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Stage by Stage South Bank: 1988 – 1996
Stage by Stage South Bank: 1988 – 1996 Stage by Stage The Development of the National Theatre from 1848 Designed by Michael Mayhew Compiled by Lyn Haill & Stephen Wood With thanks to Richard Mangan and The Mander & Mitchenson Theatre Collection, Monica Sollash and The Theatre Museum The majority of the photographs in the exhibition were commissioned by the National Theatre and are part of its archive The exhibition was funded by The Royal National Theatre Foundation Richard Eyre. Photograph by John Haynes. 1988 To mark the company’s 25th birthday in Peter Hall’s last year as Director of the National October, The Queen approves the title ‘Royal’ Theatre. He stages three late Shakespeare for the National Theatre, and attends an plays (The Tempest, The Winter’s Tale, and anniversary gala in the Olivier. Cymbeline) in the Cottesloe then in the Olivier, and leaves to start his own company in the The funds raised are to set up a National West End. Theatre Endowment Fund. Lord Rayne retires as Chairman of the Board and is succeeded ‘This building in solid concrete will be here by the Lady Soames, daughter of Winston for ever and ever, whatever successive Churchill. governments can do to muck it up. The place exists as a necessary part of the cultural scene Prince Charles, in a TV documentary on of this country.’ Peter Hall architecture, describes the National as ‘a way of building a nuclear power station in the September: Richard Eyre takes over as Director middle of London without anyone objecting’. of the National. 1989 Alan Bennett’s Single Spies, consisting of two A series of co-productions with regional short plays, contains the first representation on companies begins with Tony Harrison’s version the British stage of a living monarch, in a scene of Molière’s The Misanthrope, presented with in which Sir Anthony Blunt has a discussion Bristol Old Vic and directed by its artistic with ‘HMQ’. -
Brian Stokes Mitchell Outside at the Colonial
Press Contacts: Katie B. Watts Press Manager (413) 448-8084 x15 [email protected] Becky Brighenti Director of Marketing & Public Relations (413) 448-8084 x11 [email protected] For immediate release, please: Monday, July 20 at 10am Berkshire Theatre Group Announces An Intimate Performance with Two-time Tony Award-winner Brian Stokes Mitchell to Benefit Berkshire Theatre Group and a Portion of Sales to go to The Actors Fund and Black Theatre United Pittsfield, MA – Berkshire Theatre Group (BTG) and Kate Maguire (Artistic Director, CEO) are excited to announce two-time Tony Award-winner Brian Stokes Mitchell in an intimate performance and fundraiser to benefit Berkshire Theatre Group. In this very special one-night-only concert, Brian Stokes Mitchell will deliver an unforgettable performance to an audience of less than 100 people, outside under a tent at The Colonial Theatre on Labor Day Weekend, September 5 at 8pm. Dubbed “the last leading man” by The New York Times, Tony Award-winner Brian Stokes Mitchell has enjoyed a career that spans Broadway, television, film, and concert appearances with the country’s finest conductors and orchestras. He received Tony, Drama Desk, and Outer Critics Circle awards for his star turn in Kiss Me, Kate. He also gave Tony-nominated performances in Man of La Mancha, August Wilson’s King Hedley II, and Ragtime. Other notable Broadway shows include: Kiss of the Spider Woman, Jelly’s Last Jam, Women on the Verge of a Nervous Breakdown and Shuffle Along. In 2016 he was awarded his second Tony Award, the prestigious Isabelle Stevenson Tony for his Charitable work with The Actors Fund. -
A Strange Loop
A Strange Loop / Who we are Our vision We believe in theater as the most human and immediate medium to tell the stories of our time, and affirm the primacy and centrality of the playwright to the form. Our writers We support each playwright’s full creative development and nurture their unique voice, resulting in a heterogeneous mix of as many styles as there are artists. Our productions We share the stories of today by the writers of tomorrow. These intrepid, diverse artists develop plays and musicals that are relevant, intelligent, and boundary-pushing. Our plays reflect the world around us through stories that can only be told on stage. Our audience Much like our work, the 60,000 people who join us each year are curious and adventurous. Playwrights is committed to engaging and developing audiences to sustain the future of American theater. That’s why we offer affordably priced tickets to every performance to young people and others, and provide engaging content — both onsite and online — to delight and inspire new play lovers in NYC, around the country, and throughout the world. Our process We meet the individual needs of each writer in order to develop their work further. Our New Works Lab produces readings and workshops to cultivate our artists’ new projects. Through our robust commissioning program and open script submission policy, we identify and cultivate the most exciting American talent and help bring their unique vision to life. Our downtown programs …reflect and deepen our mission in numerous ways, including the innovative curriculum at our Theater School, mutually beneficial collaborations with our Resident Companies, and welcoming myriad arts and education not-for-profits that operate their programs in our studios. -
Overture to Candide Leonard Bernstein Did You Know?
