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Shrek the Musical Study Guide
The contents of this study guide are based on the National Educational Technology Standards for Teachers. Navigational Tools within this Study Guide Backward Forward Return to the Table of Contents Many pages contain a variety of external video links designed to enhance the content and the lessons. To view, click on the Magic Mirror. 2 SYNOPSIS USING THE LESSONS RESOURCES AND CREDITS TABLE OF CONTENTS Section 1 BEHIND THE SCENES – The Making of Shrek The Musical Section 2 LET YOUR FREAK FLAG FLY Section 2 Lessons Section 3 THE PRINCE AND THE POWER Section 3 Lessons Section 4 A FAIRY TALE FOR A NEW GENERATION Section 4 Lessons Section 5 IT ENDS HERE! - THE POWER OF PROTEST Section 5 Lessons 3 Act I Once Upon A Time. .there was a little ogre named Shrek whose parents sat him down to tell him what all little ogres are lovingly told on their seventh birthday – go away, and don’t come back. That’s right, all ogres are destined to live lonely, miserable lives being chased by torch-wielding mobs who want to kill them. So the young Shrek set off, and eventually found a patch of swampland far away from the world that despised him. Many years pass, and the little ogre grows into a very big ogre, who has learned to love the solitude and privacy of his wonderfully stinky swamp (Big Bright Beautiful World.) Unfortunately, Shrek’s quiet little life is turned upside down when a pack of distraught Fairy Tale Creatures are dumped on his precious land. Pinocchio and his ragtag crew of pigs, witches and bears, lament their sorry fate, and explain that they’ve been banished from the Kingdom of Duloc by the evil Lord Farquaad for being freakishly different from everyone else (Story Of My Life.) Left with no choice, the grumpy ogre sets off left to right Jacob Ming-Trent to give that egotistical zealot a piece of his mind, and to Adam Riegler hopefully get his swamp back, exactly as it was. -
2019 Silent Auction List
September 22, 2019 ………………...... 10 am - 10:30 am S-1 2018 Broadway Flea Market & Grand Auction poster, signed by Ariana DeBose, Jay Armstrong Johnson, Chita Rivera and others S-2 True West opening night Playbill, signed by Paul Dano, Ethan Hawk and the company S-3 Jigsaw puzzle completed by Euan Morton backstage at Hamilton during performances, signed by Euan Morton S-4 "So Big/So Small" musical phrase from Dear Evan Hansen , handwritten and signed by Rachel Bay Jones, Benj Pasek and Justin Paul S-5 Mean Girls poster, signed by Erika Henningsen, Taylor Louderman, Ashley Park, Kate Rockwell, Barrett Wilbert Weed and the original company S-6 Williamstown Theatre Festival 1987 season poster, signed by Harry Groener, Christopher Reeve, Ann Reinking and others S-7 Love! Valour! Compassion! poster, signed by Stephen Bogardus, John Glover, John Benjamin Hickey, Nathan Lane, Joe Mantello, Terrence McNally and the company S-8 One-of-a-kind The Phantom of the Opera mask from the 30th anniversary celebration with the Council of Fashion Designers of America, designed by Christian Roth S-9 The Waverly Gallery Playbill, signed by Joan Allen, Michael Cera, Lucas Hedges, Elaine May and the company S-10 Pretty Woman poster, signed by Samantha Barks, Jason Danieley, Andy Karl, Orfeh and the company S-11 Rug used in the set of Aladdin , 103"x72" (1 of 3) Disney Theatricals requires the winner sign a release at checkout S-12 "Copacabana" musical phrase, handwritten and signed by Barry Manilow 10:30 am - 11 am S-13 2018 Red Bucket Follies poster and DVD, -
T H E P Ro G
