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You Can't Take It With
Insights A Study Guide to the Utah Shakespeare Festival You Can’t Take It with You The articles in this study guide are not meant to mirror or interpret any productions at the Utah Shakespeare Festival. They are meant, instead, to be an educational jumping-off point to understanding and enjoying the plays (in any production at any theatre) a bit more thoroughly. Therefore the stories of the plays and the interpretative articles (and even characters, at times) may differ dramatically from what is ultimately produced on the Festival’s stages. Insights is published by the Utah Shakespeare Festival, 351 West Center Street; Cedar City, UT 84720. Bruce C. Lee, communications director and editor; Phil Hermansen, art director. Copyright © 2011, Utah Shakespeare Festival. Please feel free to download and print Insights, as long as you do not remove any identifying mark of the Utah Shakespeare Festival. For more information about Festival education programs: Utah Shakespeare Festival 351 West Center Street Cedar City, Utah 84720 435-586-7880 www.bard.org. Cover photo: Michael Thomas Holmes (left) and Laurie Birmingham in You Can’t Take It with You, 1995. Contents You Can’tInformation Take on theIt Play with You Synopsis 4 Characters 5 About the Playwright 6 Scholarly Articles on the Play Happy Lunacies 7 Still Speaking to Audiences 9 Utah Shakespeare Festival 3 351 West Center Street • Cedar City, Utah 84720 • 435-586-7880 Synopsis: You Can’t Take It with You The Vanderhof family at the center of You Can’t Take It with You is a collection of cheerful and erratic (yet lovable) incompetents. -
In 193X, Constance Rourke's Book American Humor Was Reviewed In
OUR LIVELY ARTS: AMERICAN CULTURE AS THEATRICAL CULTURE, 1922-1931 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Jennifer Schlueter, M.A. ***** The Ohio State University 2007 Dissertation Committee: Approved by Professor Thomas Postlewait, Adviser Professor Lesley Ferris Adviser Associate Professor Alan Woods Graduate Program in Theatre Copyright by Jennifer Schlueter c. 2007 ABSTRACT In the first decades of the twentieth century, critics like H.L. Mencken and Van Wyck Brooks vociferously expounded a deep and profound disenchantment with American art and culture. At a time when American popular entertainments were expanding exponentially, and at a time when European high modernism was in full flower, American culture appeared to these critics to be at best a quagmire of philistinism and at worst an oxymoron. Today there is still general agreement that American arts “came of age” or “arrived” in the 1920s, thanks in part to this flogging criticism, but also because of the powerful influence of European modernism. Yet, this assessment was not, at the time, unanimous, and its conclusions should not, I argue, be taken as foregone. In this dissertation, I present crucial case studies of Constance Rourke (1885-1941) and Gilbert Seldes (1893-1970), two astute but understudied cultural critics who saw the same popular culture denigrated by Brooks or Mencken as vibrant evidence of exactly the modern American culture they were seeking. In their writings of the 1920s and 1930s, Rourke and Seldes argued that our “lively arts” (Seldes’ formulation) of performance—vaudeville, minstrelsy, burlesque, jazz, radio, and film—contained both the roots of our own unique culture as well as the seeds of a burgeoning modernism. -
Creating an Audience for Community Theatre: a Case Study of Night of the Living Dead at the Roadhouse Theatre
CREATING AN AUDIENCE FOR COMMUNITY THEATRE: A CASE STUDY OF NIGHT OF THE LIVING DEAD AT THE ROADHOUSE THEATRE Robert Connick A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2007 Committee: Ron Shields, Advisor Steve Boone Eileen Cherry Chandler © 2007 Robert M. Connick All Rights Reserved iii ABSTRACT Ronald Shields, Advisor The Roadhouse Theatre for Contemporary Art, located in Erie, Pennsylvania, combines theatre and film as their primary form of artistic development in the Erie community. Through hosting film festivals and adapting film scripts for the stage, the Roadhouse brings cinematic qualities into its theatrical productions in an effort to reach a specific market in Erie. This study focused on the Roadhouse’s production history and highlights one particular work that has developed from there into a production available for national publication