Production List

Total Page:16

File Type:pdf, Size:1020Kb

Production List PRODUCTION HISTORY Production Director 1935 California Pacific International Exposition Julius Caesar Thomas Wood Stevens by William Shakespeare The Taming of the Shrew Thomas Wood Stevens by William Shakespeare Hamlet Thomas Wood Stevens by William Shakespeare Much Ado About Nothing Thomas Wood Stevens by William Shakespeare The Comedy of Errors Theodore Viehman by William Shakespeare The Winter's Tale Thomas Wood Stevens by William Shakespeare As You Like It B. Iden Payne by William Shakespeare Macbeth Thomas Wood Stevens by William Shakespeare A Midsummer Night's Dream Theodore Viehman by William Shakespeare All's Well That Ends Well Thomas Wood Stevens by William Shakespeare Twelfth Night Thomas Wood Stevens by William Shakespeare Dr. Faustus Thomas Wood Stevens by Christopher Marlowe The Merry Wives of Windsor Thomas Wood Stevens by William Shakespeare 1936 Fortune Players The Tempest Thomas Wood Stevens by William Shakespeare King Henry VIII Thomas Wood Stevens by William Shakespeare The Two Gentlemen of Verona Thomas Wood Stevens by William Shakespeare PRODUCTION HISTORY Production Director Romeo and Juliet Thomas Wood Stevens by William Shakespeare Life and Death of Falstaff (adaptation) Thomas Wood Stevens by William Shakespeare The Comedy of Errors Thomas Wood Stevens by William Shakespeare The Tempest Thomas Wood Stevens by William Shakespeare 1937–1938 (Winter) The Distaff Side Luther M Kennett, Jr. by John Van Druten Small Miracle Luther M Kennett, Jr. by Norman Krasna Her Master's Voice Luther M Kennett, Jr. by Claire Cummer Dear Brutus Luther M. Kennett, Jr. by Sir James Barrie Once in a Lifetime Luther M Kennett, Jr. by George S. Kaufman and Moss Hart Holiday Luther M Kennett, Jr. by Philip Barry The Merry Wives of Windsor Luther M Kennett, Jr. by William Shakespeare Hedda Gabler Luther M Kennett, Jr. by Henrik Ibsen Kind Lady Luther M Kennett, Jr. by Edward Chodorov A Midsummer Night's Dream Luther M Kennett, Jr. by William Shakespeare (Summer) The Gambler Oliver Dernberger and William Woodall (anonymous) PRODUCTION HISTORY Production Director 1938-1939 (Winter) Three Men on a Horse Luther M Kennett, Jr. by John Cecil Holm and George Abbott Heartbreak House Luther M Kennett, Jr. by George Bernard Shaw The Taming of the Shrew Luther M Kennett, Jr. by William Shakespeare A Christmas Carol Luther M Kennett, Jr. by Charles Dickens Perils of Nellie William Woodall & Oliver Dernberger by Dion Boucicault Rain Luther M Kennett, Jr. by John Colton and Clemence Randolph The Importance of Being Earnest Luther M Kennett, Jr. by Oscar Wilde Roman Holiday Luther M Kennett, Jr. from Plautus Love From a Stranger Luther M Kennett, Jr. by Agatha Christie adapted by Frank Vosper (Summer) The Drunkard William Woodall and Oliver Dernberger by William H. Smith 1939-1940 (Winter) Abie's Irish Rose Oliver Dernberger by Anne Nichols Firebrand Craig Noel by Edwin Justus Mayer The Late Christopher Bean William Woodall by Sidney Howard The Shining Hour Oliver Dernberger by Keith Winter PRODUCTION HISTORY Production Director A World Elsewhere Craig Noel & Lynn Riggs by Lynn Riggs Whispering Walls Craig Noel by Wall Spence The Mad Hopes Craig Noel by