KC Rep Announces Monday Night Playwright Series
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NOV–DEC 2016 SEASON 50, ISSUE 3 Untitled-2 1
SAN FRANCISCO’S PREMIER NONPROFIT THEATER COMPANY NOV–DEC 2016 SEASON 50, ISSUE 3 “ City National helps keep my financial life in tune.” So much of my life is always shifting; a different city, a different piece of music, a different ensemble. I need people who I can count on to help keep my financial life on course so I can focus on creating and sharing the “adventures” of classical music. City National shares my passion and is instrumental in helping me bring classical music to audiences all over the world. They enjoy being a part of what I do and love. That is the essence of a successful relationship. City National is The way up® for me. Michael Tilson Thomas Conductor, Educator and Composer Hear Michael’s complete story at Findyourwayup.com/Tuned2SF Find your way up.SM Call (866) 618-5242 to speak with a personal banker. 16 City National Bank 16 City National 0 ©2 City National Personal Banking CNB MEMBER FDIC Untitled-2 1 8/10/16 12:13 PM B:8.625” T:8.375” S:7.375” B:11.125” T:10.875” S:9.875” We care for the city that helped you start a new chapter. Our kidney and transplant programs have higher than expected outcomes than any other hospital in the country. When you call this city home, you call CPMC your hospital. cpmc2020.org EAP full-page template.indd 1 10/7/16 4:47 PM 40775 Version:01 09-02-16 hr 40775_SFEncore_BStore 1 SF Ballet-Encore_Bookstore Saved at 09-02-2016 from by Printed At None Job info Approvals Fonts & Images Job 40775 Art Director Fonts Client Sutter Health Copywriter Helvetica Neue LT Std (75 Bold, 45 Light), Media Type Magazine Account Mgr Helvetica Neue (Bold) Live 7.375” x 9.875” Studio Artist Trim 8.375” x 10.875” Proofreader Images Bleed 8.625” x 11.125” Pubs SF Ballet Notes Inks SF Encore Cyan, Magenta, Yellow, Black None November 2016 Volume 15, No. -
THE 42Nd COMPARATIVE DRAMA CONFERENCE the Comparative Drama Conference Is an International, Interdisciplinary Event Devoted to All Aspects of Theatre Scholarship
THE 42nd COMPARATIVE DRAMA CONFERENCE The Comparative Drama Conference is an international, interdisciplinary event devoted to all aspects of theatre scholarship. It welcomes papers presenting original investigation on, or critical analysis of, research and developments in the fields of drama, theatre, and performance. Papers may be comparative across disciplines, periods, or nationalities, may deal with any issue in dramatic theory and criticism, or any method of historiography, translation, or production. Every year over 170 scholars from both the Humanities and the Arts are invited to present and discuss their work. Conference participants have come from over 35 countries and all fifty states. A keynote speaker whose recent work is relevant to the conference is also invited to address the participants in a plenary session. The Comparative Drama Conference was founded by Dr. Karelisa Hartigan at the University of Florida in 1977. From 2000 to 2004 the conference was held at The Ohio State University. In 2005 the conference was held at California State University, Northridge. From 2006 to 2011 the conference was held at Loyola Marymount University. Stevenson University was the conference’s host from 2012 through 2016. Rollins College has hosted the conference since 2017. The Conference Board Jose Badenes (Loyola Marymount University), William C. Boles (Rollins College), Miriam M. Chirico (Eastern Connecticut State University), Stratos E. Constantinidis (The Ohio State University), Ellen Dolgin (Dominican College of Blauvelt), Verna Foster (Loyola University, Chicago), Yoshiko Fukushima (University of Hawai'i at Hilo), Kiki Gounaridou (Smith College), Jan Lüder Hagens (Yale University), Karelisa Hartigan (University of Florida), Graley Herren (Xavier University), William Hutchings (University of Alabama at Birmingham), Baron Kelly (University of Louisville), Jeffrey Loomis (Northwest Missouri State University), Andrew Ian MacDonald (Dickinson College), Jay Malarcher (West Virginia University), Amy Muse (University of St. -
Play Guide for Gloria
