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First Folio Teacher Curriculum Guide the Beaux’ Stratagem
First Folio Teacher Curriculum Guide The Beaux’ Stratagem by George Farquhar adapted by Thornton Wilder and Ken Ludwig directed by Michael Kahn November 7— December 31, 2006 First Folio Teacher Curriculum Guide Table of Contents Page Number Welcome to the Shakespeare Theatre Company’s productionproduction of An EnemyofThe ofBeaux’ the PeopleStratagemby Henrikby George Ibsen! Farquhar, adapted by A Brief History of the Audience……………………..1 Thornton Wilder and Ken Ludwig! Each season, the Shakespeare Theatre Company Eachpresents season, five theplays Shakespeare by William Theatre Shakespeare Company and About the Playwright otherpresents classicfive plays playwrights. by William ShakespeareThe goal andof all Farquhar’s Biography………………………………….…3 Educationother classic Department playwrights. Programs The is to goaldeepen of all Biographies of the Adapters…... ……………………4 Educationunderstanding, Department appreciation Programs and connectionis to deepen to The End of an Era—Restoration Comedy……..5 understanding,classic theatre appreciationin learners and ofconnection all ages. to One On the Adaptation………………………………………….8 approachclassic theatre is thein publicationlearners ofFirst of all Folio:ages. One Writing and Rewriting—The Road to approachTeacher Curriculum is the publication Guides. ofFirst Folio: Teacher Adaptation……………………………………………………..10 Curriculum Guides. For the 2006•07 season, the Education DepartmentFor the 2006•07will publish season,First Folio:the TeacherEducation About the Play CurriculumDepartment Guides willfor publishour Firstproductions -
Kipling, Masculinity and Empire
Kunapipi Volume 18 Issue 1 Article 10 1996 America's Raj: Kipling, Masculinity and Empire Nicholas J. Cull Follow this and additional works at: https://ro.uow.edu.au/kunapipi Part of the Arts and Humanities Commons Recommended Citation Cull, Nicholas J., America's Raj: Kipling, Masculinity and Empire, Kunapipi, 18(1), 1996. Available at:https://ro.uow.edu.au/kunapipi/vol18/iss1/10 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] America's Raj: Kipling, Masculinity and Empire Abstract The posters for Gunga Din promised much: 'Thrills for a thousand movies, plundered for one mighty show'. That show was a valentine to the British Raj, in which three sergeants (engagingly played by Cary Grant, Victor McLaglen, and Douglas Fairbanks, Jr.) defeat marauding hoards of 'natives' with the aid of their 'Uncle Tom' water bearer, Gunga Din (Sam Jaffe)[Plate VII]. Audiences loved it. Its racism notwithstanding, even an astute viewer like Bertolt Brecht confessed: 'My heart was touched ... f felt like applauding and laughed in all the right places'. 1 Outwardly the film had little ot do with the United States. Most of the cast were British-born and its screenplay claimed to be 'from the poem by Rudyard Kipling' .2 Yet the film was neither British or faithful ot Kipling, but solidly American: directed by George Stevens for RKO, with a screenplay by Oxford-educated Joel Sayre and Stevens's regular collaborator Fred Guiol.3 This journal article is available in Kunapipi: https://ro.uow.edu.au/kunapipi/vol18/iss1/10 America's Raj: Kipling, Masculinity, and Empire 85 NICHOLAS J. -
Hollywood Theology: the Commodification of Religion in Twentieth-Century Films Author(S): Jeffery A
Center for the Study of Religion and American Culture Hollywood Theology: The Commodification of Religion in Twentieth-Century Films Author(s): Jeffery A. Smith Reviewed work(s): Source: Religion and American Culture: A Journal of Interpretation, Vol. 11, No. 2 (Summer 2001), pp. 191-231 Published by: University of California Press on behalf of the Center for the Study of Religion and American Culture Stable URL: http://www.jstor.org/stable/10.1525/rac.2001.11.2.191 . Accessed: 29/01/2013 11:41 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of California Press and Center for the Study of Religion and American Culture are collaborating with JSTOR to digitize, preserve and extend access to Religion and American Culture: A Journal of Interpretation. http://www.jstor.org This content downloaded on Tue, 29 Jan 2013 11:41:14 AM All use subject to JSTOR Terms and Conditions Hollywood Theology: The Commodication of Religion in Twentieth-Century Films Jeffery A. Smith A motion picture is a product formed by the intricate inter- play of lm industry forces and cultural expectations. Hollywood must attract audiences and audiences crave gratication or, perhaps, edication. -