Wednesday, March 8, 2017, at 8:30 pm m a r g The Songs of Elizabeth Swados o featuring Utkarsh Ambudkar, Michael Friedman, r Josie de Guzman, Karen Kandel, Taylor Mac, P Grace McLean, AnnMarie Milazzo, Rachel Stern, and Shaina Taub e h T Kris Kukul, Musical Director and Piano Matthew Dean Marsh, Associate Musical Director and Keyboards This evening’s program is approximately 75 minutes long and will be performed without intermission. Please make certain all your electronic devices are switched off. Major support for Lincoln Center’s American Songbook is provided by Amy & Joseph Perella. Endowment support provided by Bank of America This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Steinway Piano The Appel Room Jazz at Lincoln Center’s Frederick P. Rose Hall American Songbook Additional support for Lincoln Center’s American Songbook is provided by Meg and Bennett Goodman, Rita J. and Stanley H. Kaplan Family Foundation, Inc., The DuBose and Dorothy Heyward Memorial Fund, Jill & Irwin B. Cohen, The Shubert Foundation, Great Performers Circle, Chairman’s Council, and Friends of Lincoln Center. Public support is provided by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. American Airlines is the Official Airline of Lincoln Center Nespresso is the Official Coffee of Lincoln Center NewYork-Presbyterian is the Official Hospital of Lincoln Center Artist catering provided by Zabar’s and Zabars.com UPCOMING AMERICAN SONGBOOK EVENTS IN THE APPEL ROOM: Thursday, March 9, at 8:30 pm Tanya Tagaq Friday, March 10, at 8:30 pm José González Saturday, March 11, at 8:30 pm An Evening with Kristen & Bobby Lopez IN THE STANLEY H. -
Recommended Talking Points
RECOMMENDED TALKING POINTS “What is SHREK THE MUSICAL?” The official title of the show is SHREK THE MUSICAL. SHREK THE MUSICAL is an entirely new musical based on the story and characters from William Steig’s book Shrek!, as well as the Oscar® winning DreamWorks Animation film Shrek, the first chapter of the Shrek movie series. SHREK THE MUSICAL looks backwards at all the fairy tale traditions we grew up on: a hero (a big, green, ill-tempered ogre), a beautiful princess (who is not all she appears to be), and a dastardly villain (with some obvious shortcomings) and takes great fun turning all their storytelling conventions upside-down and inside-out (and on their ear). “How did the musical come about?” Sam Mendes, the British director and producer, was a big fan of the first film, and he suggested the idea of creating a musical to DreamWorks’ Jeffrey Katzenberg, around the time the second film was in production. Now, the musical is being produced by DreamWorks Theatricals (Bill Damaschke, President) and Neal Street Productions, Ltd (principals Sam Mendes and Caro Newling). “How does the new musical fit into the Shrek pantheon?” The story of the musical follows the events and characters of the first Shrek feature film, which won the first-ever Academy Award® for Best Animated Feature. In SHREK THE MUSICAL, the creative team will go deeper into the background and story of Shrek, Princess Fiona, Donkey and the lovable collection of everyone’s favorite Fairy-Tale characters. SHREK THE MUSICAL will feature a completely original score by one the theatre’s most eclectic composers, Jeanine Tesori, working in theatre today. -
Online Versions of the Handouts Have Color Images & Hot Urls September
Online versions of the Handouts have color images & hot urls September 6, 2016 (XXXIII:2) http://csac.buffalo.edu/goldenrodhandouts.html Sam Wood, A NIGHT AT THE OPERA (1935, 96 min) DIRECTED BY Sam Wood and Edmund Goulding (uncredited) WRITING BY George S. Kaufman (screenplay), Morrie Ryskind (screenplay), James Kevin McGuinness (from a story by), Buster Keaton (uncredited), Al Boasberg (additional dialogue), Bert Kalmar (draft, uncredited), George Oppenheimer (uncredited), Robert Pirosh (draft, uncredited), Harry Ruby (draft uncredited), George Seaton (draft uncredited) and Carey Wilson (uncredited) PRODUCED BY Irving Thalberg MUSIC Herbert Stothart CINEMATOGRAPHY Merritt B. Gerstad FILM EDITING William LeVanway ART DIRECTION Cedric Gibbons STUNTS Chuck Hamilton WHISTLE DOUBLE Enrico Ricardi CAST Groucho Marx…Otis B. Driftwood Chico Marx…Fiorello Marx