Romney Brent (Summer) The Maniac Lover (anonymous) 1940-1941 (Winter) Yes, My Darling Daughter Craig Noel by Mark Reed Full Circle Craig Noel by Luther M Kennett, Jr. Here Today Craig Noel by George Oppenheimer Margin for Error Craig Noel by Claire Booth George and Margaret Craig Noel by Gerald Savory Nude with Pineapple Craig Noel (Behold This Dreamer) by Fulton Ousler & Aubrey Kennedy Private Lives Craig Noel by Noel Coward (Summer) The Drunkard Oliver Dernberger by William H. Smith 1941-1942 (Winter) Hay Fever Craig Noel by Noel Coward PRODUCTION HISTORY Production Director Goodbye Again Craig Noel by George Haight & Allen Scott Note: No productions were presented in the Old Globe Theatre by the not-for-profit organization between December 1941 and September 1947. During World War II the theater was a lecture and entertainment facility for U.S. military personnel. 1947-1948 (Winter) The Time of Your Life Craig Noel by William Saroyan Kiss and Tell Craig Noel by F. Hugh Herbert Ladies in Retirement Craig Noel by Edward Percy and Reginald Denham Loser Take All Craig Noel by Jimmy Woolfe Another Part of the Forest Craig Noel by Lillian Hellman Family Portrait Bettie Holloway by Lenore Coffee and William Joyce Cowan State of the Union Craig Noel by Howard Lindsay and Russell Crouse Petrified Forest Craig Noel by Robert Sherwood Dream Girl Craig Noel by Elmer Rice (Summer) The Drunkard Bettie Holloway by William H. Pratt Ten Nights in a Barroom Bettie Holloway by W. W. Pratt 1948-49 (Winter) PRODUCTION HISTORY Production Director Laura Craig Noel by Vera Caspary and George Sklar The Little Foxes Craig Noel by Lillian Hellman Junior Miss Craig Noel by Jerome Chodorov and Joseph Fields The Corn Is Green Craig Noel by Emlyn Williams Chicken Every Sunday Craig Noel by Rosemary Taylor (adaptation by Julius J. and Philip G. Epstein) John Loves Mary Craig Noel by Norman Krasna Rain Craig Noel by John Colton and Clemence Randolph (Summer) Twelfth Night B. Iden Payne by William Shakespeare 1949-1950 Old Globe Theatre (Winter) Caught in the Act Craig Noel The Beautiful People Craig Noel by William Saroyan A Christmas Carol Craig Noel by Charles Dickens (adapted by Mabel Chamberlain) Our Hearts Were Young and Gay Craig Noel by Emily Kimbrough and Cornelia Otis Skinner Montserrat Craig Noel by Lillian Hellman Strange Bedfellows Craig Noel by Florence Ryerson and Colin Clements Belvedere Craig Noel by Gwen Davenport PRODUCTION HISTORY Production Director (Summer) The Taming of the Shrew B. Iden Payne by William Shakespeare Romeo and Juliet B. Iden Payne by William Shakespeare Falstaff Tavern One Is a Crowd Craig Noel by Beah Richards The Playboy of the Western World Jackson Woolley by John Millington Synge 1950-1951 Old Globe Theatre (Winter) Caught in the Act II Craig Noel At War with the Army Craig Noel by James Allardice Harvey Craig Noel by Mary Chase The Son Craig Noel by William Saroyan Lady in the Dark Craig Noel by Moss Hart, music by Kurt Weill The Bat Craig Noel by Mary Roberts Reinhart (Summer) Much Ado About Nothing B. Iden Payne by William Shakespeare The Merry Wives of Windsor B. Iden Payne by William Shakespeare Falstaff Tavern The Circle Charles M. Newman Jr. by W. Somerset Maugham PRODUCTION HISTORY Production