nothing good about them, like violence, Did You Know? shipwrecks, or the Spanish Inquisition. • Less than two months before Candide’s In its initial Broadway run, in 1956–57, Broadway opening, Bernstein was named Candide played for 73 performances — Co-Principal Conductor of the New York hardly a stunning success — and Bernstein Philharmonic, alongside Dimitri Mitropoulos. would go on to alter the piece, again and • The Overture was heard in the Philharmon- again, for later revivals. Through all of ic’s historic 2008 performance in North Ko- the show’s transformations, the rollicking rea, when it was played without a conduc- Overture remained essentially untouched. tor, a tradition first adopted in tribute to Bernstein after his death. Born in Brooklyn, Aaron Copland polished his composing technique in France but and neighborly friendship. This expanse has returned home to establish what became found more success than the opera overall, recognized as a profoundly American sound, and it is often performed in a choral setting a musical language rich in folk inflections the composer prepared, with multiple voices and wide-open harmonies that proved irre- rendering each line. sistible to imitators. Copland’s Rodeo was also a stage work — His 1953 opera The Tender Land is a fine a ballet choreographed by Agnes de Mille, example of the lyrical aspect of Copland’s who said: Americana. Set in the 1930s, it tells the tale of Laurie, a teenager who is about to graduate It is not an epic, or the story of pioneer con- from high school and yearns for experiences quest. -
“Kiss Today Goodbye, and Point Me Toward Tomorrow”
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Missouri: MOspace “KISS TODAY GOODBYE, AND POINT ME TOWARD TOMORROW”: REVIVING THE TIME-BOUND MUSICAL, 1968-1975 A Dissertation Presented to The Faculty of the Graduate School At the University of Missouri In Partial Fulfillment Of the Requirements for the Degree Doctor of Philosophy By BRYAN M. VANDEVENDER Dr. Cheryl Black, Dissertation Supervisor July 2014 © Copyright by Bryan M. Vandevender 2014 All Rights Reserved The undersigned, appointed by the dean of the Graduate School, have examined the dissertation entitled “KISS TODAY GOODBYE, AND POINT ME TOWARD TOMORROW”: REVIVING THE TIME-BOUND MUSICAL, 1968-1975 Presented by Bryan M. Vandevender A candidate for the degree of Doctor of Philosophy And hereby certify that, in their opinion, it is worthy of acceptance. Dr. Cheryl Black Dr. David Crespy Dr. Suzanne Burgoyne Dr. Judith Sebesta ACKNOWLEDGEMENTS I incurred several debts while working to complete my doctoral program and this dissertation. I would like to extend my heartfelt gratitude to several individuals who helped me along the way. In addition to serving as my dissertation advisor, Dr. Cheryl Black has been a selfless mentor to me for five years. I am deeply grateful to have been her student and collaborator. Dr. Judith Sebesta nurtured my interest in musical theatre scholarship in the early days of my doctoral program and continued to encourage my work from far away Texas. Her graduate course in American Musical Theatre History sparked the idea for this project, and our many conversations over the past six years helped it to take shape. -
Classics 3: Program Notes Overture to Candide Leonard Bernstein Born in Lawrence, Massachusetts, August 25, 1918
Classics 3: Program Notes Overture to Candide Leonard Bernstein Born in Lawrence, Massachusetts, August 25, 1918; died in New York, October 14, 1990 After collaborating on The Lark, a play with incidental music about Joan of Arc, Leonard Bernstein and Lillian Hellman turned their attention in 1954 to Voltaire’s novella Candide. They thought it the perfect vehicle to make an artistic statement against political intolerance in American society, just as Voltaire had done in eighteenth-century France. After bringing in poet Richard Wilbur to write the lyrics, they worked intermittently on Candide for two years. Enormous amounts of money were spent on the production, which opened in Boston on October 29, 1956. Though many critics called it brilliant, the production failed financially; after moving to New York in December, it was shut down after just seventy-three performances. Everyone had someone to blame, but many thought it failed because of audience confusion about its hybrid nature—was it an opera, operetta, or a musical? Leonard Bernstein: celebrating his The story revolves around the illegitimate Candide, who centennial loves and is loved in return by Cunegonde, daughter of nobility. They are plagued by myriad disasters, which lead them from Westphalia to Lisbon, Paris, Cadiz, Buenos Aires, Eldorado, Surinam, and finally Venice, where they are united at last. Bernstein’s often witty, sometimes tender music has been considered the work’s greatest asset, both in the initial failed production and in later successful versions. The Overture, possibly Bernstein’s most frequently performed piece, perfectly captures the mockery and satire as well as the occasional introspective moment of Voltaire’s masterful creation. -
The Pulitzer Prizes 2020 Winne