Children's Musical Study Guide
Activity Packet for Students Thanks to CIRCA’ 21 Dinner Playhouse for use of this study guide. About The Show ‘TWAS THE NIGHT BEFORE CHRISTMAS Author KEN LUDWIG “‘Twas the night before Christmas, when all through the house, not a creature was stirring, not even a mouse.” BUT WAIT! A mouse is stirring- because Santa missed his house last year. Before you can say “Merry Christmas”, we’re off on a wild adventure to the North Pole with a mouse, an elf, and a spunky little girl who just won’t take no for an answer. MEET THE AUTHOR KEN LUDWIG is an internationally-acclaimed playwright whose work has been performed in more than 30 countries in over 20 languages. He has had 6 shows on Broadway and 6 in the West End. He has won two Laurence Olivier Awards, two Helen Hayes Awards, the Edgar Award, the SETC Distinguished Career Award, and the Edwin Forrest Award for Services to the Theatre. His first play on Broadway, Lend Me A Tenor, which the New York Times called "one of the two great farces by a living writer," won three Tony Awards and was nominated for nine. His other best-known Broadway and West End shows include Crazy For You (5 years on Broadway, Tony and Olivier Award Winner for Best Musical), Moon Over Buffalo, Leading Ladies, Twentieth Century, The Adventures of Tom Sawyer, The Game’s Afoot, The Fox on the Fairway, Midsummer/Jersey, The Three Musketeers, Treasure Island and The Beaux’ Stratagem. His book How To Teach Your Children Shakespeare was published in June 2013 by Random House, and his work has been published by the Yale Review. -
Film Locations in San Francisco
Film Locations in San Francisco Title Release Year Locations A Jitney Elopement 1915 20th and Folsom Streets A Jitney Elopement 1915 Golden Gate Park Greed 1924 Cliff House (1090 Point Lobos Avenue) Greed 1924 Bush and Sutter Streets Greed 1924 Hayes Street at Laguna The Jazz Singer 1927 Coffee Dan's (O'Farrell Street at Powell) Barbary Coast 1935 After the Thin Man 1936 Coit Tower San Francisco 1936 The Barbary Coast San Francisco 1936 City Hall Page 1 of 588 10/02/2021 Film Locations in San Francisco Fun Facts Production Company The Essanay Film Manufacturing Company During San Francisco's Gold Rush era, the The Essanay Film Manufacturing Company Park was part of an area designated as the "Great Sand Waste". In 1887, the Cliff House was severely Metro-Goldwyn-Mayer (MGM) damaged when the schooner Parallel, abandoned and loaded with dynamite, ran aground on the rocks below. Metro-Goldwyn-Mayer (MGM) Metro-Goldwyn-Mayer (MGM) Warner Bros. Pictures The Samuel Goldwyn Company The Tower was funded by a gift bequeathed Metro-Goldwyn Mayer by Lillie Hitchcock Coit, a socialite who reportedly liked to chase fires. Though the tower resembles a firehose nozzle, it was not designed this way. The Barbary Coast was a red-light district Metro-Goldwyn Mayer that was largely destroyed in the 1906 earthquake. Though some of the establishments were rebuilt after the earthquake, an anti-vice campaign put the establishments out of business. The dome of SF's City Hall is almost a foot Metro-Goldwyn Mayer Page 2 of 588 10/02/2021 Film Locations in San Francisco Distributor Director Writer General Film Company Charles Chaplin Charles Chaplin General Film Company Charles Chaplin Charles Chaplin Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Warner Bros. -
His Girl Friday (1940)
