DOCSLIB.ORG

Written by Frederick Knott Adapted by Jeffrey Hatcher Printer’S Ad Printer’S Ad LEARNING & EDUCATION USING THEATRE AS a CATALYST to INSPIRE CREATIVITY

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

arizona premiere written by Frederick Knott adapted by Jeffrey Hatcher Printer’s Ad Printer’s Ad LEARNING & EDUCATION USING THEATRE AS A CATALYST TO INSPIRE CREATIVITY “ATC’S EDUCATION DEPARTMENT HAS BEEN NOTHING SHORT OF A MIRACLE.” -Cheryl Falvo, Crossroads English Chaira / Service Learning Coordinator Theatre skills help support critical thinking, decision-making, teamwork and improvisation. It can bridge the gap from imagination to reality. We inspire students to feel that anything is possible. LAST SEASON WE REACHED OVER 11,000 STUDENTS IN 80 SCHOOLS ACROSS 8 AZ COUNTIES For more information about our Learning & Education programs, visit EDUCATION.ARIZONATHEATRE.ORG IN THIS ISSUE October / November 2014 Title Page ........................................................................... 6 Cast List ............................................................................. 8 About the Play .......................................................................12 ATC Leadership .....................................................................20 About Arizona Theatre Company ..................................................... 22 The Cast ............................................................................ 28 The Creative Team ...................................................................34 Board of Trustees ...................................................................40 Theatre Information ................................................................. 47 Corporate and Foundation Donors ....................................................49 Individual Donors ...................................................................50 Staff ...............................................................................59 Brooke Parks in Arizona Theatre Company’s production of Wait Until Dark. Photo by Ken Huth. FROM THE INTERIM MANAGING DIRECTOR For nearly 20 years, I’ve worked in and with Arizona arts and cultural organizations, but my responsibilities always seemed to be from the audience side of the stage. As we wait for the house lights to dim and curtain to go up, I wholeheartedly share your excitement for the experience of theatre about to unfold. Recently being named Arizona Theatre Company’s Interim Managing Director is causing my perspective to shift. No longer can I take for granted the massive effort and incredible teamwork required to create a moment theatre. These days, I’m allowed to wander backstage and into the scene shop, the costume department, the wig room, the props department and more. Producing professional theatre is a humongous undertaking – and requires the skills, experience, dedication, talents and teamwork of a great many people. Our annual Gala in Tucson in September was themed “Backstage Pass” and much of the event’s focus was on the talented individuals who work in the wings or rafters or anywhere that doesn’t involve being on stage. Generous ATC supporters contributed to purchase state-of-the-art audio equipment, electric scene moving devices and sophisticated workshop tools. The equipment may not be sexy (except to the production department) – but the results should be evident on the stage. Once the show starts, allow the actors to entertain you and the plot to grab you attention. But right now, please take a moment to appreciate the efforts of all the talented and dedicated group of people working back stage that are responsible to make this production happen. They are – WE ARE – the Arizona Theatre Company and we are delighted to welcome you. Matt Lehrman Interim Managing Director PHOTO CREDITS FOR PAGE 5: Top Left: Paige Lindsey White in Other Desert Cities. Top Right: Anneliese van der Pol & Loren Dunn in The Importance of Being Earnest. Middle Right: Kyle Sorrell, Mark Anders, Jon Gentry and Bob Sorenson in Around the World in 80 Days. Bottom Left: James T. Alfred in The Mountaintop. Bottom Right: Jessica Skerritt & Company in Xanadu. Photos by Tim Fuller. 