Brothers, A Night at the Opera (1935) and A Day at the Harpo Marx…Tomasso Races (1937) that his career picked up again. Looking at the Kitty Carlisle…Rosa finished product, it is hard to reconcile the statement from Allan Jones…Ricardo Groucho Marx who found the director "rigid and humorless". Walter Woolf King…Lassparri Wood was vociferously right-wing in his personal views and this Sig Ruman… Gottlieb would not have sat well with the famous comedian. Wood Margaret Dumont…Mrs. Claypool directed 11 actors in Oscar-nominated performances: Robert Edward Keane…Captain Donat, Greer Garson, Martha Scott, Ginger Rogers, Charles Robert Emmett O'Connor…Henderson Coburn, Gary Cooper, Teresa Wright, Katina Paxinou, Akim Tamiroff, Ingrid Bergman and Flora Robson. Donat, Paxinou and SAM WOOD (b. July 10, 1883 in Philadelphia, Pennsylvania—d. Rogers all won Oscars. Late in his life, he served as the President September 22, 1949, age 66, in Hollywood, Los Angeles, of the Motion Picture Alliance for the Preservation of American California), after a two-year apprenticeship under Cecil B. -
You Can't Take It With
Insights A Study Guide to the Utah Shakespeare Festival You Can’t Take It with You The articles in this study guide are not meant to mirror or interpret any productions at the Utah Shakespeare Festival. They are meant, instead, to be an educational jumping-off point to understanding and enjoying the plays (in any production at any theatre) a bit more thoroughly. Therefore the stories of the plays and the interpretative articles (and even characters, at times) may differ dramatically from what is ultimately produced on the Festival’s stages. Insights is published by the Utah Shakespeare Festival, 351 West Center Street; Cedar City, UT 84720. Bruce C. Lee, communications director and editor; Phil Hermansen, art director. Copyright © 2011, Utah Shakespeare Festival. Please feel free to download and print Insights, as long as you do not remove any identifying mark of the Utah Shakespeare Festival. For more information about Festival education programs: Utah Shakespeare Festival 351 West Center Street Cedar City, Utah 84720 435-586-7880 www.bard.org. Cover photo: Michael Thomas Holmes (left) and Laurie Birmingham in You Can’t Take It with You, 1995. Contents You Can’tInformation Take on theIt Play with You Synopsis 4 Characters 5 About the Playwright 6 Scholarly Articles on the Play Happy Lunacies 7 Still Speaking to Audiences 9 Utah Shakespeare Festival 3 351 West Center Street • Cedar City, Utah 84720 • 435-586-7880 Synopsis: You Can’t Take It with You The Vanderhof family at the center of You Can’t Take It with You is a collection of cheerful and erratic (yet lovable) incompetents. -
Tackling Challenging Issues in Shakespeare for Young Audiences
Shrews, Moneylenders, Soldiers, and Moors: Tackling Challenging Issues in Shakespeare for Young Audiences DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Elizabeth Harelik, M.A. Graduate Program in Theatre The Ohio State University 2016 Dissertation Committee: Professor Lesley Ferris, Adviser Professor Jennifer Schlueter Professor Shilarna Stokes Professor Robin Post Copyright by Elizabeth Harelik 2016 Abstract Shakespeare’s plays are often a staple of the secondary school curriculum, and, more and more, theatre artists and educators are introducing young people to his works through performance. While these performances offer an engaging way for students to access these complex texts, they also often bring up topics and themes that might be challenging to discuss with young people. To give just a few examples, The Taming of the Shrew contains blatant sexism and gender violence; The Merchant of Venice features a multitude of anti-Semitic slurs; Othello shows characters displaying overtly racist attitudes towards its title character; and Henry V has several scenes of wartime violence. These themes are important, timely, and