DOCSLIB.ORG

MATT AUGUST Curriculum Vitae 917-226-6138

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
MATT AUGUST Curriculum Vitae 917-226-6138 MATT AUGUST Curriculum Vitae 917-226-6138 www.mattaugust.com A professional Theatre Director and Mentor with twenty-five years directing experience on Broadway, Off-Broadway, Abroad, for LORT Theatres, National Tours, Regional, Summer Stock and Festivals, working with Equity, Equity- Waiver and Non-Equity agreements, who develops and directs New Plays and Musicals, Classical, Contemporary, Shakespeare and Holiday productions. Education- Degrees 1997 MFA California Institute of the Arts, Directing Ahmanson Scholarship, Disney Scholarship 1993 BFA University of Colorado, Performance Studies Dean’s List Additional Education 2014 SDC Foundation Artistic Leadership Conference 2006 Commercial Theatre Institute Intensive 1996 The Wrestling School, UK- Observership of Howard Barker 1990-91 British American Drama Academy, Acting & Theatre Studies Fellowships, Residencies and Internships 2013 San Francisco Zen Center Artist Residency 2011 Panavision New Filmmakers Grant 2000 Oregon Shakespeare Festival Phil Killian Directing Fellow 1999 Drama League Fellow 1996 Robert Wilson Watermill Center Directing Fellow 1994 Juilliard School- Directing Intern 1993 George Street Playhouse- Directing Intern Teaching 2014 University of Utah, Master Class Teacher (Acting Class) 2009 NYU, Master Class Teacher (Directing class) 1999 The Acting Company Master Class teacher with as Staff Repertory Director. Created, implemented, taught and oversaw a curriculum of master classes taught by the members of the acting company and myself. Taught at such colleges as Notre Dame, University of Virginia, Cal State- San Luis Obispo, UCSB, etc… 1998 Old Globe Theatre “Play Guides” Instructor, Guest Teacher at many San Diego high schools and colleges, including The Bishop School, Grossmont College, Miramar College, Garfield Senior High School, Museum School, etc. Mentorship 2015 SDCF Mentor Director 2011 Drama League Mentor Director 2008 SDCF Mentor Director 2007 Drama League Mentor Director 2006 Drama League Mentor Director 2005 Drama League Mentor Director to all Hanger Theatre Summer Fellows 2006 Drama League Directing Fellowship Selection Committee Member 2005 Drama League Directing Fellowship Selection Committee Member 2004 Drama League Directing Fellowship Selection Committee Member 2001 Drama League Directing Fellowship Selection Committee Member 2002 NYU Senior Thesis Advisor 2002 NYU Senior Thesis Advisor Positions 2019 Offered the Artistic Directorship of Arizona Theatre Company- Declined Offer 2016- Independent Shakespeare Company, Artistic Advisory Board, 2016-2018 2014- SDC Los Angeles Ad Hoc Committee Member, 2014- current 2014 SDC Executive Board Nominating Committee Member 2014 SDC Executive Board Regional Representative Nominating Committee Member 2011 SDC Executive Board Nominating Committee Member 2014 Directors Lab West- SDC Panelist/Lecturer 2008 Directors Lab West- Panelist/Lecturer 2001-2002 Next Stages, Boston- Co-Artistic Director 2000 Resident Director- The Full Monty, Fox Theatricals 2000 Resident Director- Invention of Love, Lincoln Center 1999-2000 The Acting Company, NYC- Staff Repertory Director 1998 The Old Globe Theatre- Resident Assistant Director 1994 Fairbanks Shakespeare Theatre, Director of Outreach 1993 Fairbanks Shakespeare Theatre, Founding Member, Resident Assistant Director Awards and Honors 2018 Clybourne Park- Casting Society of America Artio Award Nomination- Best Ensemble 2017 The Fourth Messenger- NYMF Awards: Winner: Best Actor; Nominations: Best Director, Best Design 2016 TCG Alan Schneider Director’s Award Finalist: TCG Spotlight On: Matt August 2016 King Charles III- Mac