Explosive Pulitzer Prize Winner Topdog/ Underdog Curriculum Guide Table of Contents
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OSLO Big Winner at the 2017 Lucille Lortel Awards, Full List! by BWW News Desk May
Click Here for More Articles on 2017 AWARDS SEASON OSLO Big Winner at the 2017 Lucille Lortel Awards, Full List! by BWW News Desk May. 7, 2017 Tweet Share The Lortel Awards were presented May 7, 2017 at NYU Skirball Center beginning at 7:00 PM EST. This year's event was hosted by actor and comedian, Taran Killam, and once again served as a benefit for The Actors Fund. Leading the nominations this year with 7 each are the new musical, Hadestown - a folk opera produced by New York Theatre Workshop - and Sweeney Todd: The Demon Barber of Fleet Street, currently at the Barrow Street Theatre, which has been converted into a pie shop for the intimate staging. In the category of plays, both Paula Vogel's Indecent and J.T. Rogers' Oslo, current Broadway transfers, earned a total of 4 nominations, including for Outstanding Play. Playwrights Horizons' A Life also earned 4 total nominations, including for star David Hyde Pierce and director Anne Kauffman, earning her 4th career Lortel Award nomination; as did MCC Theater's YEN, including one for recent Academy Award nominee Lucas Hedges for Outstanding Lead Actor. Lighting Designer Ben Stanton earned a nomination for the fifth consecutive year - and his seventh career nomination, including a win in 2011 - for his work on YEN. Check below for live updates from the ceremony. Winners will be marked: **Winner** Outstanding Play Indecent Produced by Vineyard Theatre in association with La Jolla Playhouse and Yale Repertory Theatre Written by Paula Vogel, Created by Paula Vogel & Rebecca Taichman Oslo **Winner** Produced by Lincoln Center Theater Written by J.T. -
OCTOBER 2016 Welcome to October Sky! We Can’T Imagine a More Perfect Show to Give Our 2016–2017 Season a Great Launch (If You’Ll Pardon the Pun)
OCTOBER 2016 Welcome to October Sky! We can’t imagine a more perfect show to give our 2016–2017 Season a great launch (if you’ll pardon the pun). New musicals are, of course, one of The Old Globe’s specialties, and the upcoming season is filled with exactly the kind of work the Globe does best. In this very theatre, you’ll have a chance to see a revival of Steve Martin’s hilarious Picasso at the Lapin Agile; the exciting backstage drama Red Velvet; and the imaginative, fable- like musical The Old Man and The Old Moon. And of course, we’re bringing back The Grinch for its 19th year! Across the plaza in the Sheryl and Harvey White Theatre, we hope you’ll join us for work by some of the most exciting voices in the American theatre today: award-winning actor/ songwriter Benjamin Scheuer (The Lion), Globe newcomer Nick Gandiello (The Blameless), the powerful and trenchant Dominique Morisseau (Skeleton Crew), and the ingenious Fiasco Theater, with their own particular spin on Molière’s classic The Imaginary Invalid. It’s a season we’re extremely proud and excited to share with all of you. DOUGLAS GATES Managing Director Michael G. Murphy and Erna Finci Viterbi Artistic Director Barry Edelstein. We’re also proud to welcome the outstanding creative team that has made October Sky a reality. Director/choreographer Rachel Rockwell is an artist whose work we’ve long admired, whose skill in staging is matched by her deft touch with actors. She’s truly a perfect fit for this heartwarming and triumphant show. -
Lesson 7 Lincoln's Assassination
LESSON 7: LINCOLN’S GRADE 5-8 ASSASSINATION WWW.PRESIDENTLINCOLN.ORG Abraham Lincoln Presidential Library and Museum Objectives • Identify at least three individuals involved in Lincoln’s assassination. • Understand the motivations compelling Booth to assassinate the president. • Define vocabulary relevant to an assassination, conspiracy, and trial. • Assess and interpret the subject matter of an historic photograph or docu- ment. • Appreciate the importance of collecting and preserving primary sources.. • Recognize how primary sources can be used in the understanding and tell- ing of historic stories. INTRODUCTION ohn Wilkes Booth was not the American history had ever been The purpose of this J first person to ever consider assassinated. Still, concern for lesson is to introduce students killing Abraham Lincoln. Death Lincoln’s safety grew as the Civil to the story of Lincoln’s assassi- threats to the President were War continued, and with good nation and those who conspired frequent and common. They reason. Lincoln’s politics, espe- to kill him, the issues dividing came from the disgruntled and cially his stance on slavery, were the United States at that time, the deranged. But no one really divisive. The country was in and the techniques used by li- believed any would be carried turmoil and many blamed Lin- brary and museum professionals out. No prominent figure in coln. in uncovering and interpreting history. Materials • "Analyzing A Photograph Worksheet” (in this lesson plan) • “Analyzing A Document Worksheet" (in this lesson plan) -
