~Lagfhll CO M PANIES INC

Total Page:16

File Type:pdf, Size:1020Kb

~Lagfhll CO M PANIES INC January 2001 BAMcinematek 2001 Spring Season BAM Spring Season sponsor: PH I L I P MORRIS ~lAGfHll CO M PANIES INC. That little black bag you've seen all over town ... it's Macy's Visitors Center's free* gift to you! Downtown, midtown, uptown... Macy's tote bag and backpack just seem to be part of the New York scene! How can you get one? Just bring this ad to the Visitors Center on the 34th Street Balcony, along with your current receipt for any Macy's Herald Square purchase of $35 or more, it's yours, lutely free! BAI\11 StagPhill Contents • January 2001 Threehundredsomething 8 The Glyndebourne production of Leos Janacek's The Makropulos Case, directed by Nikolaus Lehnoff, comes to BAM. By Tom Sutcliffe Jacobean Mayhem 22 John Webster's bloody The White Devil is staged at BAM by the Sydney Theatre Mike Hoban Company and Gale Edwards. By Bryce Hallett Program 17 Upcoming Events 46 BAMdirectory 54 Robert McFarlane BA 1\11 Co\LAr Arti't Andres Serrano was born in New York City in 1950 and studied art at the Brooklyn Museurn Art School from 1967 to 1969. His artworks have been exhibited in galleries and institutions around the world. He has had numerous one-person exhibitions including "Body and Soul," a traveling exhibition seen in Norway, Germany, and England, and mid-career retro­ spectives at The Institute of Contemporary Art/Philadelphia and the Groninger Museum/The Netherlands. His photographs have been included in many group shows, with recent exhibitions at the Aldrich Museum of Contemporary Art/Ridgefield, Connecticut; New Museum of Contemporary Art/New York City; the Serpentine Art Gallery/London; and the Victoria & Albert Museum/London. He is represented by Paula Cooper Gallery, New York City. Andres Serrano Hooded Warbler II, 2000 20' X 24' Courtesy Paula Cooper Gallery, New York For BAMart information, contact Deborah Bowie at 718.636.4111 x380. 4 Table for two. Courtesy of Nextel. WI RELESS INTERNET SERVICES You receive a two-way text message from your broker saying, "Stock doubled. Congratulations.· After a short preprogrammed reply of "Wow, • you go to your MSN Hotmail account and email friends. "Can't make the game, something's come up. • NEX TEL DIRECT CONNECT• Using the digital. two-way radio feature, you ask your assistant to call Roberto and reserve the best table in the house. DIGITAL CELLULAR You call your wife and invite her to celebrate. BUSINESS JUST GOT EASI ER . THANKS TO NEXTEL'S WIRELESS INTERNET SERVICES, YOU HAVE EVEN MORE WAYS TO KEEP YOU CONNECTED TO THE CRITICAL INFORMATION YOU NEED TO DO BUSINESS SETTER AND FASTER. More ways than anyone to communicate with everyone."' Nextel phones are manufactured by Motorola, Inc. Nextel. How business gets done. 1-800-NEXTEL 9 nextel.com Check for Nextel Online availability in your area. You can use Nextel Online anywhere in your Nextel Direct Connect service area. To sign up for Nextel Online services, you must also have Nextel digital cellular service. Plus series phones purchased prior to 12/1/99 may require a free software upgrade to take full advantage of Nextel Online. For more details, v1sit your local Nextel service center or go to nextel.com for a list of service centers near you. ©2000 Nextel Communications, Inc. All rights reserved. Nextel, the Nextel logo, Nextel Direct Connect, Nextel Online, and How business gets done are trademarks and/or service marks of Nextel Communications, Inc. MOTOROLA, The Stylized M Logo and all other trademarks indicated as such herein are trademarks of Motorola, Inc. Reg. U.S. Pat. & Tm. Off. Alf other product names and services are the property of their respective owners. Promo: NXNY00-1 06-263 JOSEPH VOLPE ROCKWELL BLAKE Master of Ceremonies STEPHANIE BLYTHE GREGORY lURAY DWAYNE CROFT 2000 Richard Tucker Award Winner MARCELLO GIORDAN