crucial to discuss with young people, but how can directors, actors, and teachers use Shakespeare’s work as a springboard to begin these conversations? In this research project, I explore twenty-first century productions of the four plays mentioned above. All of the productions studied were done in the United States by professional or university companies, either for young audiences or with young people as performers. I look at the various ways that practitioners have adapted these plays, from abridgments that retain basic plot points but reduce running time, to versions incorporating significant audience participation, to reimaginings created by or with student performers. -
Andy Truschinski Jessie Mueller
Sara Bareilles, Pam MacKinnon, Toshiko Mori, Jessie Nelson, and Diane Paulus Honorary Co-Chairs and The Gala Committee and Jefrey R. Gural, Chairman & Susan Bernfield, President and the A.R.T./New York Board of Directors Welcome You to the honoring Jessie Mueller & Andy Truschinski Joe Solway & Arup Director / Choreographer Terry Berliner Associate Director / Choreographer T.J. Newton Lyricists Music Director & Pianist Timothy Huang & Sara Wordsworth Arri Lawton Simon Lighting Designer Production Stage Manager Kirk Fitzgerald Jeromy Hunt Drums Bass Jacob Colin Cohen Andrew Franklin O'Connor Award Presenters Pam MacKinnon / Elaine Molinar / Diane Paulus Host Julie Halston April 11, 2016 / Tribeca Rooftop (2 Desbrosses Street) 6:00 PM Cocktails 7:00 PM Dinner & Program Dear Friends: in Brooklyn and Manhattan. Earlier in the month, we held a cash flow loan closing ACT ONE On behalf of the Board of Directors, the at the ofce and gave testimony at a City Scene 1: Welcome Back Gala Committee, and our Honorary Co- Council hearing urging a $40 million Scene 2: Opening Remarks Chairs, Sara Bareilles, Pam MacKinnon, increase to the Department of Cultural Scene 3: Our Donors: A Love Song Toshiko Mori, Jessie Nelson, and Diane Afairs’ budget. Our honorees Jessie Scene 4: Ain’t Mishearin’: A Musical Paulus, I am thrilled to welcome you to the Mueller and Andy Truschinski have helped A.R.T./New York 2016 Spring Gala! We are us in our quest to advocate for increased Tribute to Joe Solway & Arup delighted to present gifted actors Jessie cultural funding, and their public service Scene 5: Presentation of The Kathy and Mueller and Andy Truschinski with The and dedication to ensuring that the next Howard J. -
Programming; Providing an Environment for the Growth and Education of Theatre Professionals, Audiences and the Community at Large
NOVEMBER 2012 November 17 - December 29 Dr. Seuss Properties TM & (c) 1957 and 2012 Dr. Seuss Enterprises, L.P. All Rights Reserved. Welcome to Welcome to Whoville! We are pleased to be addressing you jointly for the very first time as we launch a new chapter in the history of The Old Globe. We look forward to honoring and building upon this theatre’s cherished traditions by creating extraordinary theatre for you. DOUG GATES No Globe tradition is more beloved than our annual Managing Director Michael G. Murphy with recently appointed production of Dr. Seuss’ How the Grinch Stole Artistic Director Barry Edelstein. Christmas! We celebrate its 15th Anniversary this year, a milestone that would not have been possible without the support of one very special person. For more than three decades, Audrey Geisel has been close to the heart of The Old Globe, providing support through her kindness, warm smile, charming wit and great generosity. She is a champion of the arts in this community, serving as philanthropist, advocate and leader for many institutions. The production that you see today is on our stage thanks to Theodor Geisel’s creativity and Audrey’s vision and most sincere friendship. Tens of thousands of children have come to know live theatre through the Grinch, and we are grateful to Audrey that each year we are able to mount this production and introduce more young people to this magical art form. We are so proud that for the last 15 years, our audiences have made The Old Globe part of their holiday celebrations. -
