OLLI OUTLOOK June 2012
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2000 M.F.A., Scenic Design, Yale School of Drama 1995 B.S., Theater, Northwestern University
102 Monroe Street office: 212-618-6106 www.lukecantarella.com Brooklyn, NY 11216 mobile: 646-263-4989 e-mail: [email protected] or [email protected] education: 2000 M.F.A., Scenic Design, Yale School of Drama 1995 B.S., Theater, Northwestern University other training: School of the Art Institute, Art Students League, The Drawing Center, Columbia University (Summer Intensive in German) teaching: 2012-present Associate Professor/Pace University Head of Set Design (2013-present): Responsibilities include undergraduate teaching, course development, mentoring student designers, 1st year student advisement Head of Production and Design (2012-2013): Responsibilities include undergraduate teaching, establishing a curriculum for new BFA program in Production & Design, recruiting and retaining students, hiring and mentoring new faculty, student mentorship, production planning and budgeting. 2008-12 Assistant Professor/University of California, Irvine Head of Set Design Program: Responsibilities include teaching both graduate and undergraduate courses, curriculum design, recruiting and retaining students, mentorship, thesis reviews, production planning and budgeting scenic design: # 2015 Auctioning the Ainsleys, directed by Abigail Adams, People’s Light 56 Ted’s Talk, created and directed by David Strassman, Australian Tour 55 Good People, directed by Rob Ruggiero, TheaterWorks 54 Junie B. Jones: Essential Survival Guide to School, directed by Peter Flynn, Theaterworks USA 53 Woody Sez, directed by Nick Corley, Asolo Repertory Theater 52 The Silo Mervin vs. Butter Miriam Bible Match, directed by Sarah Krohn, Studio 42 50 2014 Fractalicious!, directed and created by Bryan Reynolds 49 Transversal Theater– 2014 Interference Festival, Cluj, Romania The Light in the Piazza, directed by Victoria Clark, Pace Performing Arts 48 Row After Row, directed by David Bradley, People’s Light 47 Woody Sez, directed by Nick Corley, People’s Light, TheaterWorks 45 The Other Place, directed by Rob Ruggiero, 44 The Repertory Theater of St. -
2000 MFA, Scenic Design, Yale School of Drama 1995 BS, Theater
Pace University office: 212-618-6106 www.lukecantarella.com 140 William Street #606 mobile: 646-263-4989 e-mail: [email protected] New York, NY 10038 or [email protected] education: 2000 M.F.A., Scenic Design, Yale School of Drama 1995 B.S., Theater, Northwestern University other training: School of the Art Institute, Art Students League, The Drawing Center, Columbia University (Summer Intensive in German) university experience: 2012-present Associate Professor/Pace University Head of Set Design (2013-2016): Responsibilities include undergraduate teaching, course development, mentoring student designers, 1st year student advisement Head of Production and Design (2012-2013): Responsibilities include undergraduate teaching, establishing a curriculum for new BFA program in Production & Design, recruiting and retaining students, hiring and mentoring new faculty, student mentorship, production planning and budgeting. 2008-12 Associate Professor/University of California, Irvine Head of Set Design Program: Responsibilities include teaching both graduate and undergraduate courses, curriculum design, recruiting and retaining students, mentorship, thesis reviews, production planning and budgeting. Tenure granted: June 2012 scenic design projects: For the following projects (plays, musicals, dances & live performance), I was in charge of designing the scenery. Responsibilities included collaborating with directors, playwrights, choreographers and other designer to analyze a text, forming design ideas, researching of visual culture, creating design documents (sketches, models, technical drawings, etc.), specifying paint colors and finishes, and the supervising assistants and fabricators including painters, carpenters, masons, furniture-makers, upholsterers and properties masters. Projects listed below show the name of the play, name of the playwright, name of the director and theater or producer. Productions in bold indicate world premieres. -
2013-14 Season Brochure
September 2013 Dear Friends and Patrons, Welcome to our 2013-14 season! The past year has seen many exciting developments, including the strengthening of relationships between the Claire Trevor School of the Arts and the Southern California community, as well as with other Schools in the university. We were honored to host the Hubbard/LINES ballet residency, which developed a collaboration that was then performed in Los Angeles’s Dorothy Chandler Pavilion and Chicago’s Harris Theater. The multimedia Sacre Project, created and debuted in our Contemporary Arts Center, went on to be replicated at the Segerstrom Center for the Arts and performed with the Pacific Symphony as part of its Rite of Spring Turns 100 concerts. We were also delighted to present a second and expanded season of the New Swan Shakespeare Festival here on the UCI campus, which