Play Guide September 28-October 20, 2019 by Emily Mann directed by Risa Brainin 2019 and the recent past. This new work by Tony Award-winning playwright Emily Mann celebrates the life of one of the most important figures of America's feminist movement! Nearly half a century later, Ms. Steinem's fight for gender equality is still a battle yet to besimplifying won. IT 30 East Tenth Street Saint Paul, MN 55101 651-292-4323 Box Office 651-292-4320 Group Sales historytheatre.com Page 2 Emily Mann—Playwright Pages 3-4 Gloria Steinem Timeline Page 5-7 Equal Rights Amendment Page 8-11 Second Wave Feminism Page 12 National Women’s Conference Page 13 Phyllis Schlafly Pages 14-15 Milestones in U.S. Women’s History Page 16 Discussion Questions/Activities Page 17 Books by Gloria Steinem able of Content T Play Guide published by History Theatre c2019 Emily Mann (Playwright, Artistic Director/Resident Playwright) is in her 30th and final season as Artistic Director and Resident Playwright at the McCarter Theatre Center in Princeton, New Jersey. Her nearly 50 McCarter directing credits include acclaimed produc- tions by Shakespeare, Chekhov, Ibsen, and Williams and the world premieres of Christopher Durang’s Turning Off the Morning News and Miss Witherspoon; Ken Ludwig’s Murder on the Orient Express; Rachel Bonds’ Five Mile Lake; Danai Guri- ra’s The Convert; Sarah Treem’s The How and the Why; and Edward Albee’s Me, Myself & I. Broadway: A Streetcar Named Desire, Anna in the Tropics, Execution of Justice, Having Our Say. -
Board of Directors. I Want to Make Sure That There’S a Diversity Ourselves — We Live with Them for Long Periods of of Voices Being Published by DPS
ISSUE 16 DRAMATISTS PLAY SERVICE SPRING 2015 ROUND TABLE with JOHN PATRICK SHANLEY, Dramatists Play Service POLLY PEN, and LYNN NOTTAGE is very fortunate not just to publish and license the best BY PETER HAGAN, PRESIDENT American playwrights, but also to have four of them sit on our the publishing conversation. As a woman of always going to be slightly different from that of the color, I also see my role as one of advocacy; agents. Our plays are creative extensions of Board of Directors. I want to make sure that there’s a diversity ourselves — we live with them for long periods of of voices being published by DPS. time; we keep them close and protected until we release them into the world. The founding charter of the Play Service, back in As time has gone by, have you seen your Then we entrust our plays 1936, called for the Board to be split evenly position as a playwright member change? to others for safekeeping: between playwrights (all members of the initially agents, and eventually Dramatists Guild) and agents. Back then, the star John Patrick Shanley: When I first served on publishing companies like playwrights included Howard Lindsay, George the Board, I was skeptical and challenging DPS. For better or worse, Abbott, and Sidney Howard. Today our stars are and, frankly, young. But over time I morphed agents can approach the Donald Margulies, Polly Pen, Lynn Nottage, and from opponent to colleague. business of publishing with John Patrick Shanley, who have been members a certain level of objectivity of the board ranging from five years (Nottage) to PP: Ways of thinking about how theatrical and distance; however, it’s over 20 (Shanley). -
The Birthday Party at A.C.T. Encore Arts San Francisco
SAN FRANCISCO’S PREMIER NONPROFIT THEATER COMPANY THE BIRTHDAY PARTY JAN 2018 SEASON 51, ISSUE 4 BY QUI NGUYEN DIRECTED BY JAIME CASTAÑEDA Vietgone is not your typical how-Mom- met-Dad story. Not unless they hit it off at a refugee camp in Arkansas. But that’s the story of playwright Qui Nguyen’s parents, who fell in love against all odds. Fleeing war-torn Vietnam, Tong and Quang navigate the unfamiliar landscape of 1970s America. As they learn more about the culture of this new land, they ponder what “home” really means. Is home a place, a person, a feeling? Bending genres and breaking rules, Nguyen’s cheeky retelling of his own family story skips through time and “A raucous, immensely moving comedy.” Charles Isherwood, The New York Times BEGINS FEBRUARY 21 A.C.T.’S STRAND THEATER act-sf.org/vietgone | 415.749.2228 “Hip, high-wire theatricality . sultry sexiness . quirky playfulness.” The Seattle Times bounces between borders, cracking Winner of the 2016 Harold and Mimi jokes along the way. Director Jaime Steinberg/American Theatre Critics Castañeda, who’s known Nguyen for Association New Play Award, Vietgone years, calls this play “uniquely Qui— was an off-Broadway hit at Manhattan he takes what seems like a traditional Theatre Club and sold out shows at immigrant story and turns it into this 2016’s Oregon Shakespeare Festival. wild, epic road-trip fantasia with fights This all-new production—complete and music and dancing and sex.” with kick-ass ninja fights and an original rap-inspired score—will burst Set to an original soundtrack that mixes into The Strand this February. -
