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Pinch with Ing Pennies Penny Marshall
PINCH ING PENNIES WITH PENNY MARSHALL DEATH RITUALS FOR PENNY MARSHALL BY PROJECT MANAGER Alfredo Macias Victor I. Cazares DIRECTION Alton Alburo Martin Manzanita Barna Barzin Randa Jarrar Olivia Jimenez Frances McDormand as Madre Cabrona April Matthis Ellen DeGeneres Pooya Mohseni Leo Scorpio, Esq. MD/PHO MBA Ashton Muiiiz BBSloppyJoe Jesus I. Valles Penny Marshall EPISODE1 A Zoom Webinar Offering Financial Advice for OnlyFans Content Creators EPISODE2 Sliding Scales NEW YORK EPISODE3 Dia de la Muerta THEATRE WORKSHOP Victor I. Cazares is a Tow Playwright in Residence. just to name a few. Wearing all those hats has The Guggenheim (Machine Dazzle), Art Institute resulted in 1) a strong core & excellent posture, Chicago/Swiss Institute/New Museum (Cally 2) delight in working and playing with all sorts of Spooner), Biennial Performa/Lehmann Maupin people, 3) an enduring belief in the power of play. (Nicholas Hlobo) & Pace Gallery (Lilleth Glimcher). Olivia’s curiosity currently lies at the intersections Additionally, Ashton has danced for Marc Jacobs of embodied healing, civic practice, and FW 2020 (Karole Armitage), A$AP Rocky (Lab sustainability. Olivia holds a B.A. in Theater from Rat-Sotheby’s), Rihanna (MTV VMAs 2016). Muñiz is the University of Southern California and studied a co-founder of Legacy: A Black Queer Production interactive storytelling with Deep Dive Austin. She Collective & received training at Ithaca College, is a company member of the VORTEX Repertory Moscow Arts Theatre School and Shakespeare & Company and Shrewd Productions, and an Company. Enterprise Rose Artist Fellow working at Foundation Communities in Austin, TX. Jesús I. Valles Penny Marshall April Matthis Jesús I. -
Horton Foote
38th Season • 373rd Production MAINSTAGE / MARCH 29 THROUGH MAY 5, 2002 David Emmes Martin Benson Producing Artistic Director Artistic Director presents the World Premiere of by HORTON FOOTE Scenic Design Costume Design Lighting Design Composer MICHAEL DEVINE MAGGIE MORGAN TOM RUZIKA DENNIS MCCARTHY Dramaturgs Production Manager Stage Manager JENNIFER KIGER/LINDA S. BAITY TOM ABERGER *RANDALL K. LUM Directed by MARTIN BENSON Honorary Producers JEAN AND TIM WEISS, AT&T: ONSTAGE ADMINISTERED BY THEATRE COMMUNICATIONS GROUP PERFORMING ARTS NETWORK / SOUTH COAST REPERTORY P - 1 CAST OF CHARACTERS (In order of appearance) Constance ................................................................................................... *Annie LaRussa Laverne .................................................................................................... *Jennifer Parsons Mae ............................................................................................................ *Barbara Roberts Frankie ...................................................................................................... *Juliana Donald Fred ............................................................................................................... *Joel Anderson Georgia Dale ............................................................................................ *Linda Gehringer S.P. ............................................................................................................... *Hal Landon Jr. Mrs. Willis ....................................................................................................... -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Doing the Time Warp: Queer Temporalities and Musical Theater Permalink https://escholarship.org/uc/item/1k1860wx Author Ellis, Sarah Taylor Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Doing the Time Warp: Queer Temporalities and Musical Theater A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Theater and Performance Studies by Sarah Taylor Ellis 2013 ABSTRACT OF THE DISSERTATION Doing the Time Warp: Queer Temporalities and Musical Theater by Sarah Taylor Ellis Doctor of Philosophy in Theater and Performance Studies University of California, Los Angeles, 2013 Professor Sue-Ellen Case, Co-chair Professor Raymond Knapp, Co-chair This dissertation explores queer processes of identification with the genre of musical theater. I examine how song and dance – sites of aesthetic difference within the musical – can warp time and enable marginalized and semi-marginalized fans to imagine different ways of being in the world. Musical numbers can complicate a linear, developmental plot by accelerating and decelerating time, foregrounding repetition and circularity, bringing the past to life and projecting into the future, and physicalizing dreams in a narratively open present. These excesses have the potential to contest naturalized constructions of historical, progressive time, as well as concordant constructions of gender, sexual, and racial identities. While the musical has historically been a rich source of identification for the stereotypical white gay male show queen, this project validates a broad and flexible range of non-normative readings. -