4 48 YEARS OF AWARD-WINNING T H EATRE ARIZONA’S NATIONALLY-RENOWNED PROFESSIONAL THEATRE Special Thanks to I. Michael and Beth Kasser Season Sponsors David Ira Goldstein Matt Lehrman Jessica L. Andrews Artistic Director Interim Managing Director Managing Director Emeritus presents a co-production with Geva Theatre Center Mark Cuddy Tom Parrish Artistic Director Executive Director WAIT UNTIL DARK written by Frederick Knott adapted by Jeffrey Hatcher David Ira Goldstein ............................................................Director Vicki Smith .............................................................Scenic Designer Marcia Dixcy Jory ....................................................Costume Designer Don Darnutzer. Lighting Designer Brian Jerome Peterson ................................................Sound Designer Adriano Gatto ............................................................Fight Director Jean Gordon Ryon .........................................................Dramaturg Elissa Myers, CSA & Paul Fouquet, CSA. .Casting Timothy Toothman* .................................................... Stage Manager Glenn Bruner* ..................................................Assistant Stage Manager David A. Cap ...................................................Assistant Stage Manager *Member of Actors’ Equity Association. On this original Arizona Theatre Company and Geva Theatre Center co-production, the ATC and GTC Production Staffs are responsible for scenic construction, costume construction, lighting, projections, sound, props, furniture, wigs, scene painting and special effects. Wait Until Dark is presented by special arrangement with SAMUEL FRENCH, INC. Wait Until Dark adapted by Jeffrey Hatcher was Originally produced by Geffen Playhouse, Randall Arney, Artistic Director; Ken Novice, Managing Director; Behnaz Ataee, General Manager; Regina Miller, Chief Development Officer The video and/or audio recording of this performance by any means whatsoever is strictly prohibited. COVER ART BY: Esser Design 2014-2015 SEASON SPONSORS: I. MICHAEL AND BETH KASSER 6 Printer’s Ad CAST (in order of appearance) Craig Bockhorn* ............................................................. CARLINO Ted Koch* .......................................................................ROAT Brooke Parks* ................................................................. SUSAN Remi Sandri* .....................................................................SAM Peter Rini* ....................................................................... MIKE Lauren Schaffel* ..............................................................GLORIA *Member of Actors’ Equity Association. SETTING: The action takes place in October, 1944, in a basement apartment of an old brownstone in Greenwich Village. ACT I: ACT II: Scene 1: Friday evening. Scene 1: About an hour later Scene 2: Saturday afternoon. THERE WILL BE ONE 15-MINUTE INTERMISSION. ADDITIONAL STAFF Ashley Simon .............................................Assistant to the Stage Manager Jonathan Snipes ........................................................Original Music Arizona Theatre Company operates under agreements between the League of Resident Theatres (LORT) and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States; Stage Directors and Choreographers, an independent national labor union; and United Scenic Artists Local USA-829, IATSE. To learn more about Wait Until Dark, please visit the Education page on our website at arizonatheatre.org for a comprehensive free Play Guide. The Play Guide contains information about Film Noir, cultural context of 1940s America, and more. Play Guides are also available in The Temple Lounge for a nominal charge to cover printing. Cell phones and other devices that make a noise can greatly disturb your fellow audience members and the performers. PLEASE TURN THEM OFF before the performance and again at intermission. 8 Printer’s Ad Printer’s Ad Printer’s Ad ABOUT THE PLAY THE MORE IT CHANGES, THE MORE IT STAYS THE SAME By Jean Gordon Ryon, Dramaturg, Geva Theatre Center What happens when you take a thriller from the 1960s and reset it in another time period? In this case, a surprising intensification of the elements that made the play a success to begin with. Wait Until Dark was written by Frederick Knott (who had previously written Dial ‘M’ for Murder) and was a hit on Broadway in 1966 with Lee Remick and Robert Duvall. It was subsequently turned into the now-classic movie with Audrey Hepburn and Alan Arkin. It has been a staple at regional and community theatres ever since. This thriller is famous for building suspense to a terrifying last half-hour. (The movie’s climactic scene was included as number 10 in Bravo’s 100 Scariest Movie Moments.) The play is based on a time-honored premise: helpless woman forced to defend herself against all odds. A recently blinded woman, still adjusting to her new reality, is beset by dangerous con men who believe she is in possession of a valuable object. Will she survive? Will help arrive in time? These questions have kept audiences on the edge of their seats for years. The finely wrought plot has a million-dollar payoff at the end, and yet, the piece has not had quite as many productions in recent years. Could it be that the piece felt slightly…dated? Old-fashioned without being vintage? Would there be value in revisiting the script, and perhaps changing the time period, making whatever changes were dictated by the new era? These were the thoughts of
Recommended publications
  • DIRECTED by DAVID IRA GOLDSTEIN WRITTEN By

