lighting: Thomas J. Aubin and Catie Calvo Sound: Sandra Tilles Orpheus Descending Adrian Hall Tennessee Williams Costumes: Edith Brown Lighting: Thomas J.
    [Show full text]
  • Christopher Hampton, John Patrick Shanley, Patricia Marx and Theresa Rebeck December 2009 | Volume #31
    IN THIS ISSUE: Christopher Hampton, John Patrick Shanley, Patricia Marx and Theresa Rebeck December 2009 | Volume #31 EDITOR A NOTE FROM THE EDITOR Arlene Hellerman Donald Westlake often said, “When I write a COPY EDITOR novel, I’m God, and when I write a screenplay, Shelley Wolson I’m cup-bearer to the gods.” The same could be DESIGNER said of the relationship between screenwriting Tom Beckham and playwriting. SUPERVISING CONSULTANT The conversations in this issue cover both Marsha Seeman of these genres. John Patrick Shanley and CONSULTANT Christopher Hampton talk about playwriting, Nicole Revere screenwriting and directing. Theresa Rebeck and Patricia Marx talk about writing plays and films, ADVISOR but also about the process of writing prose. Marc Siegel On The Back Page we’re publishing Gina Gionfriddo’s one-act play America’s Got Tragedy. Michael Winship | president Bob Schneider | vice president Gail Lee | secretary-treasurer — Arlene Hellerman Lowell Peterson | executive director All correspondence should be addressed to The Writers Guild of America, East 555 West 57th Street New York, New York 10019 Telephone: 212-767-7800 Fax: 212-582-1909 www.wgaeast.org Copyright © 2009 by the Writers Guild of America, East, Inc. Christopher Hampton AND John Patrick Shanley New York CitY – April 27, 2009 SHANLEY: I have questions for you. HAMPTON: Between 5 and 10. HAMPTON: Oh, do you? ON WRITING: Do you think that gave you a different perspective when you got back to England? Did you SHANLEY: Questions that are sort of simple but inter- see it as an outsider? esting to me. One is, when you started writing, was there either a play that you wanted to do something HAMPTON: Yes, very much so.
    [Show full text]
  • The Last Night of Ballyhoo
    40th Season • 383rd Production SEGERSTROM STAGE / AUGUST 29 - OCTOBER 5, 2003 David Emmes Martin Benson PRODUCING ARTISTIC DIRECTOR ARTISTIC DIRECTOR presents THE LAST NIGHT OF BALLYHOO by Alfred Uhry SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN Michael Olich Frances Kenny Tom Ruzika COMPOSER/SOUND DESIGN PRODUCTION MANAGER STAGE MANAGER Michael Roth Tom Aberger *Scott Harrison DIRECTED BY Warner Shook HONORARY PRODUCERS Mr. and Mrs. Roger B. Palley Originally produced on Broadway by Jane Harmon, Nina Keneally and Liz Oliver. This play was commissioned by the Alliance Theatre Company and presented by the Atlanta Committee for the Olympic Games, Cultural Olympiad for the 1996 Olympic Arts Festival. The Last Night of Ballyhoo by Alfred Uhry is presented by arrangement with Dramatists Play Service, Inc., in New York. The Last Night of Ballyhoo • SOUTH COAST REPERTORY P1 CAST OF CHARACTERS (In order of appearance) Lala ................................................................................................. *Blair Sams Reba ..................................................................................... *Linda Gehringer Boo ....................................................................................... *Kandis Chappell Adolph ..................................................................................... *Richard Doyle Joe ........................................................................................... *Nathan Baesel Sunny ...............................................................................
    [Show full text]
  • David Appleby Photography CV
    CV- Motion Picture/Special Stills photographer Movie Credits include: Jungle Book: Origins Directed by Andy Serkis The Aftermath Directed by James Kent Goodbye Christopher Robin Directed by Simon Curtis Absolutely Fabulous: The Movie Directed by Mandie Fletcher Mortdecai Directed by David Koepp London Has Fallen Directed by Babak Najafi Belle Directed by Amma Asante The Invisible Woman Directed by Ralph Fiennes Hansel & Gretel: Witch Hunters Directed by Tommy Wirkola Warhorse Directed by Steven Spielberg Robin Hood Directed by Ridley Scott Ninja Assassin Directed by Wachowski Brothers Speed Racer Directed by Wachowski Brothers The Seeker: The Dark Is Rising Directed by David Cunningham Sleuth Directed by Kenneth Brannagh 1408 Directed by Mikael Hafstrom Eragon Directed by Stefen Fangmeier The Grudge 2 Directed by Takashi Shimizu Half Light Directed by Craig Rosenberg V For Vendetta Directed by James McTiegue The Kingdom of Heaven Directed by Ridley Scott Alfie Directed by Charles Shyer Around the World in 80 Days Directed by Frank Coraci Ella Enchanted Directed by Tommy O’Haver Sylvia Directed by Christine Jeffs The Life of David Gale Directed by Alan Parker The Good Thief Directed by Neil Jordan Possession Directed by Neil La Bute Proof of Life Directed by Taylor Hackford Chocolat Directed by Lasse Hallstrom Quills Directed by Philip Kaufman The End of the Affair Directed by Neil Jordan Angela’s Ashes Directed by Alan Parker Entrapment Directed by Jon Amiel Onegin Directed by Martha Fiennes Hilary & Jackie Directed by Anand Tucker CV-
    [Show full text]