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The 200 Plays That Every Theatre Major Should Read
The 200 Plays That Every Theatre Major Should Read Aeschylus The Persians (472 BC) McCullers A Member of the Wedding The Orestia (458 BC) (1946) Prometheus Bound (456 BC) Miller Death of a Salesman (1949) Sophocles Antigone (442 BC) The Crucible (1953) Oedipus Rex (426 BC) A View From the Bridge (1955) Oedipus at Colonus (406 BC) The Price (1968) Euripdes Medea (431 BC) Ionesco The Bald Soprano (1950) Electra (417 BC) Rhinoceros (1960) The Trojan Women (415 BC) Inge Picnic (1953) The Bacchae (408 BC) Bus Stop (1955) Aristophanes The Birds (414 BC) Beckett Waiting for Godot (1953) Lysistrata (412 BC) Endgame (1957) The Frogs (405 BC) Osborne Look Back in Anger (1956) Plautus The Twin Menaechmi (195 BC) Frings Look Homeward Angel (1957) Terence The Brothers (160 BC) Pinter The Birthday Party (1958) Anonymous The Wakefield Creation The Homecoming (1965) (1350-1450) Hansberry A Raisin in the Sun (1959) Anonymous The Second Shepherd’s Play Weiss Marat/Sade (1959) (1350- 1450) Albee Zoo Story (1960 ) Anonymous Everyman (1500) Who’s Afraid of Virginia Woolf Machiavelli The Mandrake (1520) (1962) Udall Ralph Roister Doister Three Tall Women (1994) (1550-1553) Bolt A Man for All Seasons (1960) Stevenson Gammer Gurton’s Needle Orton What the Butler Saw (1969) (1552-1563) Marcus The Killing of Sister George Kyd The Spanish Tragedy (1586) (1965) Shakespeare Entire Collection of Plays Simon The Odd Couple (1965) Marlowe Dr. Faustus (1588) Brighton Beach Memoirs (1984 Jonson Volpone (1606) Biloxi Blues (1985) The Alchemist (1610) Broadway Bound (1986) -
Select – 1Er Número – Museos
EDITORIAL e BIENVENIDOS A UNA NUEVA EXPERIENCIA SELECT Con esta edición inauguramos mucho más que una revista: e aquí nace un lugar de encuentro que te brindará información Juan Carlos Chomali A. y oportunidades únicas, un espacio Country Head donde podrás vivir la experiencia Santander Uruguay de ser un cliente Select. Queremos que disfrutes cada una de nuestras entregas, elaboradas de forma exclusiva. Nos ilusiona ser capaces de sumar valor a tu vida. Veremos dónde convergen la genialidad arquitectónica, el arte, el mundo gourmet y todas aquellas cosas que mueven tus sentidos. Es un gran orgullo que seas nuestro cliente y cada día nos elijas. Tu preferencia nos inspira a seguir avanzando en brindarte el servicio que mereces. EDITORIAL e os expresiones con las que nos codeamos con frecuencia en estos tiempos vertigino- sos, como «el tiempo es el nuevo lujo» o «la vida está hechaD de momentos», nos recuerdan que es necesario hacer una pausa para reencontrarnos con lo que realmente disfrutamos, para llenarnos de más momentos que nos den felicidad. A partir de hoy, The Select Experience Magazine es una invitación a en- contrarnos con los placeres de la vida, a explorar y reconectarnos con nuestros cinco sentidos. Una invitación a llenarnos de vida, gracias a per- sonas, actividades, lugares y experiencias con alma. Será un lugar de encuentro bimestral, en el que proponemos diferentes opciones para que inviertan el tiempo en el arte del saber vivir. El recorrido de la revista se propone como un viaje por diferentes ter- renos: la moda, un estilo de vida saludable, el placer de viajar, la sen- e sibilidad por el arte, el dinamismo de la tecnología, el entretenimiento que nos emociona, los temas de actualidad y las tendencias, que nos permiten entender mejor el presente y el futuro, y las historias de vida de Cecilia Camors personajes fascinantes. -