Award Nominations: Best Director, Best Actor, Best Drama at Arizona Theatre Company 2016 Gospel…Discord-Mac Award Nominations: Best Director, Best Actor, Best Comedy at Arizona Theatre Company 2015 Gospel…Discord- Ovation Recommended, Ovation Nomination 6 Broadway World Award Nominations, including Best Director 3 Extensions at the Geffen Playhouse 2014 Gospel…Discord- LA Times Critics Choice at NoHo Playhouse 2015 The Trouble We Come From- Broadway World Award Nominations: Best Director, Best Actor, Best Actress 2013 The Fourth Messenger: Top Ten Lists: KQED/NPR, Chad Jones’ Theatre Dogs 2012 How to Get to Candybar Winner- Best Comedy: Dragon Con Film Festival Winner- Best Comedy: Cape Fear Film Festival 2012 In the Heights- Audience Choice Winner Theatre Utah 2011 Liberty Smith- Helen Hayes Award Nominations: Best Director, Best Ensemble, Best Actor, Best Actress, Best Music Direction, Best Costumes 2007 Two Gentlemen of Verona- LA Times Top Ten List 2006 How the Grinch Stole Christmas- #1 Selling Show on Broadway 2005 Baby Taj- Bay Area Critics Award 2005 Baby Taj- Top Ten Lists- San Francisco Chronicle, Oakland Tribune, San Jose Mercury News 2003 The Full Monty (Australia)- 6 Helpmann Award Nominations, including Best Director; Winner- Best Actor 2007 Meet John Doe- Helen Hayes Award Nomination for Best Musical 2006 Sisterhood of the Night- KC/ACTF Best Director Honorary Mention Upcoming Projects: 2020 LP/OP Feature Film- Director and Executive Producer, produced by Freestyle Picture Company (Florida Project, Tangerine). Directing Credits 2019 Dr. Seuss’ How the Grinch Stole Christmas United Kingdom Tour; United States National Tour LP/OP developmental Workshop and Reading Garry Marshall Theatre, Los Angeles 2018 Dr. Seuss’ How the Grinch Stole Christmas Madison Square Garden NYC, Chicago Theatre, Wang Theatre, and National Tour Clybourne Park by Bruce Norris Laguna Playhouse The Envelope, by Alex Lewin, workshop Pioneer Theatre Play by Play Series 2017 Dr. Seuss’ How The Grinch Stole Christmas-The Musical, National Tour, produced by Big League Productions. The Fourth Messenger, a New Musical by Tanya Shaffer and Vienna Teng, New York Musical Festival, NYC 2016 Dr. Seuss’ How the Grinch Stole Christmas- Grand Ole Opry, Nashville Dr. Seuss’ How the Grinch Stole Christmas- National Tour, Big League Productions King Charles III (American Premier) Arizona Theatre Company Gospel According to Jefferson, Dickens & Tolstoy: Discord Arizona Theatre Co. Love’s Bluff Independent Shakespeare Company Two Dollar Bill Pioneer Theatre 2015 How the Grinch Stole Christmas Grand Ole Opry, Nashville TN How the Grinch Stole Christmas National Tour, Big League Productions Dracula (also co-adapter) LA Theatre Works- National Tour The Fourth Messenger- Cast Album (also Music Supervisor) 50 Shades of Green The Trouble We Come From Falcon Theatre, LA, Prod: Garry Marshall LATW 40th Anniversary Gala Beverly Hilton Hotel Ballroom The Trouble We Come From (workshop) Falcon Theare, LA Two Dollar Bill- Workshop Pioneer Theatre Intelligence Slave LA Theatre Works, Broadcast on NPR 2014 Going to a Place You Already Are South Coast Repertory, NewSCRipts How the Grinch Stole Christmas (w. Shuler Hensley) Madison Square Garden/Chicago Theatre How the Grinch Stole Christmas National Tour, Big League Productions Gospel According to Jefferson, Dickens & Tolstoy: Discord Geffen Playhouse Richard III (reading) Independent Shakespeare Company Much Ado About Nothing Pioneer Theatre Company 2013 Gospel According to Jefferson, Dickens & Tolstoy: Discord, NoHo Arts Center How the Grinch Stole Christmas National Tour, Big League Productions The Fourth Messenger 100 Shades of Green, Ashby Stage, Berkeley 2012 How the Grinch Stole Christmas Madison Square Garden/Wang Center