Conversations about great films with Diane Christian & Bruce Jackson HOWARD HAWKS (30 May 1896, Goshen, Indiana—26 December 1977, Palm Springs, California, aftermath of a fall) directed 47 films (and was producer on most of them) and wrote 24 screenplays. The last film he directed was Rio Lobo 1970; his first was Road to Glory 1926. Some of the others were: Man's Favorite Sport? (1964), Hatari! (1962), Rio Bravo (1959), Land of the Pharaohs (1955), Gentlemen Prefer Blondes (1953), I Was a Male War Bride (1949), A Song Is Born (1948), Red River (1948), The Big Sleep (1946), To Have and Have Not (1944), Sergeant York (1941), Only Angels Have Wings (1939), Bringing Up Baby (1938), Come and Get It (1936), Barbary Coast (1935), Twentieth Century (1934), Scarface (1932), and The Dawn Patrol (1930). He won an honorary Oscar in 1975. BEN HECHT (28 February 1894, New York City—18 April 1964, NYC, HIS GIRL FRIDAY (1940). 92 min thrombosis) wrote or co-wrote 128 screenplays, half of them uncredited. Produced and directed by Howard Hawks Some of them are Cleopatra (1963), Mutiny on the Bounty (1962), Walk on Based on the play, “The Front Page,” by Ben Hecht the Wild Side (1962), A Farewell to Arms (1957), Miracle in the Rain and Charles MacArthur (1956), The Court-Martial of Billy Mitchell (1955), The Man with the Screenplay by Charles Lederer Golden Arm (1955), Guys and Dolls (1955), Rope (1948), The Miracle of Cinematography by Joseph Walker the Bells (1948), Ride the Pink Horse (1947), Kiss of Death (1947), Duel in the Sun (1946), Notorious (1946), Gilda (1946), Spellbound (1945), Cary Grant ...Walter Burns Lifeboat (1944), The Outlaw (1943), Gone with the Wind (1939), Wuthering Rosalind Russell ...Hildegaard 'Hildy' Johnson Heights (1939), Stagecoach (1939), Angels with Dirty Faces (1938), Ralph Bellamy ...Bruce Baldwin Barbary Coast (1935), Viva Villa! (1934), Scarface (1932), and The New Gene Lockhart ...Sheriff Peter B. -
Conference Program
Connecting Jewish Theatre To the World CONFERENCE PROGRAM AJT Board/Staff Staff Executive Director: Jeremy Aluma Registrar/Finance: Marcy Segal Website Creative/Graphic Designer: Michelle Shapiro Conference Stage Manager/Program Designer: Danny Debner Executive Board President: Hank Kimmel Vice-president: Wendy Kout Vice-president: Ralph Meranto Vice-president: Deborah Baer Mozes Secretary: Jesse Bernstein Treasurer: Susan Lodish Immediate Past President: David Y. Chack Members-at-Large Social Media Manager: Danielle Levsky Toby Klein Greenwald Ronda Spinak Adam Immerwahr Robyn Israel Ex Officio Mira Hirsch Ellen Schiff Robert Skloot Honorary Board Tovah Feldshuh Adam Kantor Theodore Bikel (z”l) We wish to express our gratitude to the Performers’ Unions: ACTORS’ EQUITY ASSOCIATION AMERICAN GUILD OF MUSICAL ARTISTS AMERICAN GUILD OF VARIETY ARTISTS SAG-AFTRA through Theatre Authority, Inc. for their cooperation in permitting the Artists (Tessa Aubergenois, Arye Gross, Karen Malina White, Sally Wingert, Minka Wiltz, and Aviva Pressman) to appear on this program. Program Contents Day One Schedule – Sunday October 25 4 Mara Isaacs 5 Debórah Eliezer 6 Seraph-Eden Boroditsky 7 Lindsey Newman 8 Stories of Jewish Holidays 9 The Great Escape 10 Bubble Schmeisis (excerpt) 11 BJW (excerpt) 12 Imagining Heschel (excerpt) 13 Day Two Schedule – Monday October 26 14 Shimrit Ron 15 Igal Ezraty 16 Hadar Galron 17 Maya Arud Yasur 18 Noam Gil 19 Hanna Azoulay-Hasfari 20 Udi Ben Moshe 21 Joshua Harmon 22 Anike Tourse 23 András Borgula 24 Helen Marcos 25 Rachel -
The Alley's Interim Artistic Director James Black Has Been Working at the Alley for Over Thirty Years As a Member of the Resid