A ADVENTURE C COMEDY Z CRIME O DOCUMENTARY D DRAMA E
MOVIES A TO Z MARCH 2021 Ho u The 39 Steps (1935) 3/5 c Blondie of the Follies (1932) 3/2 Czechoslovakia on Parade (1938) 3/27 a ADVENTURE u 6,000 Enemies (1939) 3/5 u Blood Simple (1984) 3/19 z Bonnie and Clyde (1967) 3/30, 3/31 –––––––––––––––––––––– D ––––––––––––––––––––––– –––––––––––––––––––––– ––––––––––––––––––––––– c COMEDY A D Born to Love (1931) 3/16 m Dancing Lady (1933) 3/23 a Adventure (1945) 3/4 D Bottles (1936) 3/13 D Dancing Sweeties (1930) 3/24 z CRIME a The Adventures of Huckleberry Finn (1960) 3/23 P c The Bowery Boys Meet the Monsters (1954) 3/26 m The Daughter of Rosie O’Grady (1950) 3/17 a The Adventures of Robin Hood (1938) 3/9 c Boy Meets Girl (1938) 3/4 w The Dawn Patrol (1938) 3/1 o DOCUMENTARY R The Age of Consent (1932) 3/10 h Brainstorm (1983) 3/30 P D Death’s Fireworks (1935) 3/20 D All Fall Down (1962) 3/30 c Breakfast at Tiffany’s (1961) 3/18 m The Desert Song (1943) 3/3 D DRAMA D Anatomy of a Murder (1959) 3/20 e The Bridge on the River Kwai (1957) 3/27 R Devotion (1946) 3/9 m Anchors Aweigh (1945) 3/9 P R Brief Encounter (1945) 3/25 D Diary of a Country Priest (1951) 3/14 e EPIC D Andy Hardy Comes Home (1958) 3/3 P Hc Bring on the Girls (1937) 3/6 e Doctor Zhivago (1965) 3/18 c Andy Hardy Gets Spring Fever (1939) 3/20 m Broadway to Hollywood (1933) 3/24 D Doom’s Brink (1935) 3/6 HORROR/SCIENCE-FICTION R The Angel Wore Red (1960) 3/21 z Brute Force (1947) 3/5 D Downstairs (1932) 3/6 D Anna Christie (1930) 3/29 z Bugsy Malone (1976) 3/23 P u The Dragon Murder Case (1934) 3/13 m MUSICAL c April In Paris -
“Kiss Today Goodbye, and Point Me Toward Tomorrow”
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Missouri: MOspace “KISS TODAY GOODBYE, AND POINT ME TOWARD TOMORROW”: REVIVING THE TIME-BOUND MUSICAL, 1968-1975 A Dissertation Presented to The Faculty of the Graduate School At the University of Missouri In Partial Fulfillment Of the Requirements for the Degree Doctor of Philosophy By BRYAN M. VANDEVENDER Dr. Cheryl Black, Dissertation Supervisor July 2014 © Copyright by Bryan M. Vandevender 2014 All Rights Reserved The undersigned, appointed by the dean of the Graduate School, have examined the dissertation entitled “KISS TODAY GOODBYE, AND POINT ME TOWARD TOMORROW”: REVIVING THE TIME-BOUND MUSICAL, 1968-1975 Presented by Bryan M. Vandevender A candidate for the degree of Doctor of Philosophy And hereby certify that, in their opinion, it is worthy of acceptance. Dr. Cheryl Black Dr. David Crespy Dr. Suzanne Burgoyne Dr. Judith Sebesta ACKNOWLEDGEMENTS I incurred several debts while working to complete my doctoral program and this dissertation. I would like to extend my heartfelt gratitude to several individuals who helped me along the way. In addition to serving as my dissertation advisor, Dr. Cheryl Black has been a selfless mentor to me for five years. I am deeply grateful to have been her student and collaborator. Dr. Judith Sebesta nurtured my interest in musical theatre scholarship in the early days of my doctoral program and continued to encourage my work from far away Texas. Her graduate course in American Musical Theatre History sparked the idea for this project, and our many conversations over the past six years helped it to take shape. -
ACTRESS: LUCIA MÉTRAILLER/Imdb