How the Grinch Stole Christmas National Tour, Big League Productions In the Heights (Regional Premier) Pioneer Theater Company The Fourth Messenger (workshop) Playwrights Foundation, SF 2011 How the Grinch Stole Christmas National Tour, Big League Productions How to Get to Candybar (Short Film) White Eagle Productions/BitPix Distribution Film Festivals Played: HollyShorts, New Filmmakers NY, Manhattan, LA Children’s, Dragon Con (Winner Best Comedy), California International, Monaco Charity, California Independent, Kid’s First, Cape Fear (Winner Best Comedy) Liberty Smith- A New American Musical Ford’s Theatre 2010 Cuba Libre La Jolla Playhouse- Page to Stage Series How the Grinch Stole Christmas National Tour, Big League Productions Les Girls X: Celebrity NBCC Benefit Avalon Theatre, Hollywood 2009 How the Grinch Stole Christmas (w. John Larroquette) Pantages Theatre, Los Angeles Secondhand Lions- The Musical (reading) Warner Brothers/Unique Features My Man Godfrey- The Musical (reading) East of Doheny 2008 How the Grinch Stole Christmas National Tour, Running Subway Productions Liberty Smith (workshop) Ford’s Theatre, Washington DC Searching for God in Suburbia Huntington Theatre- Breaking Ground Fest Secondhand Lions- The Musical (reading) Warner Brothers/Unique Features My Man Godfrey- The Musical (reading) East of Doheny Masked (reading) Splinter Group, Los Angeles Riot Act (reading) Culture Project/Hendle Productions Speech and Debate LA Theatre Works- The Play’s the Thing, NPR 2007 How the Grinch Stole Christmas Broadway- St. James Theatre Two Gentlemen of Verona The Old Globe Theatre, San Diego Drama League’s Annual Black Tie Gala Rainbow Room, Rockefeller Plaza Ethan Frome- A New Musical (workshop) NYU Graduate Musical Theatre Program 2006 How the Grinch Stole Christmas (w. John Cullum) Broadway- Hilton Theatre A Christmas Carol Ford’s Theatre, Washington DC Pig Farm The Old Globe Theatre, San Diego …and Jesus Moonwalks on the Mississippi Sundance Theatre Lab Edward Teller: The Real Dr. Strangelove LA Theatre Works- The Play’s the Thing, NPR 2005 A Christmas Carol Ford’s Theatre, Washington DC Baby Taj TheatreWorks,
Load more

Recommended publications
  • Broadway the BROAD Way”
    MEDIA CONTACT: Fred Tracey Marketing/PR Director 760.643.5217 [email protected] Bets Malone Makes Cabaret Debut at ClubM at the Moonlight Amphitheatre on Jan. 13 with One-Woman Show “Broadway the BROAD Way” Download Art Here Vista, CA (January 4, 2018) – Moonlight Amphitheatre’s ClubM opens its 2018 series of cabaret concerts at its intimate indoor venue on Sat., Jan. 13 at 7:30 p.m. with Bets Malone: Broadway the BROAD Way. Making her cabaret debut, Malone will salute 14 of her favorite Broadway actresses who have been an influence on her during her musical theatre career. The audience will hear selections made famous by Fanny Brice, Carol Burnett, Betty Buckley, Carol Channing, Judy Holliday, Angela Lansbury, Patti LuPone, Mary Martin, Ethel Merman, Liza Minnelli, Bernadette Peters, Barbra Streisand, Elaine Stritch, and Nancy Walker. On making her cabaret debut: “The idea of putting together an original cabaret act where you’re standing on stage for ninety minutes straight has always sounded daunting to me,” Malone said. “I’ve had the idea for this particular cabaret format for a few years. I felt the time was right to challenge myself, and I couldn’t be more proud to debut this cabaret on the very stage that offered me my first musical theatre experience as a nine-year-old in the Moonlight’s very first musical Oliver! directed by Kathy Brombacher.” Malone can relate to the fact that the leading ladies she has chosen to celebrate are all attached to iconic comedic roles. “I learned at a very young age that getting laughs is golden,” she said.