I PAUL GROVES JULIUS RUDEL JENNIFER LARMORE Conductor APRILE MILLO MEMBERS OF THE PATRICIA RACETTE METROPOLITAN OPERA ORCHESTRA SAMUEL RAMEY RUTH ANN SWENSON THE NEW YORK CHORAL SOCIETY DOLORA ZAJICK Sunday, February 4, 2001 at 7:00pm Avery Fisher Hall, Lincoln Center GALA TICKETS: S750 per person, including post-performance Artists' Dinner Performance only: Orchestra S3 50, S175 and S100 For information or to reserve tickets, phone the Foundation at 212/757-2218 The Richard Tucker Music Foundation is a non-profit organization founded in 1975 to perpetuate the memory of America's greatest tenor through projects in support of gifted young American opera singers. ADVERTISING Senior SJIC"s Dirt:ctor Frede rick W. Becker Ill (Northeast) Senior SJ.Ics Director Sandra Ourusoff (Northeast) Senior SJ.ks Director Me lissa Smith (West} Sales Direnor .Jeff Diskin (Northeast) Sales Dirccror Ed Meisner (Northeast) ~~A~f81U S.llcs Director Kimberly Goldberg (Northeast) Fred 8 . Tarter Gerry Byrne SOllcs Director .Jack Sackle y (Midwest) Ch.tirman President/CEO SJ.lf.-s Director Christine Tye (Northern California) Sales Director Lisa Covert (Washington, D.C.) Wayne P. Roche Sal1.-s Betsy Guglck (Southwest) Publiihcr Sales Karen Teegarden & Associates (Detroit) SJ.I<S Bentz & Maddock (Southeast) Chief f'inmcial Officer JeffNy M. Arboit Regional S:a.lcs M:anJgcrs Carol Brumm (St. Louis ), F..xecuti,·e Vice President. Thomas t..pointe (New Yortc:), Dorothy Hine (Atlanta), Corpor.uc Dc:vc:lopmcnt Robert Lilley Andrea Mallory (Chicago), Lee Churchman (Philadelphia) Crc.ui,·c ~-c-lopment OiKctor J..C Su.res MARKETING ART & EDITORIAl Director of M:art.cting Jackie Snyder Editor in crucf/Scnior V.r., Venues John lstel Marketing Assoc:iuc Jill Britton F...recutivc &htorjV.P., Venue! Robert Sandia Man.eting Coord.in,.tor Jim S.ggellnk Senior .Managing Editor Tricla Maher-Miller Muteting Desig.ncr Karen Hefntz·Marron Associ.nc ManJging editor Ben Mattison Public Rduion~ Maury Rogoff Senior &litor Robert HIHerty ADMINISTRATION A.~i.uc Editor A.ncty Buck Oim:tor of Human Raoun.""O ;md AdnurusU"Jtivc Senices Janmarfe Tracey AssociJte Editor, Special ProJ«U Belinda Yong ChicfTcclmolOS) Officer George Wortey Art Director Claudia Snipes A.ssisu.m Conuollt'r Howard Kass man Gr:aphic De.sig.ucr K e ..er Thibert Exccuri,·c A.~ist:mt tO the President/CEO Jttfy luen Digjr.tJ Imaging Allct. QU Adl'crtising CoordinJtor Robert Padovano Contributing Photosnpher .Jill Kremenb Credit Manager Loretta DoiMw PROGRAMS Accounts Pay:~blc Flora Gist Man.1.ging Editor Katherine Hughes Sa.lcs Mist.uns Sally Mendonca, Ellen Planthaber, Senior Progr.un Editor Lfaa Yel on Corle Zlnaane,....n, Nicole Ross (L.A.) ProgrJm Editon. .J. Adams Holman, Claire Mangan Office Assisum Jorge Sou Assist.un ProgrJm Editors Will Nolan , Susan Yudt Editorial Assist.uu Jake Qoahert PRODUCTION STAGEBILL is published monthly in Atlanta, Chicago, New York, Production DirectOr Maude Popkin San Francisco, Southern California, and Washington, D.C. Other StagebiJI ManufJcturing Dire(tOr Wil liam Marin editions are published in Dallas, Detroit, Houston, Philildelphia, and St. Senior Production Manager Kathy Copeland Louis. Copyright 2001 StagebiU, Inc. All rights reserved. Printed in USA. Producrion Manager Gillian J. Moran 144 East 44th Strt.'et, Nt'w York, N.Y., 10017 (212) 476-0640 (ax: (212) Tr:affic Coordimnor Catherine Endy 983-5975 www.atageblll.com Secured acquisition financing. Financed an aquarium and a golf course. Enabled a S10 million foreign currency purchase. Lowered interest costs with Bankers' Acceptances. Helped maximize investments via Controlled Disbursement. Opened an asset-based line of credit. Provided working capital to a swimwear company. Used tax-free bond financing to lower a mortgage rate. Integrated 3 banking services into 1 operation. Mastered the art of customer focus. All part of the job for an EAB Relationship Manager. 