DOCSLIB.ORG

OVA 6 Cabaret Program Rd1.Indd

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
OVA 6 Cabaret Program Rd1.Indd MARCH 6, 7,8 2020 music by Direction by DARNELL JOHN KANDER PATRICK lyrics by MORRIS Musical FRED EBB Direction by MAYUMI book by JOE GRIFFIE MASTEROFF Choreography by Based on the MORGAN play by John CHRISTINA Van Druten THOMAS and stories by Christopher Isherwood WELCOME Welcome to the middle production of our Senior Company’s Fifth Anniversary Season. It is not new for OVATIONS to bring shows to our young people that relate to what is actually going on in their lives. Cabaret is a musical that not only gives us a glimpse at the past but as a cautionary tale of what can happen when we allow fear and hatred to lead the masses. Cabaret once again allows OVATIONS students to be able to explore mature material in a safe space allowing them to have very open and frank conversations that for young people are often skirted around or all together ignored. During our process we’ve been able to discuss and explore some of the more mature and complicated themes found in the material; 1920’s Berlin and its sexual revolution, fear and hate mongering, propaganda and it’s conse- quenes, the rise of the Nazi party and much more. When we looked back at these historical events in which Cabaret is based upon, the students felt that a lot of the bad stuff that happened in the show leading up to the Holocuast were similar to things happen- ing in the world today in 2020; in the US and elsewhere in the world. The students “ The world is a collectively decided that this was not just dangerous place to a time capsule but instead a reminder and warning should we allow similar things to live; not because of happen again! It is their hope, and mine, that our audiences will listen to this story the people who are and not fall silent when witnessing the evil, but because of same injustices to those around us. When students are being threatened and the people who don’t punished for speaking out for what is right, do anything about it.” OVATIONS takes seriously the responsibility to provide a safe place where young people Albert Einstein can hone their voice and actually be heard. It is a strange reality we live in that our soci- ety thinks of young people as children until the age of 18 when magically they are adults. This show, especially in the current polarizing society, continually challenges me about how I treat and communicate with young people. Our hope for this production is that our com- munity leaves understanding that young people are hungry for knowledge- thirsty to be a part of our society- and desperate to stand up for inequality. Unlike the characters in the script, our students are living in a time and a society where the access to knowledge and availability to have open conversations about tough subjects is available and happening. Students are able to peacefully protest and make heard their thoughts and feelings on in- justices they see happening around them. Our kids are empowered to speak out, question and seek understanding and put into action their efforts to leave this earth a little better than they found it. I am thankful to know that I have students who are truly thinking about the future and how their story will affect others for many years to come. Make sure to check out our website at www.OVATIONStheatre.com for information our upcoming auditions for Ragtime and our Summer Teen intensive production of Bloody Bloody Andrew Jackson and much more. Sit back, relax and enjoy the show. - Darnell Patrick Morris, Founder & Producing Artistic Director Student Production Note At our time at OVATIONS, we as students and actors are expected to look closely at our productions and find the underlying themes behind our songs, dances, and lines. Although our production of Cabaret has it’s fair share of glitz and glamour, we found that these very assets to our show are the tip of the iceberg to this time period and behind the excitement displays dark and haunting topics that forces the audience to look within themselves. Taking place in 1930’s Berlin, the audience finds themselves in the Kit Kat Club, an exciting and seductive club. Weaving through the Club’s number of performances, a series of stories displays the truth behind the fun numbers and how it is so easy to be distracted when those just like us are in need. As the numbers progressively give the audience more and more hints about the dark truth of 1930’s Europe, the audience soon realizes minority communities just like them includ- ing jewish, LGBT, and impoverished communities are drastically controlled and changed by the power of intolerance. In the rehearsal process, we compared and contrasted a series of similar events between then and now and realized though our story takes place decades ago, we as teenagers can’t live complacently in the Kit Kat Club. When we see those in need around us, it is stronger to stand up for human justice, rather than living in fear of being different. In our rehearsal process, we are challenged to speak our mind on these topics within the show because at OVATIONS, it truly is a collaborative process between our artistic staff and us actors. Though our numbers require high energy and fun character choic- es, we worked to understand why and how each number moves the story along. In the infamous and shocking number, “If you could see her through my eyes,” the audience watches a hilarious number about the Emcee and his proclaimed love for all things, a monkey. Throughout the number, the Emcee attempts to convince the audience the monkey is worthy of his love because she performs a series of valuable actions including reading music and refraining