Director School for Husbands Charles M. Newman Jr. by Moliere 1951-1952 Old Globe Theatre (Winter) The Madwoman of Chaillot Craig Noel by Jean Giraudoux (adaptation by Maurice Valency) The Constant Wife Craig Noel by W. Somerset Maugham The Cricket on the Hearth Craig Noel by Charles Dickens Twentieth Century Craig Noel by Charles MacArthur and Ben Hecht The Curious Savage Craig Noel by John Patrick Goodbye, My Fancy Craig Noel by Michael and Fay Kanin Caught in the Act III Craig Noel (Summer) All's Well That Ends Well B. Iden Payne by William Shakespeare As You Like It B. Iden Payne by William Shakespeare 1952-1953 Old Globe Theatre (Winter) Angel in the Pawnshop Craig Noel by A. B. Shiffrin Ladies of the Jury Craig Noel by Fred Ballard PRODUCTION HISTORY Production Director The Rose and the Ring Jackson Woolley by William Thackeray adapted by Harrison Deane Death of a Salesman Craig Noel by Arthur Miller Light Up the Sky Craig Noel by Moss Hart Born Yesterday Craig Noel by Garson Kanin Bell, Book, and Candle Craig Noel by John Van Druten (Summer) Mr. Roberts Craig Noel by Thomas Heggen and Josh Logan 1953-1954 Old Globe Theatre (Winter) Caught in the Act IV Craig Noel The Silver Whistle Craig Noel by Robert E. McEnroe Gigi Craig Noel by Anita Loos adapted from the novel by Colette) Cheaper By the Dozen Craig Noel by Frank Gilbreth and Ernestine Gilbreth Carey (dramatized by Christopher Sergel) Lo and Behold Craig Noel by John Patrick The Great Catherine Craig Noel by George Bernard Shaw A Phoenix Too Frequent Craig Noel by Christopher Fry (Summer) Othello Frank McMullan by William Shakespeare PRODUCTION HISTORY Production Director Twelfth Night Patrick Wymark by William Shakespeare The Merchant of Venice Philip Hanson by William Shakespeare 1954-1955 Old Globe Theatre (Winter) Stalag 17 Craig Noel by Donald Bevan and Edmund Trzcinski The Play's the Thing Craig Noel by Ferenc Molnar Ten Little Indians Craig Noel by Agatha Christie Affairs of State Craig Noel by Louise Verneuil Dear Ruth Craig Noel by Norman Krasna My Three Angels Craig Noel by Albert Husson adapted by Sam and Bela Spewak) Caught in the Act V Craig Noel (Summer) Measure for Measure B. Iden Payne by William Shakespeare Hamlet Allen Fletcher by William Shakespeare The Taming of the Shrew Craig Noel by William Shakespeare 1955-1956 Old Globe Theatre (Winter) PRODUCTION HISTORY Production Director The Caine Mutiny Court Martial Craig Noel by Herman Wouk Sabrina Fair Craig Noel by Samuel Taylor Time Out for Ginger Craig Noel by Ronald Alexander The Moon Is Blue Craig Noel by F. Hugh Herbert The Remarkable Mr. Pennypacker Jackson Woolley by Liam O'Brien Caught in the Act VI Craig Noel (Summer) A Midsummer Night's Dream Peter Bucknell by William Shakespeare King Richard II Philip Hanson by William Shakespeare Volpone Craig Noel by Ben Jonson 1956-1957 Old Globe Theatre (Winter) The Solid Gold Cadillac Craig Noel by Howard Teichmann Tea and Sympathy Craig Noel by Robert Anderson The Lady's Not for Burning Craig Noel by Christopher Fry Janus Craig Noel by Carolyn Green The Tender Trap Craig Noel by Max Shulman and Robert Paul Smith Witness for the Prosecution Craig Noel by Agatha Christie PRODUCTION HISTORY Production Director (Summer) The Tempest B.