    [Show full text]
  • OCTOBER 2016 Welcome to October Sky! We Can’T Imagine a More Perfect Show to Give Our 2016–2017 Season a Great Launch (If You’Ll Pardon the Pun)
    OCTOBER 2016 Welcome to October Sky! We can’t imagine a more perfect show to give our 2016–2017 Season a great launch (if you’ll pardon the pun). New musicals are, of course, one of The Old Globe’s specialties, and the upcoming season is filled with exactly the kind of work the Globe does best. In this very theatre, you’ll have a chance to see a revival of Steve Martin’s hilarious Picasso at the Lapin Agile; the exciting backstage drama Red Velvet; and the imaginative, fable- like musical The Old Man and The Old Moon. And of course, we’re bringing back The Grinch for its 19th year! Across the plaza in the Sheryl and Harvey White Theatre, we hope you’ll join us for work by some of the most exciting voices in the American theatre today: award-winning actor/ songwriter Benjamin Scheuer (The Lion), Globe newcomer Nick Gandiello (The Blameless), the powerful and trenchant Dominique Morisseau (Skeleton Crew), and the ingenious Fiasco Theater, with their own particular spin on Molière’s classic The Imaginary Invalid. It’s a season we’re extremely proud and excited to share with all of you. DOUGLAS GATES Managing Director Michael G. Murphy and Erna Finci Viterbi Artistic Director Barry Edelstein. We’re also proud to welcome the outstanding creative team that has made October Sky a reality. Director/choreographer Rachel Rockwell is an artist whose work we’ve long admired, whose skill in staging is matched by her deft touch with actors. She’s truly a perfect fit for this heartwarming and triumphant show.
    [Show full text]
  • BLACKHART PRODUCTIONS, LLC and THEATRE PLANNERS PRESENT the WORLD PREMIERE OF
    BLACKHART PRODUCTIONS, LLC and THEATRE PLANNERS PRESENT the WORLD PREMIERE OF Music by MARC ELLIS Book & Lyrics by MARC ELLIS, MICHAEL LANGE and DAVID M. MATTHEWS Directed & Choreographed by KAY COLE+ Featuring ALI AXELRAD*, DAVID BABICH*, SHARON CATHERINE BROWN*, JULIA MARIE BUIS, JANNA CARDIA*, MICHAEL GABIANO*, BRADLEY KUYKENDALL*, SUZANNE MAYES, KIM REED*, JEFFREY ROCKWELL*, MARC CEDRIC SMITH*, CHRISTOPHER YOUNGSMAN* Alternates (performing November 29th and December 6th) TOM ANDREW*, JAN BROBERG*, PARNELL DAMONE MARCANO*, SHARI WASHINGTON RHONE* Produced by ADRIENNE BLACKMAN, STEVE HARTMAN & MICHAEL BLACKMAN, BLACKHART PRODUCTIONS RACQUEL LEHRMAN, THEATRE PLANNERS Associate Producer Music Director VICTORIA WATSON, THEATRE PLANNERS MARC ELLIS Set Designer Lighting Designer Co-Sound Designer JOEL DAAVID MATTHEW RICHTER DREW DALZELL DIABLO SOUND Co-Sound Designer Costume Designer Projection Designer ALEX MACKYOL MYLETTE NORA YEE EUN NAM DIABLO SOUND Graphic Designer Casting Director Press/Still Photographer KIFF SCHOLL MICHAEL DONOVAN, CSA MICHAEL LAMONT AFK DESIGN Publicist Technical Director/Master Carpenter Assistant Stage Manager JUDITH BORNE BRAD BENTZ KEVIN TAMAY Production Stage Manager TIFFANY THOMAS Setting: Frogs Neck High School. Now... and Then *Denotes member, Actors Equity Association + Denotes member, Society of Directors and Choreographers ADDITIONAL PRODUCTION TEAM Casting Associate………………………………………………………Richie Ferris Assistant to the Composer………………………………………………Sunny Ellis Assistant Music Director…..……………………………………………Nick
    [Show full text]
  • GODFREY REGGIO (Director, Koyaanisqatsi) Is a Pioneer of a Film Form That Creates Poetic Images of Extraordinary Emotive Impact