and distribution: Lori Allen Ohm’s stage adaptation of Night of the Living Dead. The success of this play provided the Roadhouse with criteria to meet four aspects that Richard Somerset-Ward lists as necessary for successful community theatres. This study examined how Night of the Living Dead developed at the Roadhouse Theatre and the aspects of the script that have made it successful at other theatres across the country. By looking at themes found in the script, I presented an argument for the play’s scholarly relevance. By creating a script with national interest and relevance, Lori Allen Ohm and the Roadhouse Theatre created an historical legacy that established the theatre as one that reached its local audience while also providing something new and worthwhile to American theatre as a whole. -
Download 2012–2013 Catalogue of New Plays
Cover Spread 1213.ai 7/24/2012 12:18:11 PM Inside Cover Spread 1213.ai 7/24/2012 12:14:50 PM NEW CATALOGUE 12-13.qxd 7/25/2012 10:25 AM Page 1 Catalogue of New Plays 2012–2013 © 2012 Dramatists Play Service, Inc. Dramatists Play Service, Inc. A Letter from the President Fall 2012 Dear Subscriber, This year we are pleased to add over 85 works to our Catalogue, including both full length and short plays, from our new and established authors. We were particularly fortunate with nominations and awards that our authors won this year. Quiara Alegría Hudes won the Pulitzer Prize with WATER BY THE SPOONFUL, and the two runners-up were John Robin Baitz’s OTHER DESERT CITIES and Stephen Karam’s SONS OF THE PROPHET. The Play Service also represents three of the four 2012 Tony nominees for Best Play, including the winner, Bruce Norris’ CLYBOURNE PARK, Jon Robin Baitz’s OTHER DESERT CITIES and David Ives’ VENUS IN FUR. All four of the Tony nominations for Best Revival are represented by the Play Service: DEATH OF A SALESMAN (the winner), THE BEST MAN, MASTER CLASS and WIT. Other new titles include Rajiv Joseph’s BENGAL TIGER AT THE BAGHDAD ZOO, David Henry Hwang’s CHINGLISH, Katori Hall’s THE MOUNTAINTOP, Nina Raines’ TRIBES and Paul Weitz’s LONELY, I’M NOT. Newcomers to our Catalogue include Simon Levy, whose masterful adaptation of THE GREAT GATSBY is the only stage version to be authorized by the Fitzgerald Estate; Erika Sheffer, with her vivid portrait of an immigrant family in RUSSIAN TRANSPORT; Sarah Treem, with her absorbing and thought-provoking THE HOW AND THE WHY; and Tarell Alvin McCraney, with the three plays of his critically acclaimed BROTHER/SISTER TRILOGY. -
American Century's Broadway Hit Parade
Audience Guide Written by Jack Marshall Theater you can afford to see— plays you can’t afford to miss! About The American Century Theater The American Century Theater was founded in 1994. We are a professional company dedicated to presenting great, important, but overlooked American plays of the twentieth century . what Henry Luce called “the American Century.” The company’s mission is one of rediscovery, enlightenment, and perspective, not nostalgia or preservation. Americans must not lose the extraordinary vision and wisdom of past playwrights, nor can we afford to surrender our moorings to our shared cultural heritage. Our mission is also driven by a conviction that communities need theater, and theater needs audiences. To those ends, this company is committed to producing plays that challenge and move all Americans, of all ages, origins and points of view. In particular, we strive to create theatrical experiences that entire families can watch, enjoy, and discuss long afterward. These audience guides are part of our effort to enhance the appreciation of these works, so rich in history, content, and grist for debate. The American Century Theater is a 501(c)(3) professional nonprofit theater company dedicated to producing significant 20th Century American plays and musicals at risk of being forgotten. This program is supported in part by Arlington County through the Arlington Commission for the Arts and Arlington Cultural Affairs, a division of Arlington Economic Development; the Virginia Commission for the Arts; the National Endowment -
Youcan'ttakeitwithyou Study Guide