Recommended publications
  • T H E P Ro G
    Wednesday, March 8, 2017, at 8:30 pm m a r g The Songs of Elizabeth Swados o featuring Utkarsh Ambudkar, Michael Friedman, r Josie de Guzman, Karen Kandel, Taylor Mac, P Grace McLean, AnnMarie Milazzo, Rachel Stern, and Shaina Taub e h T Kris Kukul, Musical Director and Piano Matthew Dean Marsh, Associate Musical Director and Keyboards This evening’s program is approximately 75 minutes long and will be performed without intermission. Please make certain all your electronic devices are switched off. Major support for Lincoln Center’s American Songbook is provided by Amy & Joseph Perella. Endowment support provided by Bank of America This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Steinway Piano The Appel Room Jazz at Lincoln Center’s Frederick P. Rose Hall American Songbook Additional support for Lincoln Center’s American Songbook is provided by Meg and Bennett Goodman, Rita J. and Stanley H. Kaplan Family Foundation, Inc., The DuBose and Dorothy Heyward Memorial Fund, Jill & Irwin B. Cohen, The Shubert Foundation, Great Performers Circle, Chairman’s Council, and Friends of Lincoln Center. Public support is provided by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. American Airlines is the Official Airline of Lincoln Center Nespresso is the Official Coffee of Lincoln Center NewYork-Presbyterian is the Official Hospital of Lincoln Center Artist catering provided by Zabar’s and Zabars.com UPCOMING AMERICAN SONGBOOK EVENTS IN THE APPEL ROOM: Thursday, March 9, at 8:30 pm Tanya Tagaq Friday, March 10, at 8:30 pm José González Saturday, March 11, at 8:30 pm An Evening with Kristen & Bobby Lopez IN THE STANLEY H.
    [Show full text]
  • Cassius Carter Centre Stage Darlene Gould Davies
    Cassius Carter Centre Stage Darlene Gould Davies Cassius Carter Centre Stage, that old and trusted friend, is gone. The theatre in the round at The Old Globe complex in Balboa Park had its days, and they were glorious. Who can forget “Charlie’s Aunt” (1970 and 1977), or the hilarious 1986 pro- duction of “Beyond the Fringe”? Was there ever a show in the Carter that enchanted audiences more than “Spoon River Anthology” (1969)? A. R. Gurney’s “The Din- ing Room” (1983) was delightful. Craig Noel’s staging of Alan Ayckbourn’s ultra- comedic trilogy “The Norman Conquests” (1979) still brings chuckles to those who remember. San Diegans will remember the Carter. It was a life well lived. Cassius Carter Centre Stage, built in 1968 and opened in early 1969, was di- rectly linked to the original Old Globe Theatre of the 1935-36 California-Pacific International Exposition in Balboa Park. It was not a new building but a renovation of Falstaff Tavern that sat next to The Old Globe.1 In fact, until Armistead Carter Falstaff Tavern ©SDHS, UT #82:13052, Union-Tribune Collection. Darlene Gould Davies has served on several San Diego City boards and commissions under five San Diego mayors, is Professor Emerita of Speech, Language, and Hearing Sciences at San Diego State University, and co-produced videos for the Mingei International Museum. She is currently a member of the Board of Directors of the San Diego Natural History Museum and has served as chair of the Balboa Park Committee. 119 The Journal of San Diego History Falstaff Tavern refreshments.
    [Show full text]
  • The Globe Theatre Place of Birth: Stratford-Upon-Avon D.O.D: 23 April 1616 Shakespeare’S Plays Were Performed at the Globe Theatre
    Y7 Performing Arts - Knowledge Organiser 3 Key Shakespeare Introduction Terminology Mat Key facts and key words Full Name: William Shakespeare D.O.B: April 1564 The Globe Theatre Place of birth: Stratford-upon-Avon D.O.D: 23 April 1616 Shakespeare’s plays were performed at the Globe Theatre. Theatre Roots: The King’s Men, formally known as The Lord This was a theatre like no other, it was an open air theatre, Chamberlain’s Men. with a large stage. Elizabethan Theatre Iambic Pentameter Groundlings Scene Originally built: 1599 —however in 1613, during Shake- Traveling Theatre Stage Direction Audience Genre speare’s play Henry VIII, a cannon set fire to the straw in the Audience Appreciation Shakespeare Playwright Act roof and it burnt down. It was quickly rebuilt the year after. Layout: The stage configuration is the stage layout and type of stage the play is performed on. The Globe theatre was a Genre Proscenium Arch stage. Performances: A flag was raised to All Shakespearean plays fall into one of 3 genres; Comedy, show a play was about to begin. Plays began at 2 in the after- Tragedy and history. Some may also have a romantic element. noon to ensure it was still light for the performance. Comedy History Tragedy All’s well that ends well Henry IV Anthony and Cleopatra Actors: In Shakespeare's time, there were no women actors. Women's parts were played by boys. For a time, child actors As you Like it Henry V Coriolanus Comedy of Errors Cymbeline were more popular than grown-actors.