    GODFREY REGGIO (Director, Koyaanisqatsi) is a pioneer of a film form that creates poetic images of extraordinary emotive impact. Reggio is best known for the Qatsi Trilogy – essays of image and music, speechless narrations which question the world in which we live. Born in New Orleans in 1940, Reggio entered the Christian Brothers, a Roman Catholic Pontifical Order, at age 14 and remained as a monk until 1968. In 1963, he co-founded Young Citizens for Action, a community organization of juvenile street gangs. Reggio co-founded La Clinica de la Gente and La Gente, a community organizing project in Northern New Mexico’s barrios. In 1972, he co- founded the Institute for Regional Education in Santa Fe, a nonprofit organization focused on media, the arts, community organization and research. In collaboration with the New Mexico Chapter of the American Civil Liberties Union, Reggio co- organized a multimedia public interest campaign on the invasion of privacy and the use of technology to control behavior. Reggio’s collaboration on Koyaanisqatsi with Ron Fricke (Director of Photography) and Philip Glass (Composer) gained an international audience, critical acclaim and launched the Qatsi Trilogy. Koyaanisqatsi has been played live over 200 times in venues worldwide. Reggio’s collaborations with Philip Glass, include: Koyaanisqatsi (1982), Powaqqatsi (1988), Naqoyqatsi (2002), Anima Mundi (1992), Evidence (1995) and Visitors (2013). In 1993, Reggio was invited by Luciano Benetton and Oliviero Toscani to develop a new school “to smell the future” – an enterprise of exploration and production in the arts, technology and mass media. Called Fabrica – Futuro Presente, it opened in the middle of the ‘90s in Treviso, Italy.
    [Show full text]
  • In This Corner
    Welcome UPCOMING Dear Friends, On behalf of my colleagues, Jerry Patch and Darko Tresnjak, and all of our staff SEA OF and artists, I welcome you to The Old TRANQUILITY Globe for this set of new plays in the Jan 12 - Feb 10, 2008 Cassius Carter Centre Stage and the Old Globe Theatre Old Globe Theatre. OOO Our Co-Artistic Director, Jerry Patch, THE has been closely connected with the development of both In This Corner , an Old Globe- AMERICAN PLAN commissioned script, and Sea of Tranquility , a recent work by our Playwright-in-Residence Feb 23 - Mar 30, 2008 Howard Korder, and we couldn’t be more proud of what you will be seeing. Both plays set Cassius Carter Centre Stage the stage for an exciting 2008, filled with new work, familiar works produced with new insight, and a grand new musical ( Dancing in the Dark ) based on a classic MGM musical OOO from the golden age of Hollywood. DANCING Our team plans to continue to pursue artistic excellence at the level expected of this IN THE DARK institution and build upon the legacy of Jack O’Brien and Craig Noel. I’ve had the joy and (Based on the classic honor of leading the Globe since 2002, and I believe we have been successful in our MGM musical “The Band Wagon”) attempt to broaden what we do, keep the level of work at the highest of standards, and make Mar 4 - April 13, 2008 certain that our finances are healthy enough to support our artistic ambitions. With our Old Globe Theatre Board, we have implemented a $75 million campaign that will not only revitalize our campus but will also provide critical funding for the long-term stability of the Globe for OOO future generations.