    DIRECTED by DAVID IRA GOLDSTEIN WRITTEN By

    D is c G o v u e id r e y WRITTEN by ADAPTED by FREDERICK KNOTT JEFFREY HATCHER DIRECTED by DAVID IRA GOLDSTEIN P.L.A.Y. (Performance = Literature + Art + You) Student Matinee Series 2014-2015 Season 1 Table of Contents Dear Educators, Synopsis . 2 America Welcome to the new season and the new school year. in 1944 . 5 One of the main challenges in preparing students for a play with Frederick any sort of historical context is to help them to realize that even Knott and The Con though a story may be set seventy years ago, it can still have any Jeffrey Man . 5 number of relevances to their own lives and situations today. I have Hatcher. 2 an eighteen-year-old son and know full well that something from twenty years ago may seem like yesterday to me but, to him, it may “You Can Even as well have happened during the days of the Roman Empire. Setting Wait Finish Him Off Until Dark Here If You And so it is with Wait Until Dark. How does a play set in a in 1944. 2 Want To ...” . 6 basement apartment in Greenwich Village at the height of World War II in 1944 matter at all to a teenager in Rochester in 2014? What do the lives of a recently-blind woman, her war-damaged The Wait Until “You Have To husband and a group of con men have to do with how we live our Dark Cast . 2 Be Brave.” . 7 lives now? The answer, in a word, is plenty.
  • ''Dial Iw" Tvith a Touch of Hamlet

    ''Dial Iw" Tvith a Touch of Hamlet

    23 act scene when Treplev must stand mute during the long speech in which SR GOES TO THE MOVIES Nina confesses her continued love for Tiigorin. Judith Evelyn is an ac­ ceptable Arkadina, capturing the van­ ity of the actress even if not suggest­ ''Dial iW" tvith a Touch ing her glamour, and John Fiedler is touching as the ineffectual school of Hamlet teacher. By all odds the best per­ formance of the evening, and an ex­ NE of the piquant turnabouts of If Evans had a touch too much of cellent performance it is. is Maureen our time is Frederick Knott's Wendice to be Hamlet, it is fair to Stapleton's warm-hearted and very O "Dial \I For Mulder'" (Warner say that Milland has a touch too much human playing of Masha, the defeated Brotheis). which was first seen as a of Hamlet to be Wendice. He is too young woman who wears black be­ play for television and has now turned troubled by psychological insight, too cause she is in mourning for her life. up on the movie screen. The sturdi- unhappy that he is going to have his Then and there, to my way of ness of Knott's tidy thriller results wife murdered. His failure to catch thinking, the virtues of the revival from the fact that he has managed the crispness of Evans's stage per­ come to a full stop. I could find only to plaj- a full-scale chase in mental formance is largely the reason why utter inadequacy in Will Geer's carica­ terms within the confines of a single "Dial M For Murder" on the screen ture of the estate manager, in June room.
  • Geva's 42 Season Begins with Wait Until