    [Show full text]
  • Welcome to Picasso at the Lapin Agile! We're Thrilled to Kick Off 2017 With
    FEBRUARY 2017 WELCOME JIM COX elcome to Picasso at the Lapin Agile! We’re thrilled to kick off 2017 with this funny, fascinating, and endlessly W surprising play. As we begin a new year, we also celebrate the phenomenal successes of 2016. Last year, the Globe broke box office records with hits like Meteor Shower (another Steve Martin comedy) and our acclaimed productions of October Sky and Sense and Sensibility. It was also an outstanding year for philanthropy. Individual donors gave generously to support our mission, and the Globe reaped the benefit of major foundation and government support. Our Arts Engagement Department successfully launched a slate of new programs funded in part by The James Irvine Foundation’s New California Arts Fund, and the National Endowment for the Arts awarded the Globe a major grant to support new play development. In every way, 2016 was a banner year for The Old Globe. We couldn’t imagine a better way to start 2017 than Picasso at the Lapin Agile. Not only does the production mark the welcome return of writer Steve Martin to the Globe, it pairs him with his longtime collaborator—and our Erna Finci Viterbi Artistic Director—Barry Edelstein. Here, Barry shepherds an all-star cast featuring returning Globe favorites alongside talented performers making their Globe debuts. 2016 will be a tough act to top, but this show bodes well for another banner year of great theatre in Balboa Park. We hope to see you often at the Globe in the coming year! MISSION STATEMENT The mission of The Old Globe is to preserve, strengthen, and advance American theatre by: creating theatrical experiences of the highest professional standards; producing and presenting works of exceptional merit, designed to reach current and future audiences; ensuring diversity and balance in programming; providing an environment for the growth and education of theatre professionals, audiences, and the community at large.
    [Show full text]
  • MINUTES City of San Diego Park and Recreation Board BALBOA PARK
    MINUTES City of San Diego Park and Recreation Board BALBOA PARK COMMITTEE November 6, 2008 Meeting held at: Mailing address is: Balboa Park Club, Santa Fe Room Balboa Park Administration 2150 Pan American Road 2125 Park Boulevard MS39 San Diego, CA 92101 San Diego, CA 92101-4792 ATTENDANCE: Members Present Members Absent Staff Present Jerelyn Dilno Jennifer Ayala Kathleen Hasenauer Vicki Granowitz Laurie Burgett Susan Lowery-Mendoza Mick Hager Mike Singleton Bruce Martinez Andrew Kahng David Kinney Mike McDowell Donald Steele (Arr. 5:40) CALL TO ORDER Chairperson Granowitz called the meeting to order at 5:37 P.M. APPROVAL OF MINUTES MSC IT WAS MOVED/SECONDED AND CARRIED UNANIMOUSLY TO APPROVE THE MINUTES OF THE OCTOBER 2, 2008 MEETING WITH CORRECTIONS TO REFLECT SINGLTON SECONDING ADOPTION ITEMS 201 AND 202 (KINNEY /DILNO 5-0) ABSTENTION- MCDOWELL REQUESTS FOR CONTINUANCES None NON AGENDA PUBLIC COMMENT Warren Simon, Chairperson of the Balboa Park Decembers Nights Committee, reported that there will be a few changes to this year’s venue. The Restaurant Taste will be located in the Palisades Parking lot adjacent to the Hall of Champions and a synthetic ice skating rink will also be located in the Palisades Parking Lot. The Plaza De Panama will host a spirits garden, and the Moreton Bay Fig Tree will be up-lighted. Shannon Sweeney representing Scott White Contemporary Art reported that the location approved by the Committee for the Bernar Venet sculpture requires a barrier to be placed around it for ADA compliance. Ms. Sweeney stated the barrier would detract from the sculpture and requested that the Committee reconsider placing the sculpture at the original requested location on the turf east of the San Diego Museum of Art.