    [Show full text]
  • Edition 9 | 2018-2019
    TABLE OF THE BUSHNELL CENTER CONTENTS for the PERFORMING ARTS TRUSTEE OFFICERS Message from the President & CEO ..................... 5 Jay S. Benet Chair Come From Away Robert E. Patricelli Co-Sponsored by Immediate Past Chair People’s United Bank and Travelers .................. 11 Thomas O. Barnes Vice Chair The Sound of Music Jeffrey N. Brown Sponsored by Vice Chair Voya Financial ................................................... 21 Jeffrey S. Hoffman Vice Chair Annual Fund Donor Honor Roll ......................... 32 David G. Nord Vice Chair An Extra Special Thank You ............................... 37 David M. Roth Vice Chair The Bushnell Services ....................................... 43 Henry M. Zachs Vice Chair Arnold C. Greenberg Treasurer Mark N. Mandell Assistant Treasurer Eric D. Daniels Secretary EXECUTIVE STAFF David R. Fay President and CEO Ronna L. Reynolds Executive Vice President Elizabeth Casasnovas Vice President, Development, and Chief Development Officer Patti Jackson Vice President, Finance, and Chief Financial Officer Yolande Spears Senior Vice President, Education and Community Initiatives Ric Waldman Vice President, Programming and Marketing The Bushnell is a 501(c)(3) not-for-profit organization that is proud to serve Connecticut and its citizens. | 3 MESSAGE FROM THE PRESIDENT & CEO A Look Ahead Spring has season next June. And as enticing as season finally arrived, and as that is, we were also able to tease the news it’s a particularly that Hamilton will return to The Bushnell in exciting time of year our 2020/2021 season. at The Bushnell. Our 2018/2019 season is If you’re a season-ticket holder, you should in full swing; we’ve got already have your renewal packet. If you’re two Broadway shows this month – current interested in becoming one, just contact our hit Come from Away, still going strong on box office and we’ll begin selling new series Broadway, and a classic audience favorite, packages this summer.
    [Show full text]
  • Chaos Theory and Robert Wilson: a Critical Analysis Of
    CHAOS THEORY AND ROBERT WILSON: A CRITICAL ANALYSIS OF WILSON’S VISUAL ARTS AND THEATRICAL PERFORMANCES A dissertation presented to the faculty of the College of Fine Arts Of Ohio University In partial fulfillment Of the requirements for the degree Doctor of Philosophy Shahida Manzoor June 2003 © 2003 Shahida Manzoor All Rights Reserved This dissertation entitled CHAOS THEORY AND ROBERT WILSON: A CRITICAL ANALYSIS OF WILSON’S VISUAL ARTS AND THEATRICAL PERFORMANCES By Shahida Manzoor has been approved for for the School of Interdisciplinary Arts and the College of Fine Arts by Charles S. Buchanan Assistant Professor, School of Interdisciplinary Arts Raymond Tymas-Jones Dean, College of Fine Arts Manzoor, Shahida, Ph.D. June 2003. School of Interdisciplinary Arts Chaos Theory and Robert Wilson: A Critical Analysis of Wilson’s Visual Arts and Theatrical Performances (239) Director of Dissertation: Charles S. Buchanan This dissertation explores the formal elements of Robert Wilson’s art, with a focus on two in particular: time and space, through the methodology of Chaos Theory. Although this theory is widely practiced by physicists and mathematicians, it can be utilized with other disciplines, in this case visual arts and theater. By unfolding the complex layering of space and time in Wilson’s art, it is possible to see the hidden reality behind these artifacts. The study reveals that by applying this scientific method to the visual arts and theater, one can best understand the nonlinear and fragmented forms of Wilson's art. Moreover, the study demonstrates that time and space are Wilson's primary structuring tools and are bound together in a self-renewing process.