from drinking. Once the audience least expects it, the Em- cee compares the monkey to a jewish woman and the audience realizes they have been laughing at the dehumanization of an entire demographic. It’s this number, and so many just like it, that throws the audience for a loop and makes them question how easily they can be distracted from the jarring truth of Berlin. At OVATIONS, we strive to connect our art to current events and hope the audience will take away the message that being a bystander is just as cruel as being a perpetrator. When watching Cabaret, the audience came to the realization that they aren’t complete- ly at fault for the horrific events of the second world war, but contributed to it’s cultural tolerance because they were overpowered by a much greater force, fear. We hope when leaving the theatre, the audience knows they have a voice and can truly make a differ- ence as long as they speak up for what it is right, even when they feel the whole world is doubting them in the process. -Jordan Kelberg Cast List Double Cast Breakdown & Performance Schedule RED CAST BLUE CAST EMCEE Jack Rosenberg Ian Coursey SALLY BOWLES Raina Weinberg Mia Ehrlich CLIFF BRADSHAW PG Ruff Alexander Finch FRAULEIN SCHNEIDER Eva Salins Danielle Carter HERR SCHULTZ Sam Salem Ari Hovis-Afflerbach ERNST LUDWIG Austin Rose Danny Seligman TWO LADIES PERFORMERS Max Miller & Mikayla Reich Angelo Harrington & Jordan Kelberg RED CAST: Friday, March 6 at 7:30 and Saturday, March 7 at 2:00pm BLUE CAST: Saturday, March 7 at 7:30pm and Sunday, March 8 at 1:00pm FRIDAY 3/6 SATURDAY 3/7 SATURDAY 3/7 SUNDAY 3/8 @2pm @7:30pm FRAULEIN KOST* Lilly McKinnon Eliana Posin Starr Ruben Kendyl Morrison CHILD SOPRANO SOLOIST Ronan Mailhot Sadie Schulman Liam Darnell Cece Tello The Following Roles Perform at All Four Performance MAX ......................................................................................................................................................................Alex Levy SAILOR 2 ...........................................................................................................................................................Miles Carr GORILLA ............................................................................................................................................................Grace Corbett RUDY............................................................................................................................................Alex Levy THE KIT KAT GIRLS ROSIE...................................................................................................................................................................Jordan Kelberg LULU .....................................................................................................................................................................Zoe Ferguson FRENCHIE ........................................................................................................................................................Isabela McDonald TEXAS ..................................................................................................................................................................River Isleib FRIZTZIE ............................................................................................................................................................Kassidy Kepner HELGA .................................................................................................................................................................Mikayla Reich THE KIT KAT BOYS BOBBY ................................................................................................................................................................Angelo Harrington VICTOR ..............................................................................................................................................................
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]
  • Against Expression?: Avant-Garde Aesthetics in Satie's" Parade"
    Against Expression?: Avant-garde Aesthetics in Satie’s Parade A thesis submitted to the Division of Graduate Studies and Research of the University of Cincinnati In partial fulfillment of the requirements for the degree of MASTER OF MUSIC In the division of Composition, Musicology, and Theory of the College-Conservatory of Music 2020 By Carissa Pitkin Cox 1705 Manchester Street Richland, WA 99352 [email protected] B.A. Whitman College, 2005 M.M. The Boston Conservatory, 2007 Committee Chair: Dr. Jonathan Kregor, Ph.D. Abstract The 1918 ballet, Parade, and its music by Erik Satie is a fascinating, and historically significant example of the avant-garde, yet it has not received full attention in the field of musicology. This thesis will provide a study of Parade and the avant-garde, and specifically discuss the ways in which the avant-garde creates a dialectic between the expressiveness of the artwork and the listener’s emotional response. Because it explores the traditional boundaries of art, the avant-garde often resides outside the normal vein of aesthetic theoretical inquiry. However, expression theories can be effectively used to elucidate the aesthetics at play in Parade as well as the implications for expressability present in this avant-garde work. The expression theory of Jenefer Robinson allows for the distinction between expression and evocation (emotions evoked in the listener), and between the composer’s aesthetical goal and the listener’s reaction to an artwork. This has an ideal application in avant-garde works, because it is here that these two categories manifest themselves as so grossly disparate.