played to sold out audiences and great acclaim. In addition to many other exhibitions and performances, we also vastly increased our Summer Academies in the Arts and expanded our community engagement and outreach. As part of our increased dialogue with the community, we have made a few significant changes to enhance our patrons’ experience. We will now be providing complimentary shuttle service to many events, earlier start times for weeknight drama productions, discounted parking fees for season subscribers, and partnerships with several area restaurants. The season ahead is built on this extraordinary momentum. In partnership with the Schools of Law and Humanities, we will present The Trial of Dedan Kimathi, a play written by Distinguished Professor of Comparative Literature Ngugi wa Thiong’o, which explores the complex issues of citizenship and justice. -
The Merchant of Venice Begins with the Melancholy Merchant Antonio in Venice with His Close Friend, Full‐Time Faculty: John Benitz, Don Guy (Co‐Chairs) Bassanio
Chapman University Chapman University Digital Commons Theatre Programs Theatre Productions 4-15-2016 The eM rchant of Venice Follow this and additional works at: http://digitalcommons.chapman.edu/theatre_programs Part of the Acting Commons, Other Theatre and Performance Studies Commons, and the Performance Studies Commons Recommended Citation "The eM rchant of Venice" (2016). Theatre Programs. 4. http://digitalcommons.chapman.edu/theatre_programs/4 This Program is brought to you for free and open access by the Theatre Productions at Chapman University Digital Commons. It has been accepted for inclusion in Theatre Programs by an authorized administrator of Chapman University Digital Commons. For more information, please contact [email protected]. Chapman University Department of Theatre Presents WILLIAM SHAKESPEARE’S DIRECTED BY THOMAS F. BRADAC APRIL 15-16, 23, 2016 Scenic Design: Keith Bangs Lighting Design: Don Guy Costume Design: Karen Fix Curry Original Music: William and Jennifer Georges Original Music: George Mullen Associate Director: Amanda Zarr Projection Design: Matt Eisenmann Production Stage Manager: Alina Novotny DRAMATIS PERSONAE Antonio, a prosperous Venetian merchant …… James Neal Shylock, a wealthy Jewish merchant ………….. Prof. Michael Nehring Portia, a wealthy noblewoman………………… Jordana Lilly Bassanio, a nobleman from Venice…………….. David Patty Gratiano, a notoriously vulgar Venetian and friend of Bassanio …………………………………….. Caleb Jenkins Jessica, Shylo ck ’s d aughter……………………... Shannon Corenthin Lorenzo, a Venetian and friend of Bassanio ….. Tosh Turner Nerissa, Portia’s gentlewoman and confidante. Gracie Truex Launcelot Gobbo, a clownish servant…………. Natasha Sill Salerio, a Venentian noble, friendly with Antonio …………………………………….. Luke Castor Solanio, a Venetian noble, and friend of Salerio Sara Ragey Prince of Morocco, a Moorish prince…………. -
Reimagining Creativity for the 21St Century!
Reimagining Creativity for the 21st Century! CTSA Website | Art | Dance | Drama | Music | UAG | Beall Center | Arts Outreach - Letter from the Dean Just when you thought UCI was in hibernation for the summer—here we are to surprise and stimulate you with offerings for every artistic taste— offerings that we hope will be too good to refuse. But first, let me say how excited I am to have been able to erase the “Interim” from my title and to replace it with “Actual.” I’m so deeply honored and excited at the prospect of leading the Trevor School for the next years, years during which we’ll accomplish many ambitious goals and create remarkable art. My best advice: watch this space! The month of the Crab and the Lion had much in store for you. Considered one of Irvine’s great attractions: the New Swan Shakespeare Festival productions of Hamlet and As You Like It, presented in our award-winning outdoor theatre in Aldrich Park, under the stars. Now well-established, the Swan is among the most popular summer activities at UCI—but get seats quickly: the small oval has very limited capacity and fills up very quickly. And remember that it’s not only Shakespeare you can experience there; come for mariachis, Mozart --- Mondays, outdoor preshow symposia on the plays and the productions, and much more. If you haven’t visited the Swan, you’ll be amazed at discovering CTSA’s professional theatre company, directed by Drama In This Issue: professor Eli Simon. All four of the Trevor School’s academic departments—Art, Dance, School News Drama, and Music—currently have extensive Summer Academies on campus, offering intensive and unforgettable art experiences to budding Faculty News artists and those who want to broaden their horizons. -
Welcome to the Fourth Season of New Swan Shakespeare Festival! the New Swan Is a Venue Unique to Orange County, and Indeed to the World of Theatre