    [Show full text]
  • Trojan Women (After Euripides)
    ABOUT THE CAST Trojan Women (after Euripides) September 8–October 1, 2011 At the J. Paul Getty Museum, Getty Villa Akiko Aizawa’s (Kassandra) recent productions with SITI include Antigone, Radio Macbeth, bobrauschenbergamerica, Under Construction, Who Do You Think You Are, and American Document (2010). She has performed at the Brooklyn Academy of Music, American Repertory Theater, Arena Stage, LA Opera, Dance Theater Workshop, and Joyce Theater. Aizawa has appeared at festivals and venues in Edinburgh, Dublin, Bonn, Bobigny, Sydney, Bogotá, Tokyo, Toga, and Moscow. J. Ed Araiza (Menelaus), a SITI Company member, has a long history of working on multicultural and crossdisciplinary projects as a writer, director, and performer. His most recent Los Angeles appearance was in La Victima at the Los Angeles Theatre Center. Araiza’s recent SITI productions include Under Construction and Who Do You Think You Are. In November he will direct The Adding Machine at the University of California, Los Angeles; in January he will direct The Seagull in Windsor, Canada. As a playwright, Araiza has had seven original plays produced. Katherine Crockett (Helen) is a principal dancer with the Martha Graham Dance Company. She danced as Cate Blanchett’s double in The Curious Case of Benjamin Button and played Helen in Richard Move’s The Show (Achilles Heels) with Mikhail Baryshnikov. Crockett also has been a soloist dancer for Robert Wilson, Vanessa Redgrave, Susan Stroman, and designer Alexander McQueen. She is the lead actress in Tiny Dancer, a forthcoming feature film by Jayce Bartok. -more- Page 2 Gian-Murray Gianino (Odysseus) is the newest member of SITI.
    [Show full text]
  • Sophocles' Elektra
    DATE: August 12, 2010 FOR IMMEDIATE RELEASE ABOUT THE COMPANY Sophocles' Elektra Thursdays, Fridays, Saturdays, September 9—October 2, 2010 Carey Perloff (Director) Carey Perloff is celebrating her nineteenth season as artistic director of Tony Award-winning American Conservatory Theater (A.C.T.) in San Francisco, where she is known for directing innovative productions of classics, championing new writing for the theater, and creating international collaborations with such artists as Robert Wilson and Tom Stoppard. Before joining A.C.T., Perloff was artistic director of Classic Stage Company (CSC) in New York. She is a recipient of France’s Chevalier de l’Ordre des Arts et des Lettres and the National Corporate Theatre Fund’s 2007 Artistic Achievement Award. Perloff received a B.A. Phi Beta Kappa in classics and comparative literature from Stanford University and was a Fulbright fellow at the University of Oxford. She has taught at the Tisch School of the Arts at New York University and in the Master of Fine Arts Program in Acting at A.C.T., in addition to authoring numerous plays. This is Perloff’s second encounter with Sophocles’ Elektra, having directed the world premiere of Ezra Pound’s version of the play at CSC in 1988. Timberlake Wertenbaker (Translator/Adaptor) Timberlake Wertenbaker is an acclaimed playwright who grew up in the Basque Country in southwest France. Plays include The Grace of Mary Traverse (Royal Court Theatre); Our Country's Good (Royal Court Theatre and Broadway), which won the Laurence Olivier Play of the Year
    [Show full text]
  • Tide Turns in PE Credit Issue
    CEP Vote Within T\NO Weeks Tide Turns in PE Credit Issue by David Eisen The CEP then decided to post­ sider strongly what they learn Executive Editor pone a vote until more information from other schools' policies. A vote on PE credit was post­ of policies of other schools could be The PE credit question was poned by a committee of the found. The vote, according to one brought into the open last week Academic Senate (AS), though member, will be within two weeks. when CEP realized that its own members seemed to be in favor of Hunt appeared to be pleased with sub-committee had last year giving units in a tum of events late the changing trend of the meeting, authorized units for some classes, in the meeting. A Triton Times poll last week of a majority of the Committee on Educational Pplicy and Courses (CEP) revealed that most of the members of the eight-professor group were against allowing units to PE classes. The CEP had turned down requests for credits for two PE classes earlier in the month, and had decided to review the 16 classes that are already given partial academic credit. The turning point in yesterday's review meeting came after PE head Howard Hunt had delivered his arguments for the continued unit support of the 16 classes. Hunt had not appeared to waver the views of many of the CEP mem­ bers. The members were then told for the first time that all of the UC schools with the exception of Santa Howard Hunt (TT Photo.