Tom Stoppard
Tom Stoppard: An Inventory of His Papers at the Harry Ransom Center Descriptive Summary Creator: Stoppard, Tom Title: Tom Stoppard Papers 1939-2000 (bulk 1970-2000) Dates: 1939-2000 (bulk 1970-2000) Extent: 149 document cases, 9 oversize boxes, 9 oversize folders, 10 galley folders (62 linear feet) Abstract: The papers of this British playwright consist of typescript and handwritten drafts, revision pages, outlines, and notes; production material, including cast lists, set drawings, schedules, and photographs; theatre programs; posters; advertisements; clippings; page and galley proofs; dust jackets; correspondence; legal documents and financial papers, including passports, contracts, and royalty and account statements; itineraries; appointment books and diary sheets; photographs; sheet music; sound recordings; a scrapbook; artwork; minutes of meetings; and publications. Call Number: Manuscript Collection MS-4062 Language English Access Open for research Administrative Information Acquisition Purchases and gifts, 1991-2000 Processed by Katherine Mosley, 1993-2000 Repository: Harry Ransom Center, University of Texas at Austin Stoppard, Tom Manuscript Collection MS-4062 Biographical Sketch Playwright Tom Stoppard was born Tomas Straussler in Zlin, Czechoslovakia, on July 3, 1937. However, he lived in Czechoslovakia only until 1939, when his family moved to Singapore. Stoppard, his mother, and his older brother were evacuated to India shortly before the Japanese invasion of Singapore in 1941; his father, Eugene Straussler, remained behind and was killed. In 1946, Stoppard's mother, Martha, married British army officer Kenneth Stoppard and the family moved to England, eventually settling in Bristol. Stoppard left school at the age of seventeen and began working as a journalist, first with the Western Daily Press (1954-58) and then with the Bristol Evening World (1958-60). -
History of Arena Stage: Where American Theater Lives the Mead Center for American Theater
History oF arena Stage: Where American Theater Lives The Mead Center for American Theater Arena Stage was founded August 16, 1950 in Washington, D.C. by Zelda Fichandler, Tom Fichandler and Edward Mangum. Over 65 years later, Arena Stage at the Mead Center for American Theater, under the leadership of Artistic Director Molly Smith and Executive Director Edgar Dobie, is a national center dedicated to American voices and artists. Arena Stage produces plays of all that is passionate, profound, deep and dangerous in the American spirit, and presents diverse and ground- breaking work from some of the best artists around the country. Arena Stage is committed to commissioning and developing new plays and impacts the lives of over 10,000 students annually through its work in community engagement. Now in its seventh decade, Arena Stage serves a diverse annual audience of more than 300,000. When Zelda and Tom Fichandler and a handful of friends started Arena Stage, there was no regional theater movement in the United States or resources to support a theater committed to providing quality work for its community. It took time for the idea of regional theater to take root, but the Fichandlers, together with the people of the nation’s capital, worked patiently to build the fledgling theater into a diverse, multifaceted, internationally renowned institution. Likewise, there were no professional theaters operating in Washington, D.C. in 1950. Actors’ Equity rules did not permit its members to perform in segregated houses, and neither The National nor Ford’s Theatre was integrated. From its inception, Arena opened its doors to anyone who wished to buy a ticket, becoming the first integrated theater in this city. -
INVISIBLE-HAND-Program-Digital.Pdf