The Colonizing Force of Hawthorne's the Scarlet Letter
Laura “A” for Atlantic: Doyle The Colonizing Force of Hawthorne’s The Scarlet Letter In The Scarlet Letter, colonization just happens or, more accurately, has just happened. We might recall, by contrast, how Catharine Maria Sedgwick’s novel Hope Leslie elaborately narrates the sociopolitical process of making an Indian village into a native English spot. Hawthorne eclipses this drama of settlement. Although Haw- thorne, like Sedgwick, sets his plot of sexual crisis in the early colo- nial period of Stuart political crisis and English Civil War, he places these events in the distant backdrop, as remote from his seventeenth- century characters as his nineteenth-century readers. Meanwhile, he recasts Sedgwick’s whimsical heroine, Hope Leslie, as a sober, already arrived, and already fallen woman. In beginning from this already fallen moment, Hawthorne keeps off- stage both the “fall” of colonization and its sexual accompaniment. He thereby obscures his relationship to a long Atlantic literary and politi- cal history. But if we attend to the colonizing processes submerged in The Scarlet Letter, we discover the novel’s place in transatlantic his- tory—a history catalyzed by the English Civil War and imbued with that conflict’s rhetoric of native liberty. We see that Hawthorne’s text partakes of an implictly racialized, Atlantic ur-narrative, in which a people’s quest for freedom entails an ocean crossing and a crisis of bodily ruin. That is, The Scarlet Letter fits a formation reaching from Oroonoko, Moll Flanders, Charlotte Temple, and Olaudah -
Good Friday, 1865
Good Friday, 1865 The play had already started when the Lincolns arrived. As the honored guests made their way up the stairway to the dress circle, the actors stopped and the audience cheered. As the band struck up “Hail to the Chief,” the president took an impromptu bow. It was Good Friday, April 14,1865. The Washington Evening Star had carried a front-page advertisement for Laura Keene’s appearance at Ford’s Theatre in the lighthearted com- edy Our American Cousin, and an announcement inside indicated that the president and Mrs. Lincoln would be attending that night. The Lincolns had extended an invitation to General Ulysses S. Grant and his wife, Julia, and when they declined, to Assistant Secretary of War Thomas Eckert, who declined as well. Next down the list were Clara Harris and Major Henry Rathbone, who happily accepted. She was the daughter of a New York senator, and he, Clara’s stepbrother and fiancé. It was an evening that would ruin their lives. The presidential box, personally decorated by one of the Ford brothers for the occasion, hovered above stage left. Lincoln lowered himself into the walnut rocking chair, with Mary seated to his right. At perhaps a quarter past ten, the audience roared with laughter as the actor Harry Hawk, in the role of the backwoods American cousin of British relatives, uttered the 1 2 good friday, 1865 line, “ Well, I guess I know enough to turn you inside out, old gal — you sockdologizing old mantrap!” Then came a pistol crack. Was it part of the play? An accidental firing by a soldier in the audience? Now a man leapt to the stage — was that part of the script? But he’d jumped from the pres- ident’s box and caught one foot in the decorative swags, waving a knife. -
The Possession of Suzanlori Parks
8/25/2016 American Theatre - Archives October 2000 HOME ABOUT SUPPORT CONTACT LOG IN Search The Possession of SuzanLori Parks By listening to "the figures that take up residence inside me," the playwright resurrects a lost and dangerous historyand dares audiences to venture with her into its depths By ShawnMarie Garrett SuzanLori Parks began writing novels at the age of five. But it wasn't until she first heard voices that she realized she might be cursed and blessed with a case of possessionin both senses of that word. Parks knew that she possessed something, but she also knew that it possessed her. It was 1983. She was working on a short story called "The Wedding Pig" for a writing class she was taking with James Baldwin at Mount Holyoke College in South Hadley, Mass. Suddenly she had the sense that the people she was writing about were in the room with her, "standing right behind me, talking. Not telling the story, but acting it outdoing it. It was not me," she says, "not the voice of confidence or the voice of doubt. It was outside of me. And all the stories I wrote for this class were like that." Parks intended from the beginning that her writing should be read aloud. So in Baldwin's workshops she would speak her stories, playing all the characters, recreating her creative process, moving naturally from writing to (or back to) performance. Observing her, Baldwin soon posed the obvious question: "Why don't you try writing plays?" Parks had never done theatre in high school or in college because, well, she thought it was "dumb," and most theatre people turned her off. -
Actor, Assassin, Patriot, Pawn; What You Think You Know About John Wilkes Booth”