1-888-0NLY EAB Member ABN AMRO Group EAB. There's a reason people bank here~ All mortgage products offered through EAB Mortgage Company, Inc., a wholly owned subsidiary of EAB. C>2000 EAB: M ember FDIC. Equal Opportun;ty Lender. www.eab.com Glorified at Glyndebourne, Composers Leos Janacek and Benjamin Britten both tackled stories and ideas that had scarcely been ex­ Nikolaus Lehnoff's production of plored by opera before. While Britten concentrated The Makropulos Case--Leas on the theme of the sexual outsider (drawing on his life experience), Janacek explored the realms of fem­ Janacek's brilliant meditation on inism and religion, driven by his sympathy for those like himself whom life (and the ancient rules of the mortality and morality-comes Church) had cheated of the fundamental experience to BAM. By Tom Sutcliffe of love. The Czech composer's marriage was a wasteland (however much his poor wife wished to sustain it), and his transfiguration after he met his Anjua Silja in The Makropulos Case beloved soul mate, Kamila Stosslova, clearly ac­ Photo by Mike Hoban counts for the extraordinary creative flourish of his 8 WHY. HOW. I n t r 0 d U C i n g A C u r a M D X . We saw the path of least resistance, then took a sharp left. The 240-hp MDX delivers more p ower and p erformance than just about any luxury SUV in its class. So, if you're combing snowy backroads in Breckenridge, you'll enjoy all of its creature comforts. And you'll be able to ta ckle almost any terrain, thanks to a revolutionary VTM-4'" electronic 4WD system. Where to next? Taking the SUV to a place it's never b een before. ® ACURA ~ t i>X hith Trumng J•l\\klll~l' 1huwn .\1ura. \IDX <nd VT\1 ~ :n~· tns. d,~m.trk uf Hund& \fntor C<, l.1d. \1Air.t' iln int.·lli,t:••nt did~wn. AlwJin la\ten your •r at I) IL C> :.WOO :\cur.a D1\N•Jn of Amcm:m J-f,mda \ fotur Ceo.• J n~ form mfomtation.
Recommended publications
  • Appalling! Terrifying! Wonderful! Blaxploitation and the Cinematic Image of the South
    Antoni Górny Appalling! Terrifying! Wonderful! Blaxploitation and the Cinematic Image of the South Abstract: The so-called blaxploitation genre – a brand of 1970s film-making designed to engage young Black urban viewers – has become synonymous with channeling the political energy of Black Power into larger-than-life Black characters beating “the [White] Man” in real-life urban settings. In spite of their urban focus, however, blaxploitation films repeatedly referenced an idea of the South whose origins lie in antebellum abolitionist propaganda. Developed across the history of American film, this idea became entangled in the post-war era with the Civil Rights struggle by way of the “race problem” film, which identified the South as “racist country,” the privileged site of “racial” injustice as social pathology.1 Recently revived in the widely acclaimed works of Quentin Tarantino (Django Unchained) and Steve McQueen (12 Years a Slave), the two modes of depicting the South put forth in blaxploitation and the “race problem” film continue to hold sway to this day. Yet, while the latter remains indelibly linked, even in this revised perspective, to the abolitionist vision of emancipation as the result of a struggle between idealized, plaintive Blacks and pathological, racist Whites, blaxploitation’s troping of the South as the fulfillment of grotesque White “racial” fantasies offers a more powerful and transformative means of addressing America’s “race problem.” Keywords: blaxploitation, American film, race and racism, slavery, abolitionism The year 2013 was a momentous one for “racial” imagery in Hollywood films. Around the turn of the year, Quentin Tarantino released Django Unchained, a sardonic action- film fantasy about an African slave winning back freedom – and his wife – from the hands of White slave-owners in the antebellum Deep South.