    [Show full text]
  • About the Cast
    ABOUT THE CAST BURTON CURTIS (Watchman) has performed as Pierrot in Stephen Wadsworth’s productions of Molière’s Don Juan (McCarter Theatre, Shakespeare Theatre Company, The Old Globe, and Seattle Rep). He also portrayed Dumas in Wadsworth’s productions of Marivaux’s Triumph of Love (Long Wharf Theatre, Missouri Rep, and Seattle Rep). Burton originated the role of Eddie Wicket in the west coast premiere of Louis Broom’s Texarkana Waltz (Circle X Theatre Co., L.A. and the Empty Space Theatre, Seattle). He also created the dual roles of Brother Mills and Heathcliff in Wuthering! Heights! The! Musical! and performed in The Complete History of America (Abridged) (Empty Space and Actors Theatre of Louisville). Other roles include Tom in The Glass Menagerie (Tacoma Actors Guild) and Freddy in Noises Off (Village Theatre, Issaquah). He played the title role in Jillian Armenante’s production of Camille and Little Mary in a “gender blind” production of The Women (Annex Theatre, Seattle). Film credits include Crocodile Tears, Money Buys Happiness, and Great Uncle Jimmy as well as Gus Van Sant’s Even Cowgirls Get the Blues. Burton is also a director and choreographer and has received awards for his work on the stage from the Seattle Post Intelligencer and Seattle Weekly. He was listed by Backstage West among “100 Actors We Love.” He received his BFA in theater from Baylor University and now resides in Seattle. Burton is delighted to be making his Getty debut and is thrilled to be joining Mr. Wadsworth in yet another exciting project. NICHOLAS HORMANN (Chorus Leader) has worked in the American theater for thirty-five years, beginning on Broadway with the New Phoenix Repertory Company.
    [Show full text]
  • Americans Use Greek Tragedy: Great Expectations on Stage
    Americans Use Greek Tragedy: Great Expectations on Stage MARIANNE MCDONALD Foley has given us a useful, updated account of Greek tragedy in America.* She knows Greek, has taught Greek literature, has seen many plays, has written volumes of interpretations, and obviously has made this study her life’s work. As she shows, this can be a frustrating busi- ness—the reason this review alludes to Dickens’ novel (Great Expectations)—because of the exasperating differ- ence that can arise between what one wants and what one gets, particularly when playwrights who know little Greek, less poetry, and care nothing about choral music and dance seek to “reimagine” Greek tragedy. The results can be tragi- comic, if not tragic. Having taught all of Greek tragedy, having translated it from the Greek (some with J. Michael Walton), and, since 1999, having had performances—in San Diego and around the world—of over thirty versions and translations, I have come to the conclusion that the original masterpieces still surpass all translations and versions, unless written by a true master of the theatre who has lived, eaten, and breathed the- atre—like Racine, O’Neill, Cocteau, Anouilh, Soyinka, Fu- gard, or Friel. The exceptions, then, are those playwrights who have read Greek tragedy (preferably in the original), understood the plays, and have been profoundly moved by them to the *Helene Foley, Reimagining Greek Tragedy on the American Stage (Sather Classical Lectures, v. 70; Berkeley, Los Angeles, London: University of California Press, 2012; A Joan Palevsky Book in Clas- sical Literature), xv + 375 pages, $95.00, hardcover.
    [Show full text]