Enda Walsh's the Walworth Farce
Ilha do Desterro: A Journal of English Language, Literatures in English and Cultural Studies E-ISSN: 2175-8026 [email protected] Universidade Federal de Santa Catarina Brasil Jordan, Eamonn “STUFF FROM BACK HOME:” ENDA WALSH’S THE WALWORTH FARCE Ilha do Desterro: A Journal of English Language, Literatures in English and Cultural Studies, núm. 58, enero-junio, 2010, pp. 333-356 Universidade Federal de Santa Catarina Florianópolis, Brasil Available in: http://www.redalyc.org/articulo.oa?id=478348696016 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative "Stuff from Back Home:"... 333 “STUFF FROM BACK HOME:”1 ENDA WALSH’S THE WALWORTH FARCE Eamonn Jordan University College Dublin Abstract: Since its first performance in 2006 by Druid Theatre Company, Enda Walsh’s award-winning The Walworth Farce has toured Ireland, Britain, America, Canada, New Zealand and Australia to great acclaim, with the brilliance of the directing, design and acting engaging with the intelligence and theatricality of Walsh’s script. The play deals with a family, who as part of a daily enforced ritual, re-enact a farce, written and directed by Dinny, the patriarch, a story which accounts for their exile in London, and away from their family home in Cork. Their enactment is an attempt to create a false memory, for their performance is very much at odds with the real events which provoked their exile. Keywordsds: Enda Walsh, The Walworth Farce, Druid Theatre, Farce, Performance, Diasporic. -
Press Release-AMERICAN STAGE ANNOUNCES PRODUCING
For Immediate Release (after given date/time below) January 20, 2015 (after 12 pm) Contact: Roman Black, Marketing Director (727) 823-1600 x 202 mailto:[email protected] AMERICAN STAGE ANNOUNCES NEW PRODUCING ARTISTIC DIRECTOR ST. PETERSBURG, FL – American Stage Theatre Company is excited to announce and welcome Stephanie Gularte as the company’s next Producing Artistic Director. Ms. Gularte will begin her role as Producing Artistic Director on February 24, 2015. The Board of Trustees and staff of American Stage are excited to have Stephanie Gularte accept this position and they are confident she will successfully lead American Stage into the theater’s next era. “Stephanie brings an extraordinary combination of leadership, talent, energy, and vision to American Stage and the Tampa Bay region,” said Matthew Conigliaro, chair of the Board of Trustees at American Stage. “She will thrive here, continuing the traditions of excellence at American Stage while taking this theatre to new heights and expanding our ability to bring the magic of live theatre to growing audiences from all around the bay area.” Gularte has 14 years of experience as a producing artistic director, including 10 years as the executive artistic director of Capital Stage Company, an acclaimed professional, nonprofit theatre company in Sacramento, California. Gularte was the Founding Artistic Director of Capital Stage Company and successfully led the theater while developing a strong reputation as an arts leader and creating a legacy of excellence that has brought her to the Tampa Bay region, where she will guide American Stage into an exciting new era. Gularte brings an impressive range of experience to American Stage. -
Programming and Award-Winning Work in the Community
We l c o m e t o Welcome – it’s so good to have you What an exciting time to be at The Old here! Globe! We’re wrapping up an enormously suc- It’s “one from column A, and one cessful 2004 Winter Season, during which we from column B” for this last round of hosted the great American playwright Arthur Season 2004, and they couldn’t be Miller for his incredible production of more polar opposites, nor more beauti- Resurrection Blues, and presented William Inge’s fully yoked together. classic Bus Stop, plus Pulitzer Prize-winner Nilo In the Globe, Stephen Wadsworth Cruz’s Two Sisters and a Piano. We’re now getting returns with his celebrated Don Juan, one of the great and into gear for summer, highlighted by the much-anticipated challenging classics of Moliere, no where as farcical as the Shakespeare Festival, alongside the delightful new musical Lucky Duck, more familiar productions we’ve hosted over the years, but a directed by 2002 Tony Award®-winner John Rando, and a contempo- great, probing, and fascinating take on the life of the famous rary comedy, The Intelligent Design of Jenny Chow. reprobate that stands with Mozart’s Don Giovanni in its repu- We’ve just announced our 2004/2005 Winter Season as well, tation. Wadsworth is one of the true originals directing these continuing the Globe’s tradition of artistic excellence with an ambi- days, whose intense mastery of the works of the 17th and tious line-up of some of the most significant work being produced in 18th Centuries – whether it be Handel’s opera, Xerxes or the the theatre today. -