    [Show full text]
  • Simon Gleeson
    SIMON GLEESON TRAINING Western Australian Academy of Performing Arts – Graduate 1998 THEATRE Morning Melodies Simon Gleeson-Australia’s Leading Man Performer Arts Centre Australia Bring Him Home Performer Promac Productions Australia An Ideal Husband Sir Robert Chiltem Melbourne Theatre Company Dir : Dean Bryant Oklahoma! Curly McLain The Production Company Dir : Chris Parker Witches Performer Working Arts Productions The Classics : Broadway – Composers of the 21st Century Performer City of Stonnington APO NYE Concert 2017 Performer Australian Philharmonic Orchestra Spirit of Christmas 2017 Performer Queensland Performing Arts Centre Hay Fever Richard Greatham Melbourne Theatre Company Dir: Lee Lewis Les Misérables Jean Valjean Cameron Macintosh Ltd London Curtains Lieutenant Frank Cioffi The Production Company Dir: Roger Hodgman Les Misérables Jean Valjean Cameron Macintosh Australia Dir: Laurence Connor & James Powell Rupert Ensemble Kennedy Centre, Washington DC Rupert Ensemble Melbourne Theatre Co Dir: Lee Lewis Chess Anatoly (The Russian) The Production Company Dir: Gale Edwards Love Never Dies Raoul Gustave Stage Productions Dir: Simon Phillips Starting Here Starting Now Man Manilla Street Productions Dir: Andrew Macbean Imagine This Adam New London Theatre, West End Dir: Timothy Sheader Certified Male Howard Edinburgh Festival Dir: Glynn Nicholas The Silver Lake Severin Wexford Festival Dir: Keith Warner Southwark Fair Angus Royal National Theatre, London Dir: Nicholas Hytner lisa mann creative management pty ltd telephone: +61
    [Show full text]
  • Finding Aid to the Historymakers ® Video Oral History with Melvin Van Peebles
    Finding Aid to The HistoryMakers ® Video Oral History with Melvin Van Peebles Finding Aid to The HistoryMakers ® Video Oral History with Melvin Van Peebles Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: Van Peebles, Melvin Title: The HistoryMakers® Video Oral History Interview with Melvin Van Peebles, Dates: September 9, 2006 Bulk Dates: 2006 Physical Description: 4 Betacam SP videocassettes (1:41:17). Abstract: Actor, film director, fiction writer, and playwright Melvin Van Peebles (1932 - ) is best known for his 1971 independent film, Sweet Sweetback's Baadasssss Song, which has been credited with helping start Hollywood's Blaxploitation era in the 1970s. He has also written novels and two Broadway plays, and acted in several films. Van Peebles was interviewed by The HistoryMakers® on September 9, 2006, in New York, New York. This collection is comprised of the original video footage of the interview. Identification: A2006_100 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Filmmaker, author, and actor Melvin Van Peebles was born on August 21, 1932, in Chicago, Illinois. Growing up during World War II, he spent his adolescence with his father, a tailor. Van Peebles graduated from Township High School in Phoenix, Illinois, in 1949 and spent a year at West Virginia State College before transferring to Ohio Wesleyan University where he earned his B.A. degree in English literature in 1953. During the late 1950s, Van Peebles served three and a half years as a flight navigator in the United States Air Force.
    [Show full text]
  • Spectacle, Masculinity, and Music in Blaxploitation Cinema
    Spectacle, Masculinity, and Music in Blaxploitation Cinema Author Howell, Amanda Published 2005 Journal Title Screening the Past Copyright Statement © The Author(s) 2005. The attached file is posted here with permission of the copyright owner for your personal use only. No further distribution permitted. Please refer to the journal's website for access to the definitive, published version. Downloaded from http://hdl.handle.net/10072/4130 Link to published version http://www.latrobe.edu.au/screeningthepast/ Griffith Research Online https://research-repository.griffith.edu.au Spectacle, masculinity, and music in blaxploitation cinema Spectacle, masculinity, and music in blaxploitation cinema Amanda Howell "Blaxploitation" was a brief cycle of action films made specifically for black audiences in both the mainstream and independent sectors of the U.S. film industry during the early 1970s. Offering overblown fantasies of black power and heroism filmed on the sites of race rebellions of the late 1960s, blaxploitation films were objects of fierce debate among social leaders and commentators for the image of blackness they projected, in both its aesthetic character and its social and political utility. After some time spent as the "bad object" of African-American cinema history,[1] critical and theoretical interest in blaxploitation resurfaced in the 1990s, in part due to the way that its images-- and sounds--recirculated in contemporary film and music cultures. Since the early 1990s, a new generation of African-American filmmakers has focused
    [Show full text]
  • Blaxploitation and the Cinematic Image of the South
    Antoni Górny Appalling! Terrifying! Wonderful! Blaxploitation and the Cinematic Image of the South Abstract: The so-called blaxploitation genre – a brand of 1970s film-making designed to engage young Black urban viewers – has become synonymous with channeling the political energy of Black Power into larger-than-life Black characters beating “the [White] Man” in real-life urban settings. In spite of their urban focus, however, blaxploitation films repeatedly referenced an idea of the South whose origins lie in antebellum abolitionist propaganda. Developed across the history of American film, this idea became entangled in the post-war era with the Civil Rights struggle by way of the “race problem” film, which identified the South as “racist country,” the privileged site of “racial” injustice as social pathology.1 Recently revived in the widely acclaimed works of Quentin Tarantino (Django Unchained) and Steve McQueen (12 Years a Slave), the two modes of depicting the South put forth in blaxploitation and the “race problem” film continue to hold sway to this day. Yet, while the latter remains indelibly linked, even in this revised perspective, to the abolitionist vision of emancipation as the result of a struggle between idealized, plaintive Blacks and pathological, racist Whites, blaxploitation’s troping of the South as the fulfillment of grotesque White “racial” fantasies offers a more powerful and transformative means of addressing America’s “race problem.” Keywords: blaxploitation, American film, race and racism, slavery, abolitionism The year 2013 was a momentous one for “racial” imagery in Hollywood films. Around the turn of the year, Quentin Tarantino released Django Unchained, a sardonic action- film fantasy about an African slave winning back freedom – and his wife – from the hands of White slave-owners in the antebellum Deep South.