ACTRESS: LUCIA MÉTRAILLER/IMDb NOTE: Text highlighted in yellow are clickable links HEADSHOTS / WEBSITE: http://www.actlucia.com WEB PAGE: https://www.actlucia.com/pages/pgfcvdtsrr.html CELL PHONE: (412) 726-2208 EMAIL: [email protected] (Website contains over 30 film/22 voiceover demo reels & headshots) FILMS/TV & WEB SERIES LITTLE MOUSE - (Horror/Feature Film) - April Larimer/Grandmother/Support Role/Director: Delaney Hathaway/Before I Wake Productions APPARITIONAL - (Psychological Thriller) - Suzanne/Psychic/Lead Role/Director: Lauren Keller/Point Park University Intermediate Directing Class NIAGRA FALLS - (Comedy/Web Series) - Eunice/Elderly Lady/Support Role/Director: Dayne Jefferson PAXI - (Psychological Thriller) - Dr. Rose Williams/Psychiatric Doctor/Lead Role/Director: Benjamyn/Point Park University THE ROUTES OF WILD FLOWERS - (IMDb/Adventure/Feature) - Janet/Divorced Mother/Lead Role/ Director: Jon M. Brence/Veriyoung Productions MISSED CUES - (IMDb/Comedy/Feature) - Ellen Taylor/News Anchor/Support Role/Director: Lisa Seelinger/ Seelinger Productions REFERENCE POINT- (IMDb/TV Series) - SEASON 2/EPISODE 2 - ONE YEAR EARLIER - Copier Killer/Copier Protector/ John Cantine REFERENCE POINT - (IMDb/TV Series) - SEASON 1/EPISODE 2 - LIKE A HAWK - Copier Killer/Copier Protector/ John Cantine REFERENCE POINT - (IMDb/TV Series) - SEASON 1/EPISODE 1 - NEW LIBRARIAN - Copier Killer/Copier Protector/ John Cantine WRONG NUMBER - (IMDb/Drama/Crime) - Rosemary/Mother/Support Role/Director: Eric Rogers/Screenwriter for NYPD Blue FIVE MINUTE MAKEOVER - (Comedy Series) - Lucia Smithe/British Nutritionist/Support Role/Director: Sola Oyinkansola Carnegie Mellon University SPACE AND TIME - (Sci Fi/Drama) - Older Sally/Sister dying in hospital/Support Role/Director: Ryan Sobota/Point Park University DOLORES CLAIBORNE - (Crime/Drama/Mystery) - Dolores Claiborne/Maid/Lead Role/Director: Jacob E. -
Be Sure to MW-Lv/Ilci
Page 12 The Canadian Statesman. Bowmanville. April 29, 1998 Section Two From page 1 bolic vehicle taking its riders into other promised view from tire window." existences. Fit/.patriek points to a tiny figure peer In the Attic ing out of an upstairs window on an old photograph. He echoes that image in a Gwen MacGregor’s installation in the new photograph, one he took looking out attic uses pink insulation, heavy plastic of the same window with reflection in the and a very slow-motion video of wind glass. "I was playing with the idea of mills along with audio of a distant train. absence and presence and putting shifting The effect is to link the physical elements images into the piece." of the mill with the artist’s own memories growing up on the prairies. Train of Thought In her role as curator for the VAC, Toronto area artists Millie Chen and Rodgers attempts to balance the expecta Evelyn Michalofski collaborated on the tions of serious artists in the community Millery, millery, dustipoll installation with the demands of the general popula which takes its title from an old popular tion. rhyme. “There has to be a cultural and intel TeddyBear Club Holds Workshop It is a five-minute video projected onto lectual feeding," she says, and at the same Embroidered noses, button eyes, fuzzy cars, and adorable faces arc the beginnings of a beautiful teddy bear. three walls in a space where the Soper time, we have to continue to offer the So say the members of the Bowmanville Teddy Bear Club. -
Audience Insights Table of Contents