Pacific Conservatory Theatre Student Matinee Program Presents By Moss Hart and George S. Kaufman A Study Guide for Educators Generously sponsored by Richard and Jean Jacoby Ron and Mary Nanning Welcome to PCPA A NOTE TO THE TEACHER Thank you for bringing your students to PCPA. Here are some helpful hints for your visit to the Marian Theatre. The top priority of our staff is to provide an enjoyable day of live theatre for you and your students. Use the study guide to prepare your students prior to the performance. Each study guide has grade level notations that will help you navigate to material you can use in your curriculum. SUGGESTIONS FOR STUDENT ETIQUETTE Note-able behavior is a vital part of theater for youth. Going to the theater is not a casual event. It is a special occasion. If students are prepared properly, it will be a memorable, educational experience for all. 1. Have students enter the theater in a single file. We suggest you have one adult for every ten to fifteen students. Our ushers will assist you with locating your seats. Please wait until the usher has seated your party before any rearranging of seats to avoid injury and confusion. While seated, teachers should space themselves so they are visible, between every ten to fifteen students. Teachers and adults must remain with their group during the entire performance. 2. Once seated in the theater, students may go to the bathroom in small groups and with the teacher’s permission. Please chaperone younger students. Once the show is over, please have students remain seated until the lead instructor / chaperone dismisses your students. -
The American Stage Careers of Fredric March and Florence Eldridge. Vicki Jo Payne Parrish Louisiana State University and Agricultural & Mechanical College
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1995 The American Stage Careers of Fredric March and Florence Eldridge. Vicki Jo payne Parrish Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Parrish, Vicki Jo payne, "The American Stage Careers of Fredric March and Florence Eldridge." (1995). LSU Historical Dissertations and Theses. 6042. https://digitalcommons.lsu.edu/gradschool_disstheses/6042 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough,m a substandard r gins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. -
Download 2010–2011 Catalogue of New Plays
IInsidenside CCoverover SSpreadpread 11011.ai011.ai 77/27/2010/27/2010 112:00:152:00:15 PPMM Dramatists Play Service Recipient of the Obie Award for Commitment to the Publication of New Work proudly represents John Logan’s 440 Park Avenue South, New York, NY 10016 Tel. 212-683-8960 Fax 212-213-1539 [email protected] 2010 Tony Award® Winner OFFICERS Stephen Sultan, President William Craver, Vice President Mary Harden, Secretary C M Y BOARD OF DIRECTORS CM William Craver MY Peter Hagan Mary Harden CY Patrick Herold CMY Donald Margulies K Lynn Nottage Polly Pen John Patrick Shanley Stephen Sultan Representing the American theatre by publishing and licensing the works of new and established playwrights “A portrait of an angry and brilliant mind. Formed in 1936 by a number of prominent playwrights and theatre agents, Dramatists Play Service, Inc. Intense and exciting.” was created to foster opportunity and provide support for playwrights by publishing acting editions of their plays and handling the nonprofessional and professional leasing rights to these works. —The New York Times Catalogue of New Plays 2010–2011 © 2010 Dramatists Play Service, Inc. Dramatists Play Service, Inc. A Letter from the President Fall 2010 Dear Subscriber, This year we are pleased to add 59 new works to our Catalogue. Among them are John Logan’s superlative Tony Award–winning RED; Geoffrey Naufft’s Tony Award–nominated gem, NEXT FALL; Horton Foote’s three-part masterpiece, THE ORPHANS’ HOME CYCLE; Martin McDonagh’s first play set in America, A BEHANDING IN SPOKANE; and Tectonic Theater Project’s follow-up on the story of Matthew Shepard, THE LARAMIE PROJECT: TEN YEARS LATER. -
DPS Catalogue of New Plays 2020–2021