hand_program.pdf 1 9/13/17 7:54 PM C M Y CM MY CY CMY K STEEP THEATRE COMPANY COMPANY MEMBERS James Allen Jonathan Edwards Jim Poole Kendra Thulin Jonathan Berry Alex Gillmor Egan Reich Robin Witt Lucy Carapetyan Nick Horst Joel Reitsma Brendan Melanson George Cederquist Ashleigh LaThrop Melissa Riemer in memoriam Brad DeFabo Akin Cynthia Marker Michael Salinas Patricia Donegan Peter Moore Joanie Schultz Peter Dully Caroline Neff Julia Siple ARTISTIC ASSOCIATES Matthew Chapman Lauren Lassus Alison Siple Dan Stratton Maria DeFabo Akin Kristin Leahey Simon Stephens Brandon Wardell Thomas Dixon Emily McConnell Assoc. Playwright Chelsea M. Warren BOARD OF DIRECTORS Jessica Schrey David Bock Doug Passmore Sonya Dekhtyar President Vice President Secretary Treasurer Dave Bartusek Ian Galleher Ted Lowitz Shawn Sackett Kelly Carpenter Molly Johnson Anne Marie Mitchell Kelly Fitzgerald Stu Kiesow Elizabeth Moore STAFF Peter Moore Staci Weigum Egan Reich Stu Kiesow Artistic Director House Manager Literary Manager Graphic Designer Kate Piatt-Eckert Caroline Neff Lee Miller Julianna Jarik Executive Director Casting Director Photographer Management Intern Julia Siple Lucy Carapetyan Gregg Gilman Managing Director Casting Associate Photographer FRIENDS OF STEEP Heidi Brock Sara Foster Katie Kett Christine Rousseau Reid & Jennifer Diane Galleher Jennifer Collins Craig Steadman Quinn Broda Barry Grant Moore John C. White John Dunnigan Neil Jain Jon Putnam Steep Theatre Company is supported in part by a CityArts Grant from the City of Chicago Department of Cultural Affairs & Special Events, the MacArthur Fund for Arts & Culture at the Richard H. Driehaus Foundation, the Gaylord & Dorothy Donnelley Foundation, the Illinois Arts Council Agency, the Sol R. -
Junk by Ayad Akhtar
JUNK BY AYAD AKHTAR DRAMATISTS PLAY SERVICE INC. JUNK Copyright © 2018, Ayad Akhtar All Rights Reserved CAUTION: Professionals and amateurs are hereby warned that performance of JUNK is subject to payment of a royalty. It is fully protected under the copyright laws of the United States of America, and of all countries covered by the International Copyright Union (including the Dominion of Canada and the rest of the British Commonwealth), and of all countries covered by the Pan-American Copyright Convention, the Universal Copyright Convention, the Berne Convention, and of all countries with which the United States has reciprocal copyright relations. All rights, including without limitation professional/ama- teur stage rights, motion picture, recitation, lecturing, public reading, radio broadcasting, television, video or sound recording, all other forms of mechanical, electronic and digital reproduction, transmission and distribution, such as CD, DVD, the Internet, private and file-sharing networks, information storage and retrieval systems, photocopying, and the rights of translation into foreign languages are strictly reserved. Particular emphasis is placed upon the matter of readings, permission for which must be secured from the Au- thor’s agent in writing. The English language stock and amateur stage performance rights in the United States, its territories, possessions and Canada for JUNK are controlled exclusively by Dramatists Play Service, Inc., 440 Park Avenue South, New York, NY 10016. No professional or nonprofessional performance of the Play may be given without obtaining in advance the written permission of Dramatists Play Service, Inc., and paying the requisite fee. Inquiries concerning all other rights should be addressed to Creative Artists Agency, 405 Lexington Avenue, 19th Floor, New York, NY 10174. -
Exploring the Theme of Neo-Orientalism in Ayad Akhtar's
INTERNATIONAL JOURNAL OF ENGLISH LANGUAGE, LITERATURE AND TRANSLATION STUDIES (IJELR) A QUARTERLY, INDEXED, REFEREED AND PEER REVIEWED OPEN ACCESS INTERNATIONAL JOURNAL http://www.ijelr.in (Impact Factor : 5.9745) (ICI) KY PUBLICATIONS RESEARCH ARTICLE ARTICLE Vol. 7. Issue.1. 