    Geva's 42 Season Begins with Wait Until

    Media Contact: Dawn Kellogg Communications Manager (585) 420-2059 [email protected] FOR IMMEDIATE RELEASE GEVA’S 42nd SEASON BEGINS WITH WAIT UNTIL DARK One of the greatest thrillers written for the stage kicks off the ESL 2014-2015 Wilson Mainstage Season Rochester, N.Y., August 12, 2014 – Audiences will be on the edge of their seats when Geva Theatre Center presents Wait Until Dark by Frederick Knott, adapted by Jeffrey Hatcher and directed by David Ira Goldstein. Wait Until Dark begins performances on September 9 and runs in the Elaine P. Wilson Mainstage through October 5. A Greenwich Village apartment becomes the setting of a suspenseful game of cat and mouse when a group of thuggish con men manipulate and terrorize the recently blinded Susan over a mysterious doll hidden inside – waiting until dark to play out this classic stage thriller’s chilling conclusion. The vulnerable Susan must muster her resources to outmaneuver her tormentors, turn her disability to advantage and survive. Frederick Knott wrote only three plays, yet his spine tingling thrillers have become standards on Broadway, in the West End and at theatres throughout the world. His most famous script, Dial M for Murder, played successfully on British Television in the early 1950s before it was adapted for the stage. After its London premiere, the play opened on Broadway in 1952 and was adapted into a 1954 film starring Grace Kelly and Ray Milland. Geva produced Dial M for Murder during its 2006- 2007 Season. Knott’s Wait Until Dark opened on Broadway in 1966 in a production starring Lee Remick as Susan.
  • "SEATTLE Far the Models Indicated, Equipped As Illustrated, Exclusive of Trans- Convenient Connections to San Francisco, Los Angeles, Portation Charges

    "SEATTLE Far the Models Indicated, Equipped As Illustrated, Exclusive of Trans- Convenient Connections to San Francisco, Los Angeles, Portation Charges

    • “The Long, Hot Summer” Here Sunday; here. Is there any minimum pay- per month. If you were survived by ment my family could exp&et to a widow over age 62 or by a child Faulkner Story Probes Human Passions receive from social security if I under age 18 only, the payment died? would be $33.00 monthly; these Jerry Wald’s production of WH- excitement. rates are effective beginning 1959. A. If worked • you long enough v liam Faulkner’s ‘The Long, Hot Tuesday and Wednesday on a job covered by social security Q. I am 59 years of age and a Summer,” Twentieth Century-Fox Danny Kaye makes a new depar- to be insured, there is a minimum widow. My. husband died in 1946. Cinemascope, De Luxe Color pres- ture in the type of role he plays benefit payment which could be Will I be able to receive full bene- entation, which opens at the Or- in the picture “Me and the paid to your survivors. For ex- fits at age 62 or will I have to pheum Theatre Sunday, examines Colonel,” which combines humor if were survived a wait until I am 65? human and with ample, you by age problems passions and a sense of humanity. and ANSWERS widow and or * QUESTIONS two more children A. Widows are now eligible to % probing eye. Kaye plays a refugee, escaping Q. present work is not cover- under the total The producer of “Peyton Place” My age 18, monthly receive benefits on their husband’s the Nazi invasion of Poland, finds ed social I benefit would be For a which Kodiak audiences relished by security.
  • Chapter 11), Making the Events That Occur Within the Time and Space Of

    Chapter 11), Making the Events That Occur Within the Time and Space Of

    CHAPTER I INTRODUCTION: IN PRAISE OF BABBITTRY. SORT OF. SPATIAL PRACTICES IN SUBURBIA Kenneth Jackson’s Crabgrass Frontiers, one of the key histories of American suburbia, marshals a fascinating array of evidence from sociology, geography, real estate literature, union membership profiles, the popular press and census information to represent the American suburbs in terms of population density, home-ownership, and residential status. But even as it notes that “nothing over the years has succeeded in gluing this automobile-oriented civilization into any kind of cohesion – save that of individual routine,” Jackson’s comprehensive history under-analyzes one of its four key suburban traits – the journey-to-work.1 It is difficult to account for the paucity of engagements with suburban transportation and everyday experiences like commuting, even in excellent histories like Jackson’s. In 2005, the average American spent slightly more than twenty-five minutes per day commuting, a time investment that, over the course of a year, translates to more time commuting than he or she will likely spend on vacation.2 Highway-dependent suburban sprawl perpetually moves farther across the map in search of cheap available land, often moving away from both traditional central 1 In the introduction, Jackson describes journey-to-work’s place in suburbia with average travel time and distance in opposition to South America (home of siestas) and Europe, asserting that “an easier connection between work and residence is more valued and achieved in other cultures” (10). 2 One 2003 news report calculates the commuting-to-vacation ratio at 5-to-4: “Americans spend more than 100 hours commuting to work each year, according to American Community Survey (ACS) data released today by the U.S.
  • Human' Jaspects of Aaonsí F*Oshv ÍK\ Tke Pilrns Ana /Movéis ÍK\ É^ of the 1980S and 1990S