    [Show full text]
  • Into the Woods Is Presented Through Special Arrangement with Music Theatre International (MTI)
    PREMIER SPONSOR ASSOCIATE SPONSOR MEDIA SPONSOR Music and Lyrics by Book by Stephen Sondheim James Lapine June 28-July 13, 2019 Originally Directed on Broadway by James Lapine Orchestrations by Jonathan Tunick Original Broadyway production by Heidi Landesman Rocco Landesman Rick Steiner M. Anthony Fisher Frederic H. Mayerson Jujamcyn Theatres Originally produced by the Old Globe Theater, San Diego, CA. Scenic Design Costume Design Shoko Kambara† Megan Rutherford Lighting Design Puppetry Consultant Miriam Nilofa Crowe† Peter Fekete Sound Design Casting Director INTO The Jacqueline Herter Michael Cassara, CSA Woods Musical Director Choreographer/Associate Director Daniel Lincoln^ Andrea Leigh-Smith Production Stage Manager Production Manager Myles C. Hatch* Adam Zonder Director Michael Barakiva+ Into the Woods is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI. www.MTIShows.com Music and Lyrics by Book by STEPHEN JAMES Directed by SONDHEIM LAPINE MICHAEL * Member of Actor’s Equity Association, † USA - Member of Originally directed on Broadway by James LapineBARAKIVA the Union of Professional Actors and United Scenic Artists Orchestrations by Jonathan Tunick Stage Managers in the United States. Local 829. ^ Member of American Federation of Musicians, + Local 802 or 380. CAST NARRATOR ............................................................................................................................................HERNDON LACKEY* CINDERELLA
    [Show full text]
  • PARADE Study Guide Written by Talia Rockland Edited by Yuko Kurahashi
    Study Guide, Parade PARADE Study Guide Written by Talia Rockland Edited by Yuko Kurahashi TABLE OF CONTENTS ABOUT THE PLAY ................................................................. 2 GLOSSARY ............................................................................. 3 CONTEXT ............................................................................... 6 MARY PHAGAN MURDER AND LEO FRANK TRIAL TIMELINE ............................................................................... 9 HISOTRICAL INFLUENCES ON THE EVENTS OF PARADE11 TRIAL OUTCOMES .............................................................. 11 SOURCES .............................................................................. 12 1 Study Guide, Parade ABOUT THE PLAY Parade was written by Alfred Uhry and lyrically and musically composed by Jason Robert Brown in 1998. The show opened at the Lincoln Center Theatre on December 17th, 1998 and closed February 28th, 1999 with a total of 39 previews and 85 performances. It won the Tony Award for Best Book of a Musical and Best Original Score and the New York Drama Critics Circle for Best Musical. It also won Drama Desk awards for Outstanding Musical, Outstanding Actor (Brent Carver), Outstanding Actress (Carolee Carmelo), Outstanding Book of a Musical, Outstanding Orchestrations (Don Sebesky), and Outstanding Score of a Musical. Alfred Uhry is a playwright, lyricist and screenwriter. Born in Atlanta, Georgia from German- Jewish descendants, Uhry graduated Brown University in 1958 with a degree in English and Drama. Uhry relocated to New York City where he taught English and wrote plays. His first success was the musical adaption of The Robber Bridegroom. He received a Tony Award nomination for Best Book of a Musical. His other successful works include Driving Miss Daisy, Last Night of Ballyhoo, and LoveMusik. Jason Robert Brown is a composer, lyricist, conductor, arranger, orchestrator, director and performer. He was born in Ossining, New York and was raised Jewish. He attended the Eastman School of Music in Rochester, New York.