    [Show full text]
  • Globe Theatre
    Episode 25 Teacher Resource 4th September 2018 Globe Theatre Students will explore the history of 1. Before you watch the BTN Globe Theatre story, record what you the Globe Theatre. Students will know about William Shakespeare. explore the meaning, use and form 2. When was the Globe Theatre first built? of Shakespeare’s language. 3. Where was it built? Locate using Google Maps. 4. What happened to the original Globe Theatre? 5. Name a play written by William Shakespeare. 6. About how many people can the Globe Theatre can hold? 7. How many storeys high is the Globe? English – Year 5 8. What is at the base of the stage? Understand that the pronunciation, 9. Illustrate an aspect of the Globe Theatre story. spelling and meanings of words have histories and change over 10. Which film is based on one of Shakespeare’s plays? time. a. Hotel Transylvania b. Trolls Understand that patterns of language interaction vary across c. Gnomeo & Juliet social contexts and types of texts and that they help to signal social roles and relationships. Create literary texts using realistic and fantasy settings and characters that draw on the worlds represented Discuss the BTN Globe Theatre story as a class. What questions were in texts students have experienced. raised in the discussion (what are the gaps in their knowledge)? The following KWLH organiser provides students with a framework to explore English – Year 6 Experiment with text structures their knowledge on this topic and consider what they would like to know and and language features and their learn. effects in creating literary texts, for example, using imagery, sentence variation, metaphor and word What do I choice.
    [Show full text]
  • New Yorker May 20 1985
    GOINGJ ON ABOUT TOWN A C0N5CIENT10U5 CALENDAR OF EVENT5 OF INTEREST "Smiles of a Summer Night," is the last m THE THEATRE s 'M* T • J • P • S this season's series of productions. (103rd St. PLAYS AND MUSICALS and Riverside Dr. Nightly, except Mondays, at 8. Matinees Saturdays and Sundays at Aren't We All?—A revival of a smart Mayfair 15 16 17 18 comedy of 1923, written by Frederick Lons- 2:30. Closes Sunday, June 2. For information dale. Claudette Colbert, Rex Harrison, Lynn 19 20 21 22 23 24 25 about tickets, for which contributions are Redgrave, Brenda Forbes, and George Rose requested, call 663-2028.) find no difficulty bringing it back to life. The Foreigner—A very funny play by (and with) (Reviewed in our issue of S/13/8S.) (Brooks sive Behavior," by Stuart Spencer; and Larry Shue, with good performances by every Atkinson, 256 W. 47th St. 719-4099. Tues "Between Cars," by Alan Zweibel: Wednes single member of the company, most notably days through Saturdays at 8. Matinfies day and Thursday, May 15-16, at 7:30, and by Kevin Geer as a lovable half-wit. Jerry Wednesdays and Saturdays at 2, and Sun Saturday, May 18, at 7 and 10 (previews); Zaks was the admirable director. (11/19/84) days at 3.) Monday, May 20, at 7:30 (opening); and (Astor Place Theatre. 434 Lafayette St., near As Is—^This touching play by William M. Thursday, May 23, at 7:30. ... <51 "Life Astor PI. 254-4370. Tuesdays through Fri Hoffman concerns a personable young homo- Under Water," by Richard Greenberg; "Mar- days at 8; Saturdays at 7 and 10; and Sun se.xual who is afflicted with AIDS, and is also iens Kammer," by Roger Hedden; "The Frog days at 7.
    [Show full text]
  • Print Journalism: a Critical Introduction
    Print Journalism A critical introduction Print Journalism: A critical introduction provides a unique and thorough insight into the skills required to work within the newspaper, magazine and online journalism industries. Among the many highlighted are: sourcing the news interviewing sub-editing feature writing and editing reviewing designing pages pitching features In addition, separate chapters focus on ethics, reporting courts, covering politics and copyright whilst others look at the history of newspapers and magazines, the structure of the UK print industry (including its financial organisation) and the development of journalism education in the UK, helping to place the coverage of skills within a broader, critical context. All contributors are experienced practising journalists as well as journalism educators from a broad range of UK universities. Contributors: Rod Allen, Peter Cole, Martin Conboy, Chris Frost, Tony Harcup, Tim Holmes, Susan Jones, Richard Keeble, Sarah Niblock, Richard Orange, Iain Stevenson, Neil Thurman, Jane Taylor and Sharon Wheeler. Richard Keeble is Professor of Journalism at Lincoln University and former director of undergraduate studies in the Journalism Department at City University, London. He is the author of Ethics for Journalists (2001) and The Newspapers Handbook, now in its fourth edition (2005). Print Journalism A critical introduction Edited by Richard Keeble First published 2005 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon, OX9 4RN Simultaneously published in the USA and Canada by Routledge 270 Madison Ave, New York, NY 10016 Routledge is an imprint of the Taylor & Francis Group This edition published in the Taylor & Francis e-Library, 2005. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.” Selection and editorial matter © 2005 Richard Keeble; individual chapters © 2005 the contributors All rights reserved.