WINNERS AND FINALISTS 1917 TO PRESENT TABLE OF CONTENTS Excerpts from the Plan of Award ..............................................................2 PULITZER PRIZES IN JOURNALISM Public Service ...........................................................................................6 Reporting ...............................................................................................24 Local Reporting .....................................................................................27 Local Reporting, Edition Time ..............................................................32 Local General or Spot News Reporting ..................................................33 General News Reporting ........................................................................36 Spot News Reporting ............................................................................38 Breaking News Reporting .....................................................................39 Local Reporting, No Edition Time .......................................................45 Local Investigative or Specialized Reporting .........................................47 Investigative Reporting ..........................................................................50 Explanatory Journalism .........................................................................61 Explanatory Reporting ...........................................................................64 Specialized Reporting .............................................................................70 -
JOSEPH SCHMIDT Musical Direction By: EMILY BENGELS Choreography By: KRISTIN SARBOUKH
Bernards Township Parks & Recreation and Trilogy Repertory present... 2021 Produced by: JAYE BARRE Directed by: JOSEPH SCHMIDT Musical Direction by: EMILY BENGELS Choreography by: KRISTIN SARBOUKH Book by THOMAS MEEHAN Music by CHARLES STROUSE Lyrics by MARTIN CHARNIN Original Broadway production directed by MARTIN CHARNIN. Based on “Little Orphan Annie.” By permission of Tribune Content Agency, LLC. ANNIE is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are supplied by MTI. www.MTIShows.com This production is dedicated to the memory of beloved Trilogy Repertory member Chris Winans who gave of his time and spirit for many years and in many performances. Chris was a valued member of our Trilogy family and will be greatly missed. Summer, 2021 Dear Residents and Friends of the Community, Good evening and welcome to the Bernards Township Department of Parks and Recreation’s 34th season of Plays in the Park. So many of you enjoy and look forward to the plays year after year. I am excited that the Township brings this tradition free to the public for all to enjoy. Bernards Township proudly sponsors this event and substantially subsidizes the budget because we recognize the importance of keeping performing arts alive. It is truly wonderful that these productions are here, under the stars, in Pleasant Valley Park. Bernards Township offers many opportunities to enjoy family outings such as Plays In The Park. You can stay current on all our special events by visiting our website at www.bernards.org. There you will find information on the wide variety of programs we offer. -
Colonial Concert Series Featuring Broadway Favorites
Amy Moorby Press Manager (413) 448-8084 x15 [email protected] Becky Brighenti Director of Marketing & Public Relations (413) 448-8084 x11 [email protected] For Immediate Release, Please: Berkshire Theatre Group Presents Colonial Concert Series: Featuring Broadway Favorites Kelli O’Hara In-Person in the Berkshires Tony Award-Winner for The King and I Norm Lewis: In Concert Tony Award Nominee for The Gershwins’ Porgy & Bess Carolee Carmello: My Outside Voice Three-Time Tony Award Nominee for Scandalous, Lestat, Parade Krysta Rodriguez: In Concert Broadway Actor and Star of Netflix’s Halston Stephanie J. Block: Returning Home Tony Award-Winner for The Cher Show Kate Baldwin & Graham Rowat: Dressed Up Again Two-Time Tony Award Nominee for Finian’s Rainbow, Hello, Dolly! & Broadway and Television Actor An Evening With Rachel Bay Jones Tony, Grammy and Emmy Award-Winner for Dear Evan Hansen Click Here To Download Press Photos Pittsfield, MA - The Colonial Concert Series: Featuring Broadway Favorites will captivate audiences throughout the summer with evenings of unforgettable performances by a blockbuster lineup of Broadway talent. Concerts by Tony Award-winner Kelli O’Hara; Tony Award nominee Norm Lewis; three-time Tony Award nominee Carolee Carmello; stage and screen actor Krysta Rodriguez; Tony Award-winner Stephanie J. Block; two-time Tony Award nominee Kate Baldwin and Broadway and television actor Graham Rowat; and Tony Award-winner Rachel Bay Jones will be presented under The Big Tent outside at The Colonial Theatre in Pittsfield, MA. Kate Maguire says, “These intimate evenings of song will be enchanting under the Big Tent at the Colonial in Pittsfield. -
The 2009 Lotte Lenya Competition First Round