    [Show full text]
  • P R E S S R E L E A
    P R E S S R E L E A S E Contact: Tara Wibrew, OCT associate producer [email protected] 541.953.1038 (cell) For Immediate Release: November 30, 2020 From the Tony and Olivier Award-Winning Director of Les Misérables and Nicholas Nickleby John Caird and the Tony Nominated Composer of Jane Eyre Paul Gordon: A World Premiere Streaming Holiday Musical that Uniquely Blends Theatre, Film and Cutting-Edge Animation For a first look at the Trailer, click here: Estella Scrooge EUGENE, OR – Just in time for the holidays, Oregon Contemporary Theatre brings audiences a magical musical created with new cutting-edge technology that is sure to become new a holiday tradition – the World Premiere of Estella Scrooge: A Christmas Carol with a Twist! Estella Scrooge is now available for streaming through the holidays. Tickets are now on sale and may be purchased at https://bit.ly/OCTEstellaScrooge, or visit OCT’s website at octheatre.org. The production features a cast of 24 award-winning Broadway notables, and is the creation of John Caird, (the Tony and Olivier Award-winning director of Les Misérables and Nicholas Nickleby), and Tony Award nominee Paul Gordon (Jane Eyre, Pride and Prejudice). Caird and Gordon also paired to create Daddy Long Legs, which played at numerous regional theatres throughout the country and in four countries before enjoying a successful Off-Broadway run where Caird received a Drama Desk. The story follows Estella Scrooge, a modern-day Wall Street tycoon with a penchant for foreclosing. A hotelier in her hometown of Pickwick, Ohio has defaulted on his mortgage and Estella fancies the idea of lowering the boom personally.
    [Show full text]
  • A Raisin in the Sun 2
    s A TEACHER’S GUIDE TO THE SIGNET AND PLUME EDITIONS OF THE SCREENPLAY LORRAINE HANSBERRY’S RAISIN IN THE SUN By DIANA MITCHELL, Ph.D SERIES EDITORS: W. GEIGER ELLIS, ED.D., UNIVERSITY OF GEORGIA, EMERITUS and ARTHEA J. S. REED, PH.D., UNIVERSITY OF NORTH CAROLINA, RETIRED A Teacher’s Guide to Lorraine Hansberry’s A Raisin in the Sun 2 INTRODUCTION The certainty that the ideals of “life, liberty, and the pursuit of happiness” can become reality for anyone willing to work for them is what we call the American dream. For many, the dream does come true. For many it does not. Lorraine Hansberry knew about disappointment, false hope, and despair. For many of her African-American ancestors who had come north for a better life only to find exploitation and frustration, the dream had become a nightmare. In contemporary terms, she chronicles their nightmare in A Raisin in the Sun, an epic story of the Younger family struggling to realize the dream by escaping ghetto life. Hansberry’s screenplay not only tells the story of the Youngers but reveals the plight of all who have failed dreams. Her cosmic vision gives Raisin its power. For high school juniors who often study U.S. history concurrently with American literature, this previously unpublished version of the screenplay allows students to read an engrossing American play, while they experience a culture that either mirrors their own lives or provides a window into a world of people who are more similar to them than they are different from them.
    [Show full text]
  • The Drowsy Chaperone Opens Thursday, August 3
    CO N3 CO CO * O = T3 2 ■o * oO Toss a pie at the mayor & council to benefit Social Services Saturday at Christmas in July. =- >r -A ^ C S c^ * o V * o * o — 2 > c * - n * fUlNFIELD PUBUC UBRAB'' == g ? r * n * CD * INFIELD AVE. f ^ * ^ b a > * IFIEUD, N.J. D * 0708 ° > b 5 * ~ o <: > ^ ' * ::z 03 rn X ^ * o "< *n * — w * — C/? CO * =; CO * * * > X1 73 -H r O * * o 0 N) 01 VOL. 20, NO. 47 75 CENTS WWW.SPOBSERVER.COM Member New Jersey Press Association JULY 28, 2017 New BOE Policy Restricts THE DROWSY CHAPERONE OPENS THURSDAY, AUGUST 3. FOR MORE, SEE THE CENTERFOLD. Members From Exec Boards The Board of Education BOE member enters a school, approved a policy last week re­ it could possibly cause teach­ stricting members from serving ers and administrators to feel on an executive committee as an intimidated. officer in a school-connected or­ Another reason for the new ganization such as a PTA, PTO, policy, as explained by Board parent or booster club. President Bill Seesselberg, was The policy was introduced at that it would give parents a chance last month’s BOE meeting and to serve on the executive board. was tabled until the July 19 meet­ BOE member Douglas Chap­ ing after a two-hour discussion. man, who said he was originally Currently this policy will only against the policy change, said affect two board members, Sha­ he felt it was best if a board ron Miller and Debbie Boyle, member not serve on an execu­ who serve as officers on the high tive board to prevent any ques- .school and middle school PTOs, don of impropriety.