GOODSPEED MUSICALS AUDIENCE INSIGHTS TABLE OF CONTENTS JUNE 29 - SEPT 8, 2018 THE GOODSPEED Production History.................................................................................................................................................................................3 Synopsis.......................................................................................................................................................................................................4 Characters......................................................................................................................................................................................................5 Meet the Writer........................................................................................................................................................................................6 Meet the Creative Team.......................................................................................................................................................................7 Director's Vision......................................................................................................................................................................................8 The Kids Company of Oliver!............................................................................................................................................................10 Dickens and the Poor..........................................................................................................................................................................11 -
Online Versions of the Handouts Have Color Images & Hot Urls September
Online versions of the Handouts have color images & hot urls September 6, 2016 (XXXIII:2) http://csac.buffalo.edu/goldenrodhandouts.html Sam Wood, A NIGHT AT THE OPERA (1935, 96 min) DIRECTED BY Sam Wood and Edmund Goulding (uncredited) WRITING BY George S. Kaufman (screenplay), Morrie Ryskind (screenplay), James Kevin McGuinness (from a story by), Buster Keaton (uncredited), Al Boasberg (additional dialogue), Bert Kalmar (draft, uncredited), George Oppenheimer (uncredited), Robert Pirosh (draft, uncredited), Harry Ruby (draft uncredited), George Seaton (draft uncredited) and Carey Wilson (uncredited) PRODUCED BY Irving Thalberg MUSIC Herbert Stothart CINEMATOGRAPHY Merritt B. Gerstad FILM EDITING William LeVanway ART DIRECTION Cedric Gibbons STUNTS Chuck Hamilton WHISTLE DOUBLE Enrico Ricardi CAST Groucho Marx…Otis B. Driftwood Chico Marx…Fiorello Marx Brothers, A Night at the Opera (1935) and A Day at the Harpo Marx…Tomasso Races (1937) that his career picked up again. Looking at the Kitty Carlisle…Rosa finished product, it is hard to reconcile the statement from Allan Jones…Ricardo Groucho Marx who found the director "rigid and humorless". Walter Woolf King…Lassparri Wood was vociferously right-wing in his personal views and this Sig Ruman… Gottlieb would not have sat well with the famous comedian. Wood Margaret Dumont…Mrs. Claypool directed 11 actors in Oscar-nominated performances: Robert Edward Keane…Captain Donat, Greer Garson, Martha Scott, Ginger Rogers, Charles Robert Emmett O'Connor…Henderson Coburn, Gary Cooper, Teresa Wright, Katina Paxinou, Akim Tamiroff, Ingrid Bergman and Flora Robson. Donat, Paxinou and SAM WOOD (b. July 10, 1883 in Philadelphia, Pennsylvania—d. Rogers all won Oscars. Late in his life, he served as the President September 22, 1949, age 66, in Hollywood, Los Angeles, of the Motion Picture Alliance for the Preservation of American California), after a two-year apprenticeship under Cecil B. -
William and Mary Theatre Main Stage Productions