Welcome to the fourth season of New Swan Shakespeare Festival! The New Swan is a venue unique to Orange County, and indeed to the world of theatre. Our 15-ton, modular mini-Elizabethan theater was a dream of UC Irvine’s Department of Drama in 1965 when the university was founded, and in the winter of 2011 this dream was brought to vivid life. Since the debut of our summer festival in 2012, we have run two classic Shakespearean plays in repertory each year, and last season debuted “Mozart Monday,” which this year has extended to a series of three Monday night music offerings in August. New Swan Shakespeare Festival is dedicated to the investigation and production of Shakespearean plays and relevant theatrical works. Shakespeare’s theatre was of and for the people, rather than an elite cultural event; similarly, we wish to share our work with the widest possible cross-section of our community. It was also driven by the desire to create a direct, egalitarian relationship between actors and audience, which is what we aim to do in our intimate, viscerally engaging venue. We want our audience to feel the emotions, actions, and texts as deeply as do New Swan actors, directors, designers, and creative and production teams. While we honor the history and classicism of Shakespeare’s works, we have no intention of producing them as museum pieces; rather, we are committed to recreating the immediacy of Shakespeare’s work, and examining it through the lens of its relevance to the 21st century. Summer 2015 brings us the Bard’s classics Macbeth and Much Ado About Nothing, in keeping with our custom of offering one tragedy and one comedy per season. -
Edward De Vere, Earl of Oxford: Touchstone to the ELR
Edward de Vere, Earl of Oxford: Touchstone to the ELR Stephanie Hopkins Hughes he solution to the Authorship Question has not been easy; were it so we T would have had an answer long ago. For one thing, so much is missing from the record that it’s been impossible to treat the issue as an ordinary problem in historiography. The gaps between mainstream socio/political history and literary history, particularly as the latter relates to the birth of the London stage and press, are simply too many and too broad to base a functional narrative on ordinary methods of fact accumulation. Beyond the obvious, that these two immensely important institutions did get born somehow and at almost exactly the same time, what facts exist are simply not sufficient to provide us with a believ- able picture of how it happened and who was involved. In such a case a different approach is necessary: first, pull back to a level where there’s enough light to see where we’re going, then fill in the gaps with educated guesswork until the scenario begins to make sense. The result has been, not just an answer to who wrote the Shakespeare canon, but a new theory of the English Literary Renaissance: who actually created it and why it’s taken us so long to piece it together. It’s been difficult to nail the Shakespeare Authorship Question primarily be- cause it has turned out to be much broader and deeper than just the identity of one writer, however important. This expanded theory requires a rather complicated book, with sufficient explanations of how the gaping gulfs where records are mis- sing occurred in the first place, and sufficient citations that readers feel secure in following where conjecture has to take the place of proof. -
V7-URTA-Directory-2020-2021.Pdf
University Resident Theatre Association Directory of Member Training Programs 2020-2021 TABLE OF CONTENTS MEMBER TRAINING PROGRAMS University of Arizona 1 Arizona State University 2 Boston University 3 Brooklyn College 4 California Institute of the Arts 5 University of California, Irvine 6 University of California, Los Angeles (UCLA) 7 California State University, Fullerton 8 California State University, Long Beach 9 University of Cincinnati College-Conservatory of Music 10 University of Connecticut 11 East 15 Acting School 12 University of Florida 13 Florida State University 14 Florida State University / Asolo Conservatory for Actor Training 15 University of Georgia 16 University of Illinois at Urbana-Champaign 17 Illinois State University 18 Indiana University 19 University of Iowa 20 Kent State University 21 Louisiana State University 22 University of Maryland 23 Michigan State University 24 University of Minnesota 25 University of Missouri-Kansas City 26 University of Nebraska-Lincoln 27 University of Nevada, Las Vegas 28 University of North Carolina at Chapel Hill 29 University of North Carolina, Greensboro 30 Northern Illinois University 31 Northwestern University 32 Ohio University 33 The Ohio State University 34 Pennsylvania State University 35 Purdue University 36 San Diego State University 37 University of South Carolina 38 Meadows School of the Arts/SMU 39 Temple University 40 University of Tennessee, Knoxville 41 University of Texas at Austin 42 Texas State University 43 University of Virginia 44 University of Washington 45 Wayne State University 46 West Virginia University 47 TABLE OF CONTENTS (continued) GUEST PROGRAMS The Case Western Reserve University/Cleveland Play House 48 ABOUT URTA 49-50 OFFER/ACCEPTANCE POLICY 51-52 URTA THANKS OUR CORPORATE SPONSORS, WHO MAKE IT POSSIBLE FOR US TO SET THE STAGE FOR PROFESSIONAL THEATRE TRAINING AND PRACTICES.