    Human' Jaspects of Aaonsí F*Oshv ÍK\ Tke Pilrns Ana /Movéis ÍK\ É^ of the 1980S and 1990S

    DOCTORAL Sara MarHn .Alegre -Human than "Human' jAspects of AAonsí F*osHv ÍK\ tke Pilrns ana /Movéis ÍK\ é^ of the 1980s and 1990s Dirigida per: Dr. Departement de Pilologia jA^glesa i de oermanisfica/ T-acwIfat de Uetres/ AUTÓNOMA D^ BARCELONA/ Bellaterra, 1990. - Aldiss, Brian. BilBon Year Spree. London: Corgi, 1973. - Aldridge, Alexandra. 77» Scientific World View in Dystopia. Ann Arbor, Michigan: UMI Research Press, 1978 (1984). - Alexander, Garth. "Hollywood Dream Turns to Nightmare for Sony", in 77» Sunday Times, 20 November 1994, section 2 Business: 7. - Amis, Martin. 77» Moronic Inferno (1986). HarmorKlsworth: Penguin, 1987. - Andrews, Nigel. "Nightmares and Nasties" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney: Ruto Press, 1984:39 - 47. - Ashley, Bob. 77» Study of Popidar Fiction: A Source Book. London: Pinter Publishers, 1989. - Attebery, Brian. Strategies of Fantasy. Bloomington and Indianapolis: Indiana University Press, 1992. - Bahar, Saba. "Monstrosity, Historicity and Frankenstein" in 77» European English Messenger, vol. IV, no. 2, Autumn 1995:12 -15. - Baldick, Chris. In Frankenstein's Shadow: Myth, Monstrosity, and Nineteenth-Century Writing. Oxford: Oxford Clarendon Press, 1987. - Baring, Anne and Cashford, Jutes. 77» Myth of the Goddess: Evolution of an Image (1991). Harmondsworth: Penguin - Arkana, 1993. - Barker, Martin. 'Introduction" to Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Media. London and Sydney: Ruto Press, 1984(a): 1-6. "Nasties': Problems of Identification" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney. Ruto Press, 1984(b): 104 - 118. »Nasty Politics or Video Nasties?' in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Medß.
  • New Mexico Daily Lobo, Volume 085, No 95, 2/12/1981." 85, 95 (1981)

    New Mexico Daily Lobo, Volume 085, No 95, 2/12/1981." 85, 95 (1981)

    University of New Mexico UNM Digital Repository 1981 The aiD ly Lobo 1981 - 1985 2-12-1981 New Mexico Daily Lobo, Volume 085, No 95, 2/ 12/1981 University of New Mexico Follow this and additional works at: https://digitalrepository.unm.edu/daily_lobo_1981 Recommended Citation University of New Mexico. "New Mexico Daily Lobo, Volume 085, No 95, 2/12/1981." 85, 95 (1981). https://digitalrepository.unm.edu/daily_lobo_1981/20 This Newspaper is brought to you for free and open access by the The aiD ly Lobo 1981 - 1985 at UNM Digital Repository. It has been accepted for inclusion in 1981 by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. 0 VOL. 85 NO. 95 Thursday, February 12, 1981 BEF Cost Estimates Low SANTA FE ·- Students of New tuition bill was temporarily tabled. The fees are mandatory, he said, Mexico colleges and universities Rutherford's bill would stop any "The BBF will not recognize fees pay a m ucb higher percentage of tuition increase if the state severen· until it suits them," Ortiz said. the cost of their education than ce tax fund was higher than the Pierotti said although BEF state Board of Educational Finance budget for state universities; figures show UNM tuition is lower calclllations show, ASUNM ' than the tuition at some other President Mario Ortiz said Wed- Ortiz said BEF figures show the schools, the board may be in~ nesday. cost of educatiou is an average of eluding fees in the other school's $3,000 per student per year. amount.
  • Film Locations in San Francisco