WILLIAM AND MARY THEATRE MAIN STAGE PRODUCTIONS 1926-1927 1934-1935 1941-1942 The Goose Hangs High The Ghosts of Windsor Park Gas Light Arms and the Man Family Portrait 1927-1928 The Romantic Age The School for Husbands You and I The Jealous Wife Hedda Gabler Outward Bound 1935-1936 1942-1943 1928-1929 The Unattainable Thunder Rock The Enemy The Lying Valet The Male Animal The Taming of the Shrew The Cradle Song *Bach to Methuselah, Part I Candida Twelfth Night *Man of Destiny Squaring the Circle 1929-1930 1936-1937 The Mollusc Squaring the Circle 1943-1944 Anna Christie Death Takes a Holiday Papa is All Twelfth Night The Gondoliers The Patriots The Royal Family A Trip to Scarborough Tartuffe Noah Candida 1930-1931 Vergilian Pageant 1937-1938 1944-1945 The Importance of Being Earnest The Night of January Sixteenth Quality Street Just Suppose First Lady Juno and the Paycock The Merchant of Venice The Mikado Volpone Enter Madame Liliom Private Lives 1931-1932 1938-1939 1945-1946 Sun-Up Post Road Pygmalion Berkeley Square RUR Murder in the Cathedral John Ferguson The Pirates of Penzance Ladies in Retirement As You Like It Dear Brutus Too Many Husbands 1932-1933 1939-1940 1946-1947 Outward Bound The Inspector General Arsenic and Old Lace Holiday Kind Lady Arms and the Man The Recruiting Officer Our Town The Comedy of Errors Much Ado About Nothing Hay Fever Joan of Lorraine 1933-1934 1940-1941 1947-1948 Quality Street You Can’t Take It with You The Skin of Our Teeth Hotel Universe Night Must Fall Blithe Spirit The Swan Mary of Scotland MacBeth -
Antje Ellermann Film Resume 02-24-20
ANTJE ELLERMANN Scene Design U.S.A. Local 829 c: 917 608-2243 e: [email protected] www.antjeellermann.com Film/ Television HBO MAX Gossip Girl Production Designer: Ola Maslik 2020 Assistant Art Director Art Director: Marissa Kotsilimbas Showtime Networks The President is Missing Production Designer: John Paino 2020 Scene Designer Supervising Art Director: Jordan Jacobs HBO The Plot Against America Production Designer: Richard Hoover 2019 Assistant Art Director Supervising Art Director: Jordan Jacobs Warner Bros. Television/ Fox Prodigal Son - Pilot Production Designer: Adam Scher 2019 Assistant Art Director Art Director: Deborah Wheatley Universal Cable Productions Happy! Season 2 Production Designer: Teresa Mastropierro 2018 Assistant Art Director Art Dir: Mylene Santos, Adrienne Carlyle NBC Universal The Village - Pilot Production Designer: Ola Maslik 2018 Assistant Art Director Art Director: Marissa Kotsilimbas NBC Universal Fashion Victim - Pilot Production Designer: Ola Maslik 2017 Assistant Art Director Art Director: Marissa Kotsilimbas Itv/ The Civilians This is Your Song! - Pilot Producer/ Director: Lynn Kestenbaum 2017 Art Director Writer/ Director: Steve Cosson NBC Universal The Wiz Live Production Designer: Derek McLane 2015 Assistant Art Director Art Director: Erica Hemminger NBC Universal Peter Pan Live Production Designer: Derek McLane 2014 Assistant Art Director Art Director: Aimee Bernadette Dombo 20th Century Fox Television Gotham - Pilot Production Designer: Naomi Shohan 2012 Assistant Art Director Art Director: -
20 Years of Musical Theatre Training in New York City