The 2009 Lotte Lenya Competition Lauren Worsham’s recent credits include Sophie in Master Class (Pa- permill Playhouse), Clara in The Light in the Piazza (Chamber Version - Kilbourn Hall, Eastman School of Music Weston Playhouse), Cunegonde in Candide (New York City Opera), Jerry Springer: The Opera (Carnegie Hall), Olive in The 25th Annual Putnam Saturday, 18 April 2009 County Spelling Bee (First National Tour). New York workshops/readings: Mermaid in a Jar, Le Fou at New Georges, The Chemist's Wife at Tisch, Mir- ror, Mirror at Playwright's Horizons, and Now I Ask You at Provincetown First Round Playhouse. Graduate of Yale University, 2005. Thanks for all the love and support from Bryan and Management 101. Most importantly, I owe it all to my amazing family. Proud member AEA! www.laurenworsham.com The Kurt Weill Foundation for Music, Inc. administers, promotes, and perpetuates the legacies of Kurt Weill and Lotte Lenya. It encourages broad dissemination and appreciation of Weill’s music through support of performances, productions, recordings, and scholarship; it fosters understanding of Weill’s and Lenya’s lives and work within diverse cultural contexts; and, building upon the legacies of both, it nurtures talent, particularly in the creation, performance, and study of musical theater in its various manifestations and media. Established in 1998 by the Kurt Weill Foundation for Music, the Lotte Lenya Competition provides a unique opportunity for talented young singer/actors to show their versatility in musical theater repertoire ranging from opera/operetta to contemporary Broadway, with Competition Administration, for the Kurt Weill Foundation: a focus on the varied works of Kurt Weill. -
The Enduring Power of Musical Theatre Curated by Thom Allison
THE ENDURING POWER OF MUSICAL THEATRE CURATED BY THOM ALLISON PRODUCTION SUPPORT IS GENEROUSLY PROVIDED BY NONA MACDONALD HEASLIP PRODUCTION CO-SPONSOR LAND ACKNOWLEDGEMENT Welcome to the Stratford Festival. It is a great privilege to gather and share stories on this beautiful territory, which has been the site of human activity — and therefore storytelling — for many thousands of years. We wish to honour the ancestral guardians of this land and its waterways: the Anishinaabe, the Haudenosaunee Confederacy, the Wendat, and the Attiwonderonk. Today many Indigenous peoples continue to call this land home and act as its stewards, and this responsibility extends to all peoples, to share and care for this land for generations to come. CURATED AND DIRECTED BY THOM ALLISON THE SINGERS ALANA HIBBERT GABRIELLE JONES EVANGELIA KAMBITES MARK UHRE THE BAND CONDUCTOR, KEYBOARD ACOUSTIC BASS, ELECTRIC BASS, LAURA BURTON ORCHESTRA SUPERVISOR MICHAEL McCLENNAN CELLO, ACOUSTIC GUITAR, ELECTRIC GUITAR DRUM KIT GEORGE MEANWELL DAVID CAMPION The videotaping or other video or audio recording of this production is strictly prohibited. A MESSAGE FROM OUR ARTISTIC DIRECTOR WORLDS WITHOUT WALLS Two young people are in love. They’re next- cocoon, and now it’s time to emerge in a door neighbours, but their families don’t get blaze of new colour, with lively, searching on. So they’re not allowed to meet: all they work that deals with profound questions and can do is whisper sweet nothings to each prompts us to think and see in new ways. other through a small gap in the garden wall between them. Eventually, they plan to While I do intend to program in future run off together – but on the night of their seasons all the plays we’d planned to elopement, a terrible accident of fate impels present in 2020, I also know we can’t just them both to take their own lives. -
Master Class Faculty
VIRTUAL MASTER CLASS FACULTY Sunday, January 24th VOICE | THEATER | BUSINESS SKILLS NANCY ANDERSON “Advice From a Pro” *please come with a song prepared and a recorded track. Students may have the opportunity to coach their song. Nancy Anderson is a 20-year veteran singer, actor and dancer of Broadway, Off-Broadway and regional stages. Last year Anderson understudied Glenn Close in the Broadway revival of “Sunset Boulevard” followed by a Helen Hayes nominated performance as Gladys in “The Pajama Game” at Arena Stage in Washington, D.C. She made her Broadway debut as Mona in “A Class Act,” played the roles of Helen and Eileen in the Broadway revival of “Wonderful Town” and starred as Lois/Bianca in the national tour and West End premiere of Michael Blakemore’s and Kathleen Marshall’s Broadway revival of “Kiss Me Kate,” for which she received Helen Hayes and Olivier Award nominations. Great Performances audiences are familiar with her London debut as Lois/Bianca, which was filmed for PBS in 2002 as well as her featured performance in the Carnegie Hall concert of “South Pacific” starring Reba McIntyre and Brian Stokes Mitchell. Other television appearances include Madame Secretary (The Middle Way, “Alice”) and PBS’s Broadway: The American Musical as the voice of Billie Burke. Anderson is a three-time Drama Desk Award Nominee; in 2000 for best supporting actress as eight female roles in Jolson & Co., in 2006 for best leading actress in Fanny Hill and in 2017 for Best Solo Performance in the one-woman musical “The Pen.” She has thrice been nominated for the Helen Hayes Award: in addition to last year’s “The Pajama Game,” she was also nominated for her role in “Side by Side by” Sondheim at Signature Theatre in 2011.