April 14, 2016 The Civil War: April 12, 1861 - May 9, 1865 “Actor, Assassin, Patriot, Pawn; What you think you know about John Wilkes Booth” It was sad news to hear of Don “Duffy” Forsyth’s pass- ing last month. His gentle smile has been missed the last few months. His efforts in getting the speaker for our last luncheon were important to the success of the event. I was pleased to hear from his wife, Nancy, about how much he enjoyed the time he spent with Old Baldy. We are grateful that the family listed Old Baldy as an organization to which a donation could be made to honor Don. Bob Hanrahan, Jr. told us all about the battle between the Kearsarge and the Alabama last month. This month Joanne Hulme, a Booth descendant, will inform us what we do not know about John Wilkes Booth. Next month our vice-president Bob Russo will share his research on Arlington National Cemetery. Be sure to tell others about Joanne Hulme our great programs and activities. Ticket sales for our Iwo Jima print are going well. Pick up a flyer at the meeting to display in your area. Join us at 7:15 PM on Thursday, April 14th, at Camden Planning for our October Symposium is coming along well. County College in the Connector Building, Room 101. At our meeting on the 14th, we will present opportunities This month’s topic is "Actor, Assassin, Patriot, Pawn; for some members to assist on the project. Some tasks we What you think you know about John Wilkes Booth" have identified so far include contacting local businesses presented by Joanne Hulme. -
MACBETH Classic Stage Company JOHN DOYLE, Artistic Director TONI MARIE DAVIS, Chief Operating Officer/GM Presents MACBETH by WILLIAM SHAKESPEARE
MACBETH Classic Stage Company JOHN DOYLE, Artistic Director TONI MARIE DAVIS, Chief Operating Officer/GM presents MACBETH BY WILLIAM SHAKESPEARE WITH BARZIN AKHAVAN, RAFFI BARSOUMIAN, NADIA BOWERS, N’JAMEH CAMARA, ERIK LOCHTEFELD, MARY BETH PEIL, COREY STOLL, BARBARA WALSH, ANTONIO MICHAEL WOODARD COSTUME DESIGN LIGHTING DESIGN SOUND DESIGN ANN HOULD-WARD SOLOMON WEISBARD MATT STINE FIGHT DIRECTOR PROPS SUPERVISOR THOMAS SCHALL ALEXANDER WYLIE ASSOCIATE ASSOCIATE ASSOCIATE SCENIC DESIGN COSTUME DESIGN SOUND DESIGN DAVID L. ARSENAULT AMY PRICE AJ SURASKY-YSASI PRESS PRODUCTION CASTING REPRESENTATIVES STAGE MANAGER TELSEY + COMPANY BLAKE ZIDELL AND BERNITA ROBINSON KARYN CASL, CSA ASSOCIATES ASSISTANT DESTINY LILLY STAGE MANAGER JESSICA FLEISCHMAN DIRECTED AND DESIGNED BY JOHN DOYLE MACBETH (in alphabetical order) Macduff, Captain ............................................................................ BARZIN AKHAVAN Malcolm ......................................................................................... RAFFI BARSOUMIAN Lady Macbeth ....................................................................................... NADIA BOWERS Lady Macduff, Gentlewoman ................................................... N’JAMEH CAMARA Banquo, Old Siward ......................................................................ERIK LOCHTEFELD Duncan, Old Woman .........................................................................MARY BETH PEIL Macbeth..................................................................................................... -
AS YOU LIKE IT, the First Production of Our 50Th Anniversary Season, and the First Show in Our Shakespearean Act
Welcome It is my pleasure to welcome you to AS YOU LIKE IT, the first production of our 50th anniversary season, and the first show in our Shakespearean act. Shakespeare’s plays have been a cornerstone of our work at CSC, and his writing continues to reflect and refract our triumphs and trials as individuals and collectively as a society. We inevitability turn to Shakespeare to express our despair, bewilderment, and delight. So, what better place to start our anniversary year than with the contemplative search for self and belonging in As You Like It. At the heart of this beautiful play is a speech that so perfectly encapsulates our mortality. All the world’s a stage, and we go through so many changes as we make our exits and our entrances. You will have noticed many changes for CSC. We have a new look, new membership opportunities, and are programming in a new way with more productions and a season that splits into what we have called “acts.” Each act focuses either on a playwright or on an era of work. It seemed appropriate to inaugurate this with a mini-season of Shakespeare, which continues with Fiasco Theater's TWELFTH NIGHT. Then there is Act II: Americans dedicated to work by American playwrights Terrence McNally (FIRE AND AIR) and Tennessee Williams (SUMMER AND SMOKE); very little of our repertoire has focused on classics written by Americans. This act also premieres a new play by Terrence McNally, as I feel that the word classic can also encapsulate the “bigger idea” and need not always be the work of a writer from the past. -
Artistic Leadership Promotions Announced