    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.
  • Cinematic Representations of Eleanor Roosevelt

    Cinematic Representations of Eleanor Roosevelt

    Skidmore College Creative Matter MALS Final Projects, 1995-2019 MALS 5-16-2015 Suffering Saint, Asexual Victorian Woman, Or Queer Icon? Cinematic Representations of Eleanor Roosevelt Angela Beauchamp Skidmore College Follow this and additional works at: https://creativematter.skidmore.edu/mals_stu_schol Part of the American Film Studies Commons, Feminist, Gender, and Sexuality Studies Commons, and the Film and Media Studies Commons Recommended Citation Beauchamp, Angela, "Suffering Saint, Asexual Victorian Woman, Or Queer Icon? Cinematic Representations of Eleanor Roosevelt" (2015). MALS Final Projects, 1995-2019. 98. https://creativematter.skidmore.edu/mals_stu_schol/98 This Thesis is brought to you for free and open access by the MALS at Creative Matter. It has been accepted for inclusion in MALS Final Projects, 1995-2019 by an authorized administrator of Creative Matter. For more information, please contact [email protected]. Suffering Saint, Asexual Victorian Woman, Or Queer Icon? Cinematic Representations of Eleanor Roosevelt By Angela Beauchamp FINAL PROJECT SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN LIBERAL STUDIES SKIDMORE COLLEGE April 2015 Advisors: Thomas Lewis and Nina Fonoroff Suffering Saint, Asexual Victorian Woman, or Queer Icon? Cinematic Representations of Eleanor Roosevelt Skidmore College MALS Thesis Angela Beauchamp 4-13-2015 2 Contents lntroduction ..................................................................................................................................................
  • Written by Frederick Knott Adapted by Jeffrey Hatcher About ATC

    Written by Frederick Knott Adapted by Jeffrey Hatcher About ATC

    PLAY GUIDE arizona premiere written by Frederick Knott adapted by Jeffrey Hatcher About ATC 1 Introduction to the Play 2 Meet the Characters 2 Meet the Creators 3 Behind the Scenes 3 Thrillers and Film Noir 5 Historical Context: 1944 6 The Twenty Losses of Blindness 8 Feminism and Wait Until Dark 11 References and Glossary 12 Discussion Questions and Activities 14 Wait Until Dark Play Guide written and compiled by Katherine Monberg, ATC Literary Associate and Kalan Benbow, Dramaturgical Intern, with assistance from April Jackson, Education Manager; Bryanna Patrick and Luke Young, Education Associates SUPPORT FOR ATC’S EDUCATION AND COMMUNITY PROGRAMMING HAS BEEN PROVIDED BY: APS Stonewall Foundation Arizona Commission on the Arts Target Bank of America Foundation The Boeing Company Blue Cross Blue Shield Arizona The Donald Pitt Family Foundation City Of Glendale The Johnson Family Foundation, Inc Community Foundation for Southern Arizona The Lovell Foundation Cox Charities The Marshall Foundation Downtown Tucson Partnership The Maurice and Meta Gross Foundation Enterprise Holdings Foundation The Max and Victoria Dreyfus Foundation Ford Motor Company Fund The Stocker Foundation Freeport-McMoRan Copper & Gold Foundation The William L and Ruth T Pendleton Memorial Fund JPMorgan Chase Tucson Medical Center John and Helen Murphy Foundation Tucson Pima Arts Council National Endowment for the Arts Wells Fargo Phoenix Office of Arts and Culture PICOR Charitable Foundation Rosemont Copper ABOUT ATC Arizona Theatre Company is a professional, not-for-profit