2020 (Jan-Mar) EXPLORING THE THEME OF NEO-ORIENTALISM IN AYAD AKHTAR’S DISGRACED AS A REPRESENTATION OF THE ARAB-ISLAMIC WORLD MONA BAGATO E-mail: [email protected] ABSTRACT The goal of this study is to explore Ayad Mkhtar’s “Disgraced”, as a Neo-Orientalist account, portraying the injustice and prejudice of the American society towards Muslims and Arabs, and how it considers them as a threat that must be othered and excluded. The main objective of this study is to reflect on how Disgraced tackled Neo- Orientalist ideology, and consequently how this critical trend has widened the gap between East and West. Intentionally, the West had imposed a Stereotype figure on Article information Received:29/01/2020 Muslims throughout their myopic lens, and consequently created distorted image of Accepted: 27/02/2020 Islam and Muslims in their writings. Since 9/11, the situation has worsened. The Published online: 03/03/2020 classical orientalism has taken a new, and more negative approach. Neo-Orientalists doi: 10.33329/ijelr.7.1.122 now see Muslims as terrorists, lunatics, fundamentalists, and blood-thirsty beings. The stigmata September11th attached to Islam and Muslims drove many second generation immigrates playwrights to do something about it. They could not turn a blind eye to the injustice Muslim Americans are facing in the American society. -
La Jolla Playhouse Announces Projects for 2018 DNA New Work
Contact: Becky Biegelsen (858) 228-3092; [email protected] LA JOLLA PLAYHOUSE ANNOUNCES PROJECTS FOR SIXTH DNA NEW WORK SERIES FOUR BRAND NEW PROJECTS TO RECEIVE READINGS DURING FOUR-DAY PLAY DEVELOPMENT SERIES La Jolla, CA – La Jolla Playhouse is pleased to bring back for a sixth year its acclaimed new play development initiative, the DNA New Work Series, a weekend of readings of new works, taking place March 22 – 25, 2018 in the Playhouse’s Rao and Padma Makeneni Play Development Center. Tickets for the DNA New Work Series are free but reservations are required by calling (858) 550-1010 or visiting LaJollaPlayhouse.org. The DNA New Work Series offers playwrights and directors the opportunity to develop a script by providing rehearsal time, space and resources, culminating in a public presentation. This process gives audiences a closer look at the play development process, while allowing the Playhouse to develop new work and foster relationships with established and up-and-coming playwrights. “DNA has become one of the Playhouse’s most highly-anticipated and successful pathways for developing new work, with several projects going on to receive full, world-premiere productions on our mainstage, including this past season’s Kill Local. Patrons have the opportunity to take part in the birth of these new works while giving playwrights invaluable support and feedback in the early stages of their piece’s development,” said Playhouse Artistic Director Christopher Ashley. The DNA Series has been a launching pad for numerous shows that have -
Biography Cast in Irony: Caveats, Stylization, and Indeterminacy in the Biographical History Plays of Tom Stoppard and Michael Frayn, Written by Christopher M
BIOGRAPHY CAST IN IRONY: CAVEATS, STYLIZATION, AND INDETERMINACY IN THE BIOGRAPHICAL HISTORY PLAYS OF TOM STOPPARD AND MICHAEL FRAYN by CHRISTOPHER M. SHONKA B.A. Creighton University, 1997 M.F.A. Temple University, 2000 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Doctor of Philosophy Department of Theatre 2010 This thesis entitled: Biography Cast in Irony: Caveats, Stylization, and Indeterminacy in the Biographical History Plays of Tom Stoppard and Michael Frayn, written by Christopher M. Shonka, has been approved for the Department of Theatre Dr. Merrill Lessley Dr. James Symons Date The final copy of this thesis has been examined by the signatories, and we Find that both the content and the form meet acceptable presentation standards Of scholarly work in the above mentioned discipline. iii Shonka, Christopher M. (Ph.D. Theatre) Biography Cast in Irony: Caveats, Stylization, and Indeterminacy in the Biographical History Plays of Tom Stoppard and Michael Frayn Thesis directed by Professor Merrill J. Lessley; Professor James Symons, second reader Abstract This study examines Tom Stoppard and Michael Frayn‘s incorporation of epistemological themes related to the limits of historical knowledge within their recent biography-based plays. The primary works that are analyzed are Stoppard‘s The Invention of Love (1997) and The Coast of Utopia trilogy (2002), and Frayn‘s Copenhagen (1998), Democracy (2003), and Afterlife (2008). In these plays, caveats, or warnings, that illustrate sources of historical indeterminacy are combined with theatrical stylizations that overtly suggest the authors‘ processes of interpretation and revisionism through an ironic distancing.