PHOTOS: Headshots PRESS CONTACT: [email protected]// 212-539-8504 THE PUBLIC THEATER ANNOUNCES ARTISTIC LEADERSHIP PROMOTIONS Mobile Unit’s Roxanna Barrios Promoted to Associate Producer of Artistic Programs, Public Forum’s Bryan Joseph Lee Promoted to Director of Public Forum, and Producing’s Yuvika Tolani Promoted to Director of Producing September 15, 2020 – The Public Theater (Artistic Director, Oskar Eustis; Executive Director, Patrick Willingham) today announced the promotions of Roxanna Barrios, Bryan Joseph Lee, and Yuvika Tolani. The promotions celebrate and recognize Barrios, Lee, and Tolani’s continued leadership, growth, and significant impact across the organization during their tenures. Barrios will serve as Associate Producer of Artistic Programs, Lee will serve as Director of Public Forum, and Tolani will serve as Director of Producing. Barrios previously worked on The Public’s Mobile Unit, most recently as Associate Director. In her new role, she will be overseeing and supporting all projects from The Public’s Artistic Programs, which includes Joe’s Pub, Mobile Unit, Public Works, Under the Radar Festival, Public Forum, and Public Shakespeare Initiative. “Roxanna has, over the past six years, become one of the most beloved and irreplaceable members of our artistic staff. Her work with the Mobile Unit was exemplary: she created vital links between the artists of The Public and the communities we serve,” said Artistic Director Oskar Eustis. “Her resilience, dedication, and humanity have made her a leader trusted by artists, staff, and community alike. We are delighted to promote her to Associate Producer of Artistic Programs, where she will have a wider brief leading, along with Shanta Thake, the work of all our Artistic Programs.” "I’m excited to deepen my relationship with all of The Public’s beloved programs,” said Associate Producer of Artistic Programs Roxanna Barrios. -
Primary Source Doc
THE NATIONAL NEWS Nationalland,Location: PA 18934 April 16, 1865 Issue.No. Thirty-Four TELEPHONE (215) 971-4741 (215) 8394-FAX 1749 “The president is very lucky, had he not turned his body Lincoln assassination attempt and leaned over the bullet probably would have went failed, doctors call his into his head.” -Army condition to be minor. Surgeon, Charles Leale JOHN WILKES BOOTH CHARGED WITH ATTEMPTED MURDER CHARGES SWEET NIGHT GONE SOUR President Lincoln is living proof that there is such a thing called luck. On April 15th the President joined Henry Rathbone, Clara Harris, and Mary Todd Lincoln at the Ford’s Theatre for what they thought to be a fun evening out to view the play Our American Friends and Family surround Lincoln’s hospital bed Cousin, little did they know they were in for a rude awakening. Booth sat in a box located directly across from Lincoln’s state box, waited for the perfect shot to hit Lincoln in the chest and fired his gun at 10:13pm. However, Lincoln had turned to his friend Henry Rathbone to confirm their dinner reservations after the play and Booth The Philadelphia Derringer missed his shot, the bullet went into President used to shoot President Lincoln Lincoln’s shoulder. John Wilkes Booth Army Surgeon, Charles Leale assessed President Lincoln’s wounds as he was rushed to Colonial Hospital he called the wound “minor” and noted that all vital organs were missed and there was nothing to worry about. Lincoln went into surgery that night and went home to the White House the very next morning. -
Gender, Class, and Identity in Alice Walker's the Color
European Journal of English Language and Literature Studies Vol.7, No.1, pp.16-27, January 2019 ___Published by European Centre for Research Training and Development UK (www.eajournals.org) GENDER, CLASS, AND IDENTITY IN ALICE WALKER’S THE COLOR PURPLE AND SUZAN-LORI PARKS’ IN THE BLOOD Manal Abdullah Ahmad Batobara1 and Mohammad Saleem2 1Department of European Languages and Literature, University of Jeddah, Jeddah, KSA 2Department of English, King Abdulaziz University, Rabigh, KSA ABSTRACT: The genesis of suffering of Afro-American women has multilayered factors, i.e., race, class, gender, etc. But the struggle of these women is still underrepresented. The present paper looks at the representation of Afro-American women in the fictions of two Afro-American women writers – Alice Walker and Suzan-Lori Parks – to investigate the gender, class, and race dynamics in their works. Their selected works were analyzed from a comparative perspective with a view to highlight the plight of Afro-American women, and to look for possible convergence in the emancipated portrayal of their juxtaposed characters. The thematic stress and characterization of the protagonists in the selected works suggests that oppression of black women can be challenged only if they realize their own strength, in the bonds of sisterhood, for instance, or in the refusal to submission to oppressive conditions. Superficially, the writers have come up with juxtaposed images of black women – Alice Walker's Celie victimized because of her poverty, race and gender, while Suzan-Lori Parks' Hester allowing herself to be exploited by men, resorting to filicide in the end. But, at a deeper level both the writers chide black woman for their lack of strength to put a bold face against their oppressors.