  • We Are Pleased to Announce The

    POSTAL PATRON award-winning marineservice andsalesdepartments. NORTH WOODS A SPECIAL SECTION OF THE VILAS COUNTY NEWS-REVIEW AND THE THREE LAKES NEWS PRSRT STD www.northernedgesportmarine.com www.northernedgesportmarine.com ECRWSS U.S. Postage PAID Wednesday, Permit No. 13 Eagle River of afullweldingandfabricationshoptoour July 11, 2018 SPECIALIZING IN CERTIFIED MARINEWELDING SPECIALIZING INCERTIFIED We arepleasedtoannouncetheaddition We OF ALUMINUM, STEEL AND STAINLESS STEEL STEELANDSTAINLESS OF ALUMINUM, (715) 479-4421 © Eagle River Publications, Inc. 1972 THE PAUL BUNYAN OF NORTH WOODS ADVERTISING Vilas County’s #1dealerforpontoonandoutboardsales. County’s Vilas Vilas County’s #1dealerforpontoonandoutboardsales. County’s Vilas 6200 Hwy. 45, Land O’ Lakes,WI54540715-547-1100 45,LandO’ 6200 Hwy. NORTH WOODS TRADER Wed., July 11, 2018 Page 2 FEATURED RESTAURANT SUMMER HOURS — OPEN DAILY Hillside Resort offers lodging, Serving 5-9 p.m. Tavern opens 4:30 p.m. Mexican Specials Every Thursday 5-9 p.m. FRIDAY FISH SPECIALS dining on Lac Vieux Desert www.riverstonerestaurant.com (715) 479-8467 219 N. Railroad St. (by the bridge next to the Visitors Center) Eagle River Hillside Resort, located Visit our sister restaurant… on the south shore of Lac Vieux Desert in Phelps, fea- OPEN DAILY tures cozy one-, two- and 11 a.m.- 9 p.m. three-bedroom cottages, and 125 S. Railroad St. (715) 479-9424 a restaurant serving food three days a week. Lac Vieux Desert, a EAGLE WATERS RESORT 4,260-acre lake on the Wis- TUESDAY - SUNDAY consin-Michigan border, of- Bar opens at 4 p.m. fers nearly 7 square miles of SUNDAY CHAMPAGNE BRUNCH fishing and water recreation 9 a.m.
  • The Dark Side of Hollywood

    The Dark Side of Hollywood

    TCM Presents: The Dark Side of Hollywood Side of The Dark Presents: TCM I New York I November 20, 2018 New York Bonhams 580 Madison Avenue New York, NY 10022 24838 Presents +1 212 644 9001 bonhams.com The Dark Side of Hollywood AUCTIONEERS SINCE 1793 New York | November 20, 2018 TCM Presents... The Dark Side of Hollywood Tuesday November 20, 2018 at 1pm New York BONHAMS Please note that bids must be ILLUSTRATIONS REGISTRATION 580 Madison Avenue submitted no later than 4pm on Front cover: lot 191 IMPORTANT NOTICE New York, New York 10022 the day prior to the auction. New Inside front cover: lot 191 Please note that all customers, bonhams.com bidders must also provide proof Table of Contents: lot 179 irrespective of any previous activity of identity and address when Session page 1: lot 102 with Bonhams, are required to PREVIEW submitting bids. Session page 2: lot 131 complete the Bidder Registration Los Angeles Session page 3: lot 168 Form in advance of the sale. The Friday November 2, Please contact client services with Session page 4: lot 192 form can be found at the back of 10am to 5pm any bidding inquiries. Session page 5: lot 267 every catalogue and on our Saturday November 3, Session page 6: lot 263 website at www.bonhams.com and 12pm to 5pm Please see pages 152 to 155 Session page 7: lot 398 should be returned by email or Sunday November 4, for bidder information including Session page 8: lot 416 post to the specialist department 12pm to 5pm Conditions of Sale, after-sale Session page 9: lot 466 or to the bids department at collection and shipment.