20 Years of Musical Theatre Training CAP21 in New York City 2014 Musical Theatre Training Programs 2014 PROGRAMS TRAIN IN THE MUSICAL THEATRE CAPITAL OF THE WORLD CAP21 & NEW YORK CITY PAGE 1 CAP21 CONSERVATORY MISSION & TRAINING OVERVIEW PAGE 2 CAP21 SUCCESSFUL ALUMNI PAGE 3 CAP21 PROFESSIONAL MUSICAL THEATRE TRAINING PROGRAMS: 2-YEAR PROFESSIONAL MUSICAL THEATRE TRAINING PROGRAM PAGE 5 MUSICAL THEATRE INDUSTRY PRACTICUM AND SHOWCASE PAGE 7 CAP21 SUMMER MUSICAL THEATRE TRAINING PROGRAMS: HIGH SCHOOL MUSICAL THEATRE TRAINING PROGRAM PAGE 9 MUSICAL THEATRE COLLEGE AUDITION PREP PROGRAM PAGE 10 SUMMER PROFESSIONAL MUSICAL THEATRE TRAINING PROGRAM PAGE 11 CAP21 DEGREE OPPORTUNITIES: EARN A DEGREE WITH THE NEW SCHOOL FOR PUBLIC ENGAGEMENT PAGE 13 ADDITIONAL DEGREE OPPORTUNITIES PAGE 14 CAP21 ENROLLMENT INFORMATION: APPLICATION REQUIREMENTS & TUITION PAGE 15 CAP21 & NEW YORK CITY WORLD-RENOWNED TRAINING IN THE CITY WHERE MUSICAL THEATRE WAS BORN What distinguishes CAP21 from other programs is the combination of world-class training in a city of limitless opportunities. By day, students train with a faculty of Broadway veterans. By night, students have access to the best of Broadway, museums, libraries, and other unique New York resources. LOCATION, LOCATION, LOCATION “You can finish class and then go see a Broadway Show or an Off-Broadway show and immerse yourself in so many different types of theatre.” —Ben Liebert, Musical Theatre Industry Practicum TRAIN IN THE MUSICAL THEATRE CAPITAL OF THE WORLD and Showcase CAP21 CONSERVATORY CAP21 is a multi-purpose institution VALUES: Every CAP21 endeavor comprised of a musical theatre embraces the following values: conservatory and a not-for-profit theatre collaboration and exchange between company working in tandem: sharing emerging and accomplished artists, a parallel and oftentimes intersecting goals nurturing support system, an infusion of creating theatre and theatre study. -
Critical Perspectives on American Musical Theatre Thea
Critical Perspectives on American Musical Theatre Thea. 80200, Spring 2002 David Savran, CUNY Feb 4—Introduction: One Singular Sensation To be read early in the semester: DiMaggio, “Cultural Boundaries and Structural Change: The Extension of the High Culture Model to Theater, Opera, and the Dance, 1900-1940;” Block, “The Broadway Canon from Show Boat to West Side Story and the European Operatic Ideal;” Savran, “Middlebrow Anxiety” 11—Kern, Hammerstein, Ferber, Show Boat Mast, “The Tin-Pan-Tithesis of Melody: American Song, American Sound,” “When E’er a Cloud Appears in the Blue,” Can’t Help Singin’; Berlant, “Pax Americana: The Case of Show Boat;” 18—No class 20—G. and I. Gershwin, Bolton, McGowan, Girl Crazy; Rodgers, Hart, Babes in Arms ***Andrea Most class visit*** Most, Chapters 1, 2, and 3 of her manuscript, “We Know We Belong to the Land”: Jews and the American Musical Theatre; Rogin, Chapter 1, “Uncle Sammy and My Mammy” and Chapter 2, “Two Declarations of Independence: The Contaminated Origins of American National Culture,” in Blackface, White Noise: Jewish Immigrants in the Hollywood Melting Pot; Melnick, “Blackface Jews,” from A Right to Sing the Blues: African Americans, Jews, and American Popular Song 25— G. and I. Gershwin, Kaufman, Ryskind, Of Thee I Sing, Shall We Dance Furia, “‘S’Wonderful: Ira Gershwin,” in his Poets of Tin Pan Alley, Mast, “Pounding on Tin: George and Ira Gershwin;” Roost, “Of Thee I Sing” Mar 4—Porter, Anything Goes, Kiss Me, Kate Furia, “The Tinpantithesis of Poetry: Cole Porter;” Mast, “Do Do That Voodoo That You Do So Well: Cole Porter;” Lawson-Peebles, “Brush Up Your Shakespeare: The Case of Kiss Me Kate,” 11—Rodgers, Hart, Abbott, On Your Toes; Duke, Gershwin, Ziegfeld Follies of 1936 Furia, “Funny Valentine: Lorenz Hart;” Mast, “It Feels Like Neuritis But Nevertheless It’s Love: Richard Rodgers and Lorenz Hart;” Furia, Ira Gershwin: The Art of the Lyricist, pages 125-33 18—Berkeley, Gold Diggers of 1933; Minnelli, The Band Wagon Altman, The American Film Musical, Chaps.