¡ ¢ £ ¤ ¥ ¦ ¤ ¢ § ¢ ¨ © ¤ £ ¨ ¢ ¤ The Alley’s Interim Artistic Director James Black has been working at the Alley for over thirty years as a member of the Resident Acting Company and a frequent director. During the season he curated as Interim Artistic Director, we are delighted to present a series of essays from him about his career and his memories of the Alley. New work is the life-blood of the theatre. It generations to come. In a fleeting art form, keeps the space contemporary and vital. they have achieved an unexpected touch of It provides excitement and discovery for immortality. the audience as they are exposed to fresh, topical voices and ideas. New work is also I’ve always thought of theatre as the truest exciting for the actors involved. Playing art form because it is the one that most Hamlet is one thing, having a hand in the accurately reflects life. It is to be experienced Dane’s initial creation and subsequent in the moment. A writer can hand you her premiere is quite another. The stage actor is latest book to read, a composer can play his a practitioner of an ephemeral art form and concerto, a painter can exhibit their canvas, working on a world premiere can give one a but the stage actor sculpts in ice and writes rare sense of permanence. in sand. For a stage actor, this is the poignant reality of our work - that which makes it so There is a small ritual that I perform to this day true, also makes it transitory, like a firework, when I start work as an actor on a popular its very birth is its consumption. -
Howard Hawks, One of He Founders of the Guild, Had a Long and Varied Career Ranging from Pioneering Aerial Films to Screwball Comedies and Rugged Westerns
All American Howard Hawks, one of he founders of the Guild, had a long and varied career ranging from pioneering aerial films to screwball comedies and rugged Westerns. A collection of vintage shots shows him creating Hollywood history. FAST-TALKING WOMAN: (opposite) Hawks changed the role of Hildy Johnson from a newspaperman to a newspaperwoman (Rosalind Russell) and turned Ben Hecht’s play The Front Page into His Girl Friday (1940). It was one of the first films to have characters talk over each other’s lines to speed up the pace. (above) Hawks (right) and cinematographer Daniel B. Clark at Clover Field in Santa Monica for The Air Circus (1928), the first of the director’s aviation films. Originally shot as a silent picture, 15 minutes of dialogue were added later. 56 dga quarterly photos: AMpAs dga quarterly 57 58 localcolleges. hire students from to forced and was soldiers the play to actors male young enough find couldn’t Hawks draft, the of Because I. War World of soldier decorated most the of life the on based (1941) bull’s eye: characteristic male bonding and a poetic appreciation for thewilderness. malebondingappreciation andapoetic for characteristic Hawks’ features film The River. Missouri the up trek epic an on trader fur a plays right) from (second Douglas Kirk Parks. National Teton Grand and Yellowstone around and KNEE DEEP: dga quarterly Hawks (in cowboy hat) shot much of the Western muchofthe Western hat) shot (in cowboy Hawks Hawks takes target practice with target Gary takes Cooper in Hawks Sergeant York The Big Sky (1952) in in (1952) between 19-year-old newcomer Lauren Bacall and co-star Humphrey Bogart. -
Programming; Providing an Environment for the Growth and Education of Theatre Professionals, Audiences, and the Community at Large
JULY 2015 KEN LUDWIG’S BASKERVILLE A SHERLOCK HOLMES MYSTERY WELCOME Welcome to The Old Globe, and hold on to your seats! An unparalleled team of actors and artists is about to unleash all the terror and tomfoolery of Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery. Over the past few years, our summer shows in the Sheryl and Harvey White Theatre have proven immensely popular, and audiences have turned out in record numbers looking for a truly fun night in the theatre. The Globe has been delighted to oblige, offering productions likeQuartet and Double Indemnity—shows that have gone on to become overwhelming audience DOUGLAS GATES favorites. Managing Director Michael G. Murphy and Artistic Director Barry Edelstein. This year, the Globe celebrates the dog days of summer with a madcap adaptation of Arthur Conan Doyle’s classic novel The Hound of the Baskervilles, penned by one of America’s great comic playwrights. This production pairs an established writer—Ken Ludwig, at long last making his Globe debut— with an up-and-coming director: Josh Rhodes. Josh’s name may be familiar to Globe audiences; he choreographed last season’s world premiere production of Bright Star, the Steve Martin and Edie Brickell musical that’s poised to make its entrance on Broadway. We’re thrilled to welcome Josh back to the Globe, this time in the director’s chair. Baskerville continues our festive Summer Season celebrating the Globe’s 80th Anniversary and the Centennial of the Panama-California Exposition. We are glad to share the fun with you. Barry Edelstein, Artistic Director Michael G. -