Ahmanson Theatre
AHMANSON THEATRE 1967-68 PREMIERE SEASON 1968-69 SEASON “More Stately Mansions” “Captain Brassbound’s Conversion” by Eugene O’Neill; by George Bernard Shaw; Starring Ingrid Bergman, Arthur Hill Starring Greer Garson, and Colleen Dewhurst; Darren McGavin, Jim Backus, Paul Directed by José Quintero. Ford, John Williams, George Rose (American Premiere). and Tony Tanner; September 12 - October 21, 1967. Directed by Joseph Anthony. “The Happy Time” September 24 - November 9, 1968. Book by N. Richard Nash; “Love Match” Based on the play by Samuel A. Book by Christian Hamilton; Taylor and the book by Robert L. Music by David Shire; Fontaine; Music by John Kander; Lyrics by Richard Maltby Jr.; Lyrics by Fred Ebb; Starring Patricia Routledge, Starring Robert Goulet and Michael Allinson and Hal Linden; David Wayne; Directed and choreographed by Directed and choreographed by Danny Daniels. Gower Champion. (World Premiere). (World Premiere). November 19, 1968 - January 4, 1969. November 13 - December 23, 1967. The Royal Shakespeare Company in The Royal Shakespeare Company in “Dr. Faustus” “As You Like It” by Christopher Marlowe; by William Shakespeare; Directed by Clifford Williams. Directed by David Jones. “Much Ado About Nothing” “The Taming of the Shrew” by William Shakespeare; by William Shakespeare; Directed by Trevor Nunn. Directed by Trevor Nunn. January 14 - March 1, 1969. January 2 - February 10, 1968. “Rosencrantz and Guildenstern Are Dead” “Catch My Soul” by Tom Stoppard; Words by William Shakespeare; Starring Brian Murray and Music by Ray Pohlman; George Backman; Starring William Marshall, Jerry Lee Directed by Derek Goldby. Lewis and Julienne Marie; March 11 - April 26, 1969. -
London Ew N The
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SARAH HARTMANN DIRECTOR [email protected] |SDC| Manager: Donna Destefano, Sirensong Entertainment
SARAH HARTMANN DIRECTOR [email protected] |SDC| Manager: Donna DeStefano, SirenSong Entertainment Directing nd Anastasia (upcoming) Ahrens/Flaherty/McNally, orig.dir Tresnjak 2 National Tour The Beethoven Project (upcoming) Beethoven, text by Sarah Hartmann Phoenix Symphony Orchestra Die Zauberflöte Mozart Dubuque Symphony Orchestra Star-Crossed Lovers Shakespeare/Gounod/Prok./Tchai. Cheyenne Symphony Orchestra The Revolutionists Lauren Gunderson Playhouse On Park *Winner, CT Critics Circle Award, Best Ensemble Millennial Pink Falcon Katie Hathaway Tisch School of the Arts Star-Crossed Lovers Shakespeare/Gounod/Prok./Tchai. Dubuque Symphony Orchestra Stand By* Helen Cespedes The Juilliard School Music & Drama Concert Shakespeare/Mendelssohn/Tchaikovsky Dubuque Symphony Orchestra The Play’s the Thing Shakespeare, Adapted by Sarah Hartmann Folger Library First Folio Tour, WY Rust* Zachary Weed The New School The How and the Why Sarah Treem Shaker Bridge Theater Boxed* Allison Holcomb Tisch School of the Arts Frankenstein Mary Shelley, Adapted by Sarah Hartmann Chautauqua Theater Company The Birdwatchers Simon James, Adapted by Sarah Hartmann Chautauqua Theater Company Bird, Tree, and Garden Plays Various Chautauqua Theater Company The Hitch-Hiker Lucille Fletcher UC Santa Barbara Dracula Bram Stoker, Adapted by Sarah Hartmann Chautauqua Theater Company The Giant Carrot Jan Peck, Adapted by Sarah Hartmann Chautauqua Theater Company Greyhound Will Snider Player’s Theatre Home * Lydia Blaisdell Dramatist’s Guild Associate/Assistant Directing (Select) Anastasia dir. Darko Tresnjak Broadway Anastasia dir. Darko Tresnjak First National Tour nd A Gentleman’s Guide to Love and Murder dir. Peggy Hickey, orig dir. Darko Tresnjak 2 National Tour Le Nozze di Figaro dir. David Paul Charlottesville Opera Kiss Me, Kate dir.