    [Show full text]
  • Current Season Poster
    2019-2020 PERFORMANCE SEASON MainstageMainstage SeriesSeries TheThe HouseHouse ofof BlueBlue LeavesLeaves by John Guare It’s 1965, the day Pope Paul VI came to New York City. For Artie Shaughnessy of Sun- nyside, Queens, this historic moment is an omen for change. Artie dreams of leaving his zookeeper job to pursue a life as a songwriter in Hollywood with his new girlfriend, Bunny. However, a few things stand in his way, such as his wife, Bananas; a GI son drafted into Vietnam gone AWOL; a grieving movie producer; and a group of over-ex- cited nuns. When these worlds collide, hilarity ensues. This dark comedy explores the theme of the American Dream at a moment in U.S. history ripe with change. November 1- 2 @7PM and November 2-3 @2PM . $10 General Admission, $8 Seniors, Faculty, & Staff, $5 Students CelebratingCelebrating thethe Green:Green: ChristmasChristmas BellesBelles Jewell Theatre Company and Jazz Band collaborate to present a classic holiday story combining reader’s theatre with live music. The performance is part of Jewell’s annual winter holiday events for the entire campus and community. Free performance. November 22, Following the Lighting of the Quad Free Admission or Donation November 23 @ 2PMZ A Pay What You Wish Event AA Gentleman’sGentleman’s GuideGuide toto LoveLove andand MurderMurder book and lyrics by Robert L. Freedman & the music and lyrics by Steven Lutvak When the humble Monty Navarro learns that he is eighth in line for an earldom in the D’Ysquith family fortune, he plans to knock off his unsuspecting relatives to become the ninth Earl of Highhurst.
    [Show full text]
  • Putting It Together
    46th Season • 437th Production SEGERSTROM STAGE / September 11 - October 11, 2009 David Emmes Martin Benson Producing ArtiStic director ArtiStic director presents PUTTING IT TOGETHER words and music by Stephen Sondheim devised by Stephen Sondheim and Julia McKenzie Thomas Buderwitz Soojin Lee Steven Young Drew Dalzell Scenic deSign coStume deSign Lighting deSign Sound deSign Joshua Marchesi Jamie A. Tucker* Production mAnAger StAge mAnAger musical direction by Dennis Castellano directed by Nick DeGruccio Dr. S.L. and Mrs. Betty Eu Huang Huang Family Foundation honorAry ProducerS corPorAte Producer Putting It Together is presented through special arrangement with music theatre international (mti). All authorized performance materials are also supplied by mti. 421 West 54th Street, new york, ny 10019; Phone: 212-541-4684 Fax: 212-397-4684; www.mtiShows.com Putting It Together• SOUTH COA S T REPE R TO R Y P1 THE CAST (in order of appearance) Matt McGrath* Harry Groener* Niki Scalera* Dan Callaway* Mary Gordon Murray* MUSICIANS Dennis Castellano (conductor/keyboards), John Glaudini (synthesizer), John Reilly (woodwinds), Louis Allee (percussion) SETTING A New York penthouse apartment. Now. LENGTH Approximately two hours including one 15-minute intermission. PRODUCTION STAFF Casting ................................................................................ Joanne DeNaut, CSA Dramaturg .......................................................................... Linda Sullivan Baity Assistant Stage Manager .............................................................