    [Show full text]
  • URINETOWN Music & Lyrics by Mark Hollmann Book & Lyrics by Greg Kotis
    So if you’ve got to go, you’ve got to go through me! URINETOWN music & lyrics by Mark Hollmann book & lyrics by Greg Kotis Managing Artistic Director Caleb Marshall Director ofInterim Education Director & Programming of Education Heather Alana Hibbert Burns NKPG Services Ltd. is honoured to be a sponsor of the Canadian College of Performing Arts! We look forward to watching and supporting the CCPA’s upcoming performances and programs. NKPG Specializes in Canadian and US taxes. We provide tax planning and accounting services to individuals and corporations. CONTACT US Derrold Norgaard, FCPA [email protected] Grant Kratofil, CPA [email protected] 202-4400 Chatterton Way T: 250-598-6998 Victoria, BC V8X 5J2 F: 778-265-6155 From the College Directors Since March of 2020, we have all had to forge a way forward. Our work changed overnight, and we could look back at our own naivete in the ‘before time’ with a longing nostalgia. Perhaps once in a generation there is an event that so deeply impacts the very nature of life on this planet that it becomes their defining moment. As a society we have had to forge a way forward. As educators we have had to forge a way forward, as education is essential to our future. As live performers, we are working to forge a way forward in an industry that was the first to close and will be the last to fully return; and yet ‘live performance’ is so crucial and necessary to expressing our very soul and the struggles we confront. Our season theme is not rebuilding or reshaping our world.
    [Show full text]
  • Broadway Buzz- Spring Awakening
    Broadway Buzz- Spring Awakening THEATER MAY NEVER BE THE SAME “If you have just one night to spend in the theater,” the New York Post says, “awake yourself with SPRING AWAKENING” as the Key Bank Broadway Series continues at PlayhouseSquare March 3-15, 2009. Awards Winner of 8 Tony Awards, 4 Drama Desk Awards, a Grammy Award, New York Times Drama Critics Award, a Drama League Award and 3 Outer Critics Circle Awards, SPRING AWAKENING has won best musical, best book of a musical, best choreography, best score, best orchestration, best director, best lighting and best featured actor. “Everything combines for a show that bursts off the stage with heart and Photo: Blake Bashoff Read More... Should sex education be a mandatory part of high school curriculum? Buzz Extra is a publication of the Arts Yes Education Department at PlayhouseSquare No Vice President of Theatricals: Gina Vernaci Director of Arts Education: Colleen Porter Director of Ticket Sales & Marketing: Spring Awakening Videos, Photos, Music Autumn Kiser Spring Awakening on Facebook Editors: Spring Awakening Parents Guide Linda Jackson, Cindi Szymanski Writer: Robin Pease Photos: Paul Kolnik http://www.playhousesquare.org/bbuzz/springawakening/index.html[2/24/2009 12:49:26 PM] Broadway Buzz- Spring Awakening Home Theater May Never Be the Same Talking with Christy Altomare Download and read the printable version of the Buzz (535Kb in PDF format) here Banned! The Gospel According to Spring Awakening A Chorus Line Legally Blonde The Musical Ripped from the Headlines Radio City Christmas Spectacular Frost/ Nixon Enrich Your Experience: Broadway Buzz Events Spring Awakening Teen Night We welcome your feedback and suggestions for the Buzz Extra.