PRESORTED STANDARD U.S. POSTAGE PAID GRAND RAPIDS, MI DRAMATISTS PLAY SERVICE PERMIT #1 www.dramatists.com 440 Park Avenue South, New York, NY 10016 Catalogue of New Plays 2020–2021 DRAMATISTS PLAY SERVICE www.dramatists.com Catalogue of New Plays 2020–2021 © 2020 Dramatists Play Service, Inc. CATALOGUE 20-21.indd 1 9/9/2020 6:49:56 PM Dramatists Play Service, Inc. Contents Our Pulitzer Prize-Winning Plays ........................ 3 Our Tony Award-Winning Plays ........................ 4 Introduction ........................................ 5 DPS Book Club ..................................... 6 2020–2021 New Plays ............................... 7 Our Playwrights .................................... 21 Musicals ......................................... 42 DPS Classics ...................................... 43 Play Collections .................................... 44 2 n Order Acting Editions and apply for rights online: www.dramatists.com CATALOGUE 20-21.indd 2 9/9/2020 6:49:57 PM Catalogue of New Plays PULITZER PRIZE-WINNING PLAYS 2019 FAIRVIEW by Jackie Sibblies Drury 1980 TALLEY’S FOLLY by Lanford Wilson 2018 COST OF LIVING by Martyna Majok 1979 BURIED CHILD by Sam Shepard 2017 SWEAT by Lynn Nottage 1975 SEASCAPE by Edward Albee 2015 BETWEEN RIVERSIDE AND CRAZY by Stephen Adly Guirgis 1973 THAT CHAMPIONSHIP SEASON by Jason Miller 2013 DISGRACED by Ayad Akhtar 1971 THE EFFECT OF GAMMA RAYS ON MAN-IN-THE- MOON MARIGOLDS by Paul Zindel 2012 WATER BY THE SPOONFUL by Quiara Alegría Hudes 1957 LONG DAY’S JOURNEY INTO NIGHT by Eugene O’Neill -
University Micrxxilms International 300 N
GEORGE S. KAUFMAN: PLAYWRIGHT AS DIRECTOR, 1930-1940 Item Type text; Thesis-Reproduction (electronic) Authors Ingvoldstad, Paul Anthony Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 02/10/2021 02:05:03 Link to Item http://hdl.handle.net/10150/291936 INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. -
You Can 'T Take It with You
FREDERIC WOOD THEATRE You Can 't Take It With You You CANT TAKE IT WITH You KAUFMAN / HART KAUFMAN I HART YOU CANT TAKE IT WITH YOU George S. Kaufman and Moss Hart A Collaboration 1930 Once in a Lifetime 1934 Merrily We Roll Along 1936 YOU CAN'T TAKE IT WITH YOU 1937 I'd Rather Be Right 1938 The Fabulous Invalid 1939 The American Way 1940 The Man Who Came To Dinner 1943 Dream On, Soldier George S. Kaufman Copyright by by Paul Bacon Atheneum, New York YOU CAN 'T TAKE IT WITH YOU KAUFMAN / HART KAUFMAN / HART You CANT TAKE IT WITH You the premiere of Of Mice and Men, John Steinbeck wrote, "I didn't In Broadway's realize that little things in writing made such a difference, and George taught it to me for the first time in my life ." Golden Days "Plays are not written," said Kaufman, "they're rewritten ." In his autobiography, Act One, my favourite of all backstage books, Moss "People like that should be in the crazy house." Hart draws a vivid portrait of the workaholic perfectionist Kaufman. Hart's true story would be scarcely credible as a poor-boy-makes- - - - George Kaufman's mother, on You Can't Take It With You good stage comedy . An unsolicited manuscript catches the attention of a Broadway producer, who persuades the experienced hitmaker Kaufman to collaborate with the unknown young talent Hart . They Broadway seems a decaying empire now . Its most glittering work for months rewriting Hart's manuscript, a play prophetically celebrities are real estate moguls and professional sports entitled Once in a Lifetime . -
Dora Sayers Caro
"There is nothing in my life I find so wonderful as being able to hold the attention of a theatre full of people, making them forget themselves for a while, and feeling them respond to the lines you speak and the things you are trying to express." Dora Sayers, February 18, 1939 -- Dora Sayers Caro -- Benares Own Star! It's a long and winding road from Benares to Broadway, but Dora Sayers, Benares "own star" boldly travelled it in the late 1930s, leaving small-town Clarkson for a glamorous world where she would shine on the stage, and rub shoulders with people such as Moss Hart, Tyrone Powers, Vincent Price, Frederick March, Ralph Bellamy, Ralph Forbes, and Katherine Hepburn. Dora had her first taste of acting at the age of ten in a pageant in Lorne Park, and went on to work with The Children's Theatre at Hart House at University of Toronto. After graduating from High School, Dora enjoyed the glamour and sophistication of a "Grand Tour" of Europe. Following an apprenticeship at the Mt. Kisko Summer Theatre, one Dora and her mother Annie Harris Sayers, 1916 of Dora's first professional jobs was in the touring company of Stage Door in 1937. Across the country, Dora's reviews were favourable: "she imparts an intelligent inspection to her character" (Pittsburgh), while a Cincinnati reviewer noted "an interesting as well as attractive member of the group is Dora Sayers, who registers a pleasing impression". Such notices ensured that Dora was busy with a variety of Broadway, summer stock, and productions such as What Every Woman Knows, The American Way, and The Fabulous Invalid, from the late 1930s on.