By Ken Ludwig
Village Playhouse presents Directed by By Ken Ludwig VPW Cast & Crew Michael Pocaro Jaime and Patrina Hurtado, Owners —Break legs! Inspiration Studios 7:30pm 1500 S. 73rd Street April 17-April 18 West Allis, WI 53214 April 23-April 24 414 587-3474 May 1-May 2 2:00pm May 3 Matinee Produced by special arrangement with Samuel French, Inc. From the director... Opportunity Knocks! A Nun, a Lawyer and a Gorilla walk into a bar. The bartender Join us for the says, “Hey, what is this? Some kind of joke?”. Yeah, this is some remaining shows of our kind of joke! And I like a good joke, don’t you? You know Director’s Notes are usually intended to be somehow 2014-2015 Season socially relevant, whetting the appetite for provocation, insight and thoughtful entertainment. That’s a pretty high order for “Moon Over Buffalo”. Now that’s not to say that good comedy can’t be provoca- tive. There are at least as many types of comedy as there are Shades of Grey. Consider the socially relevant comedy of April 17-May 3 “MASH”, or the stigma-busting, in your face comedy of “All in the Family” and all its spin-offs. But this is …vaudeville. This is slapstick. This production has been brazenly plagiarized from all my personal favorites; Laurel and Hardy, Abbot and Costello, The Three Stooges and The Marx Brothers. The beauty of comedies like “Moon Over Buffalo” is they’re built June 5-21 upon the human weakness we all know and celebrate in our own lives. -
American Restaurant Culture and the Rise of the Middle Class, 1880-1920
TURNING THE TABLES: AMERICAN RESTAURANT CULTURE AND THE RISE OF THE MIDDLE CLASS, 1880-1920 by Andrew Peter Haley BA, Tufts University, 1991 MA, University of Pittsburgh, 1997 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2005 UNIVERSITY OF PITTSBURGH FACULTY OF ARTS AND SCIENCES This dissertation was presented by Andrew Peter Haley It was defended on May 26, 2005 and approved by Dr. Paula Baker, History, The Ohio State University Co-Dissertation Director Dr. Donna Gabaccia, History, University of Pittsburgh Co-Dissertation Director Dr. Richard Oestreicher, History, University of Pittsburgh Dr. Carol Stabile, Communications, University of Pittsburgh Dr. Bruce Venarde, History, University of Pittsburgh ii © Andrew Peter Haley iii TURNING THE TABLES: AMERICAN RESTAURANT CULTURE AND THE RISE OF THE MIDDLE CLASS, 1880-1920 Andrew Peter Haley, PhD University of Pittsburgh, 2005 This dissertation examines changes in restaurant dining during the Gilded Age and the Progressive Era as a means of understanding the growing influence of the middle- class consumer. It is about class, consumption and culture; it is also about food and identity. In the mid-nineteenth century, restaurants served French food prepared by European chefs to elite Americans with aristocratic pretensions. “Turning the Tables” explores the subsequent transformation of aristocratic restaurants into public spaces where the middle classes could feel comfortable dining. Digging deeply into the changes restaurants underwent at the turn of the century, I argue that the struggles over restaurant culture—the battles over the French-language menu, the scientific eating movement, the celebration of cosmopolitan cuisines, the growing acceptance of unescorted women diners, the failed attempts to eliminate tipping—offer evidence that the urban middle class would play a central role in the construction of twentieth-century American culture.