T Wentieth Centur Y North Amer Ican Drama
TWENTIETH CENTURY NORTH AMERICAN DRAMA, SECOND EDITION learn more at at learn more alexanderstreet.com Twentieth Century North American Drama, Second Edition Twentieth Century North American Drama, Second Edition contains 1,900 plays from the United States and Canada. In addition to providing a comprehensive full-text resource for students in the performing arts, the collection offers a unique window into the econom- ic, historical, social, and political psyche of two countries. Scholars and students who use the database will have a new way to study the signal events of the twentieth century – including the Depression, the role of women, the Cold War, and more – through the plays and performances of writers who lived through these decades. More than 1,250 of the works are in copyright and licensed Jules Feiffer, Neil LaBute, Moisés Kaufman, Lee Breuer, Richard from the authors or their estates, and 1,700 plays appear in Foreman, Stephen Adly Guirgis, Horton Foote, Romulus Linney, no other Alexander Street collection. At least 550 of the works David Mamet, Craig Wright, Kenneth Lonergan, David Ives, Tina have never been published before, in any format, and are Howe, Lanford Wilson, Spalding Gray, Anna Deavere Smith, Don available only in Twentieth Century North American Drama, DeLillo, David Rabe, Theresa Rebeck, David Henry Hwang, and Second Edition – including unpublished plays by major writers Maria Irene Fornes. and Pulitzer Prize winners. Besides the mainstream works, users will find a number of plays Important works prior to 1920 are included, with the concentration of particular social significance, such as the “people’s theatre” of works beginning with playwrights such as Eugene O’Neill, exemplified in performances by The Living Theatre and The Open Elmer Rice, Sophie Treadwell, and Susan Glaspell in the 1920s Theatre. -
Bradley King and Beowulf Boritt
A Conversation With BRADLEY KING & BEOWULF BORITT Rendering of Flying Over Sunset - OPENING Book by James Lapine, Music by Tom Kitt, and Lyrics by Michael Korie Directed by James Lapine | Produced by Lincoln Center Theater Set by Beowulf Boritt | Lighting by Bradley King BACKGROUND LED tape is a unique lighting product in today’s entertainment world. Many disciplines of design interact with it - especially lighting and set designers. City Theatrical asked Tony Award winning lighting and scenic designers, Bradley King and Beowulf Boritt, about their work together on Broadway’s Flying Over Sunset to compare their perspectives on the show, LED tape and how they use it, what they see for the future of this LED technology, and their outlook on the future of the theater industry as a whole. Q&A: of our first preview in March 2020. We had LSD use pre-1960s. People think LSD and three invited dress audiences, so only a hippies, but before that, it was recommended City Theatrical (CTI): What is Flying Over handful of people were able to see it. by doctors as an antidepressant, essentially. Sunset about? What was it like to work on it? Bradley King: I agree, for many people the We stayed very far away from any tie show is a complete unknown. It was the dye imagery, and tried to bring a far more Beowulf Boritt: It is hard to say what Flying first realized production of this show ever. nuanced chromatic interpretation to the Over Sunset is, and I think [the writer and And there are not too many cold opens on experience of taking LSD. -
The Country House
THE COUNTRY HOUSE BY DONALD MARGULIES DRAMATISTS PLAY SERVICE INC. Country House, The.indd 1 2/4/2015 2:55:30 PM THE COUNTRY HOUSE Copyright © 2015, Donald Margulies All Rights Reserved CAUTION: Professionals and amateurs are hereby warned that performance of THE COUNTRY HOUSE is subject to payment of a royalty. It is fully protected under the copyright laws of the United States of America, and of all countries covered by the International Copyright Union (including the Dominion of Canada and the rest of the British Commonwealth), and of all countries covered by the Pan-American Copyright Convention, the Universal Copyright Convention, the Berne Convention, and of all countries with which the United States has reciprocal copyright relations. All rights, including without limitation professional/amateur stage rights, motion picture, recitation, lecturing, public reading, radio broadcasting, television, video or sound recording, all other forms of mechanical, electronic and digital reproduction, transmission and distribution, such as CD, DVD, the Internet, private and file-sharing networks, information storage and retrieval systems, photocopying, and the rights of translation into foreign languages are strictly reserved. Particular emphasis is placed upon the matter of readings, permission for which must be secured from the Author’s agent in writing. The English language stock and amateur stage performance rights in the United States, its territories, possessions and Canada for THE COUNTRY HOUSE are controlled exclusively by DRAMATISTS PLAY SERVICE, INC., 440 Park Avenue South, New York, NY 10016. No professional or nonprofessional performance of the Play may be given without obtaining in advance the written permission of DRAMATISTS PLAY SERVICE, INC., and paying the requisite fee. -