    [Show full text]
  • Season Announcement Press Release Final
    For more information contact: Allie Magee / [email protected] / 314-775-7412 ST. LOUIS SHAKESPEARE FESTIVAL RETURNS TO LIVE PERFORMANCE IN FOREST PARK WITH K I N G L E A R STARRING TONY, EMMY & GRAMMY WINNER ANDRÉ DE SHIELDS JUNE 2 - 27, 2021 PLUS FULL 2021 SEASON LINE UP St. Louis, MO (March 5, 2021) -- The St. Louis Shakespeare Festival (Tom Ridgely, Producing Artistic Director) announced today that Tony, Emmy and Grammy award-winner André De Shields (Broadway: Hadestown, The Wiz, Ain’t Misbehavin) will star in King Lear as part of its 21st summer of free Shakespeare in Forest Park. The production marks the theater’s return to live outdoor performance, one of the first scheduled in the country. King Lear will be directed by Carl Cofield (Associate Artistic Director of the Classical Theatre of Harlem) and begin on Wednesday, June 2, with an opening night set for Friday, June 4 at 8:00 pm, and play through June 27 to strictly limited capacity crowds. The Festival’s 2021 Season will also include a new outdoor touring production of Othello that will visit 24 public parks across the metro area and three outdoor performances of “Shakespeare in the Streets: The Ville” in one of the most historically significant Black communities in America. Also announced, the second Confluence New Play Festival and members of the third Regional Writers Cohort, and a six-month Directors Fellowship now accepting applications. “André is a national treasure and one of the most extraordinary theatrical artists alive,” said producing artistic director Tom Ridgely in a statement.
    [Show full text]
  • That World of Somewhere in Between: the History of Cabaret and the Cabaret Songs of Richard Pearson Thomas, Volume I
    That World of Somewhere In Between: The History of Cabaret and the Cabaret Songs of Richard Pearson Thomas, Volume I D.M.A. DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Rebecca Mullins Graduate Program in Music The Ohio State University 2013 D.M.A. Document Committee: Dr. Scott McCoy, advisor Dr. Graeme Boone Professor Loretta Robinson Copyright by Rebecca Mullins 2013 Abstract Cabaret songs have become a delightful and popular addition to the art song recital, yet there is no concise definition in the lexicon of classical music to explain precisely what cabaret songs are; indeed, they exist, as composer Richard Pearson Thomas says, “in that world that’s somewhere in between” other genres. So what exactly makes a cabaret song a cabaret song? This document will explore the topic first by tracing historical antecedents to and the evolution of artistic cabaret from its inception in Paris at the end of the 19th century, subsequent flourish throughout Europe, and progression into the United States. This document then aims to provide a stylistic analysis to the first volume of the cabaret songs of American composer Richard Pearson Thomas. ii Dedication This document is dedicated to the person who has been most greatly impacted by its writing, however unknowingly—my son Jack. I hope you grow up to be as proud of your mom as she is of you, and remember that the things in life most worth having are the things for which we must work the hardest.
    [Show full text]
  • Cabaret Playbill Richard Hopkins, Producing Artistic Director
    Cabaret Playbill Richard Hopkins, Producing Artistic Director Daniel Emond, Sarah Hund, and Ben Mackel. Sponsored in part by the State of Florida, Department of State, Division of Cultural Affairs and the Florida Council on Arts and Culture. THE BLUE EYED BETTYS CAST Daniel Emond Sarah Hund Ben Mackel Kroy Presley Lighting Designer Sound Designer Bryce Benson Thomas Korp under the direction of Bruce Price Season Underwriters Dennis & Graci McGillicuddy and Anne H.S. Nethercott ARTIST PROFILES DANIEL EMOND As a theatre teaching artist, and has completed the youngin’, Daniel began Kenan Fellowship at Lincoln Center Education. unstoppably to tell stories. danielsswelltunes.com Since graduating with a SARAH HUND is a singer/ Bachelor of Fine Arts in songwriter/actress who the School of Drama at grew up in St. Louis, University of North Carolina MO. She most recently School of the Arts, Daniel has split his time appeared as The Witch evenly as both a writer and a performer. Daniel in Into the Woods. She is has formed three bands, all of which regularly a proud member of The play around the New York/Tri-State area and Blue Eyed Bettys, a harmony-driven string band tour around the country (The Blue Eyed Bettys, that co-wrote and starred in The Tourist Trap, a Act One, and Lion and Spaniel); co-founded musical (with puppets!). Last fall, she played the Oh! Force Theatre Company with his school Lincoln Center with The Blue Eyed Bettys. Favorite mates, dedicated to fostering and developing productions include Les Miserables (Fantine), new live theatre; produced three full length 9 to 5: The Musical (Judy Bernly), Smoke on the albums of original music (two more currently Mountain (June), The Addams Family (Alice), and in production); and performed in regional Singin’ in the Rain (Lina Lamont).
    [Show full text]