    [Show full text]
  • Boxoffice Barometer (March 6, 1961)
    MARCH 6, 1961 IN TWO SECTIONS SECTION TWO Metro-Goldwyn-Mayer presents William Wyler’s production of “BEN-HUR” starring CHARLTON HESTON • JACK HAWKINS • Haya Harareet • Stephen Boyd • Hugh Griffith • Martha Scott • with Cathy O’Donnell • Sam Jaffe • Screen Play by Karl Tunberg • Music by Miklos Rozsa • Produced by Sam Zimbalist. M-G-M . EVEN GREATER IN Continuing its success story with current and coming attractions like these! ...and this is only the beginning! "GO NAKED IN THE WORLD” c ( 'KSX'i "THE Metro-Goldwyn-Mayer presents GINA LOLLOBRIGIDA • ANTHONY FRANCIOSA • ERNEST BORGNINE in An Areola Production “GO SPINSTER” • • — Metrocolor) NAKED IN THE WORLD” with Luana Patten Will Kuluva Philip Ober ( CinemaScope John Kellogg • Nancy R. Pollock • Tracey Roberts • Screen Play by Ranald Metro-Goldwyn-Mayer pre- MacDougall • Based on the Book by Tom T. Chamales • Directed by sents SHIRLEY MacLAINE Ranald MacDougall • Produced by Aaron Rosenberg. LAURENCE HARVEY JACK HAWKINS in A Julian Blaustein Production “SPINSTER" with Nobu McCarthy • Screen Play by Ben Maddow • Based on the Novel by Sylvia Ashton- Warner • Directed by Charles Walters. Metro-Goldwyn-Mayer presents David O. Selznick's Production of Margaret Mitchell’s Story of the Old South "GONE WITH THE WIND” starring CLARK GABLE • VIVIEN LEIGH • LESLIE HOWARD • OLIVIA deHAVILLAND • A Selznick International Picture • Screen Play by Sidney Howard • Music by Max Steiner Directed by Victor Fleming Technicolor ’) "GORGO ( Metro-Goldwyn-Mayer presents “GORGO” star- ring Bill Travers • William Sylvester • Vincent "THE SECRET PARTNER” Winter • Bruce Seton • Joseph O'Conor • Martin Metro-Goldwyn-Mayer presents STEWART GRANGER Benson • Barry Keegan • Dervis Ward • Christopher HAYA HARAREET in “THE SECRET PARTNER” with Rhodes • Screen Play by John Loring and Daniel Bernard Lee • Screen Play by David Pursall and Jack Seddon Hyatt • Directed by Eugene Lourie • Executive Directed by Basil Dearden • Produced by Michael Relph.
    [Show full text]
  • Tackling Challenging Issues in Shakespeare for Young Audiences
    Shrews, Moneylenders, Soldiers, and Moors: Tackling Challenging Issues in Shakespeare for Young Audiences DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Elizabeth Harelik, M.A. Graduate Program in Theatre The Ohio State University 2016 Dissertation Committee: Professor Lesley Ferris, Adviser Professor Jennifer Schlueter Professor Shilarna Stokes Professor Robin Post Copyright by Elizabeth Harelik 2016 Abstract Shakespeare’s plays are often a staple of the secondary school curriculum, and, more and more, theatre artists and educators are introducing young people to his works through performance. While these performances offer an engaging way for students to access these complex texts, they also often bring up topics and themes that might be challenging to discuss with young people. To give just a few examples, The Taming of the Shrew contains blatant sexism and gender violence; The Merchant of Venice features a multitude of anti-Semitic slurs; Othello shows characters displaying overtly racist attitudes towards its title character; and Henry V has several scenes of wartime violence. These themes are important, timely, and crucial to discuss with young people, but how can directors, actors, and teachers use Shakespeare’s work as a springboard to begin these conversations? In this research project, I explore twenty-first century productions of the four plays mentioned above. All of the productions studied were done in the United States by professional or university companies, either for young audiences or with young people as performers. I look at the various ways that practitioners have adapted these plays, from abridgments that retain basic plot points but reduce running time, to versions incorporating significant audience participation, to reimaginings created by or with student performers.
    [Show full text]