David Mamet in Conversation
David Mamet in Conversation David Mamet in Conversation Leslie Kane, Editor Ann Arbor Copyright © by the University of Michigan 2001 All rights reserved Published in the United States of America by The University of Michigan Press Manufactured in the United States of America ∞ Printed on acid-free paper 2004 2003 2002 2001 4 3 2 1 No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, or otherwise, without the written permission of the publisher. A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data David Mamet in conversation / Leslie Kane, editor. p. cm. — (Theater—theory/text/performance) Includes bibliographical references and index. ISBN 0-472-09764-4 (cloth : alk. paper) — ISBN 0-472-06764-8 (pbk. : alk. paper) 1. Mamet, David—Interviews. 2. Dramatists, American—20th century—Interviews. 3. Playwriting. I. Kane, Leslie, 1945– II. Series. PS3563.A4345 Z657 2001 812'.54—dc21 [B] 2001027531 Contents Chronology ix Introduction 1 David Mamet: Remember That Name 9 Ross Wetzsteon Solace of a Playwright’s Ideals 16 Mark Zweigler Buffalo on Broadway 22 Henry Hewes, David Mamet, John Simon, and Joe Beruh A Man of Few Words Moves On to Sentences 27 Ernest Leogrande I Just Kept Writing 31 Steven Dzielak The Postman’s Words 39 Dan Yakir Something Out of Nothing 46 Matthew C. Roudané A Matter of Perception 54 Hank Nuwer Celebrating the Capacity for Self-Knowledge 60 Henry I. Schvey Comics -
Press Release
FOR IMMEDIATE RELEASE Media Contact: Summer L. Williams Phone #: 617.448.5780 Email: [email protected] www.companyone.org Company One Theatre, in CollaBoration with Suffolk University, Presents THE FLICK High resolution photos availaBle here: http://www.companyone.org/Season15/The_Flick/photos_videos.shtml Boston, MA (FeBruary 2014) — Company One Theatre (C1), recently named "Boston's Best Theatre Company" By The Improper Bostonian, in collaBoration with Suffolk University, present the New England premiere of THE FLICK, By OBIE award winning playwright, Annie Baker. Performances take place FeBruary 20‐March 15, 2014 at the Suffolk University Modern Theatre (525 Washington Street, Boston, MA 02111). Tickets, from $20‐$38 , are onsale now at www.companyone.org. THE FLICK welcomes you to a run‐down movie theatre in Worcester County, MA, where Sam, Avery and Rose are navigating lives as sticky as the soda under the seats. The movies on the Big screen are no match for the tiny Battles and not‐so‐tiny heartBreaks that play out in the empty aisles. Annie Baker (THE ALIENS) and C1 Artistic Director Shawn LaCount reunite with this hilarious and heart‐rending cry for authenticity in a fast‐changing world. With this production, the artists of C1 answer the call from New England fans of one of America’s most celeBrated contemporary playwrights. Boston’s relationship with Annie Baker Began with the C1 award‐winning production of THE ALIENS as part of the Shirley, VT Plays Festival. Annie Baker (who grew up in Amherst, Massachusetts) recently won Both an OBIE for playwriting, and the Susan Smith BlackBurn Prize for THE FLICK. -
Z Space & Word for Word
WEIGHTLESS WEIGHTLESS DIRECTOR STATEMENT Ovid says it’s in our play we reveal the people we are. But sometimes it’s hard to find places for Featuring play. Play requires looseness and Lila Blue, Julia Brothers*, Dan Harris, Kate Kilbane, space to roam between ideas. Dan Moses and Josh Pollock Tonight, we hope to open up a space for you Directed by Becca Wolff to play. The world can be so sure of itself. But in my experience more mystery abounds. This is a rock show. It’s visceral —the beat moves you Angrette McCloskey Scenic Design physically, the music moves your spirit. It’s also Christine Crook Costume Design theater. Theater engages us with stories that Ray Oppenheimer Lighting Design give us a window into another life, Hana S. Kim Projection Design new ways of thinking about the world. Gregory T. Kuhn Sound Design Dan Moses Music Director We often associate the in-between with Jessica Barker* Production Stage Manager Frédéric O. Boulay Production Manager discomfort - being at 6s and 7s, neither here nor Kendra Bator General Manager & there - I think it is a glorious place. It is a place Executive Producer where expectations don’t hold and *Member Actors' Equity Association the very moment you are in is all there is. Audio Engineer Andy Fitts I invite you tonight to play. Immerse yourself in Head Electrician Lauren Wright this space between worlds and I hope you find Light Board Programmer & Operator Corey Schaeffe out -in play- something more about Deck Manager & Audio Engineer Emma Rodrigues who we human beings really are.