    [Show full text]
  • Transcript a Pinewood Dialogue with Melvin And
    TRANSCRIPT A PINEWOOD DIALOGUE WITH MELVIN AND MARIO VAN PEEBLES Legendary maverick Melvin Van Peebles is a novelist, composer, and filmmaker who has also worked in television, popular music, and theater. After spending the 1960s in Paris, he returned to the United States and made the groundbreaking 1971 film Sweet Sweetback’s Baadasssss Song . The stunning box-office success of this subversive and sexy film paved the way for filmmakers such as Mario Van Peebles, who directed New Jack City and Panther . Mario paid tribute to his father with his 2003 movie Baadasssss ; in this lively discussion, Van Peebles père et fils share a lifetime of experience and a playful father-son rivalry. A Pinewood Dialogue following a screening of course, when I made my first films, I went down to Sweet Sweetback’s Baadasssss Song , Hollywood and they offered me a job, but as an moderated by Chief Curator David Schwartz elevator operator. I said, “No, I don’t want—I want (May 8, 2004): to really be in front of the camera or doing creative things.” And that was—they offered me a job as a SCHWARTZ : Please welcome Melvin and Mario Van dancer. Peebles. (Applause) Anyway, long story short, I went to Holland. Melvin, your first experience in Hollywood was Through another fluke that’s too long to go into doing comedies. Of course, you did Watermelon here, my short films that had been turned down in Man . I guess you were with Universal for a while; Hollywood were seen in France, and France invited you were signed on.
    [Show full text]
  • Dogs in Space Music Credits
    THE BANDS 'Dogs in Space' 'Whirlywirld' Edward Clayton-Jones Arnie Hanna Michael Hutchence David Hoy Chuck Meo Johnn Murphy Nique Needles Ollie Olsen Glenys Osborne 'Too Fat To Fit Through the Door' 'Thrush and the C...S' Marcus Bergner Denise Grant Marie Hoy Marie Hoy John Murphy Danila Stirpe James Rogers Jules Taylor Ollie Olsen 'Primitive Calculators' 'Marie Hoy & Friends' Terry Dooley Marie Hoy Denise Grant Loki Stuart Grant Tim Millikan David Light John Murphy Ollie Olsen Musical Director Ollie Olsen Strange Noises John Murphy Music Research Bruce Milne Music Recorded at Richmond Recorders by Tony Cohen Music mixed at A.A.V. by Ross Cockle "Rooms for the Memory" Remixed by Nick Launay 'Shivers Video Clip' directed by Paul Goldman and Evan English 3RRR I.D. Written & Produced by Martin Armiger Sung by Jane Clifton THE MUSIC 'Dog Food' Performed by Iggy Pop, James Osterman Music (BMI), Administered by Bug Music Group, (P) 1980, Arista Records Inc., Courtesy of Arista Records 'Frankie Teardrop' Courtesy of Stamphyl Revega 'Dogs in Space' Written by Sam Sejavka and Mike Lewis 'Win/Lose' Written by Ollie Olsen, Performed by Whirlywirld, Courtesy of Missing Link Records 'True Love' Performed by The Marching Girls, Courtesy of Missing Link Records 'Sky Saw' Written by Brian Eno, Courtesy of E.G. Records Ltd. and E.G. Music Ltd. 'Skullbrains' Written by Marcus Bergner and Marie Hoy 'Shivers' Written by Roland S. Howard, Performed by Boys Next Door Courtesy of Mushroom Records 'Diseases' Composed by Thrush and The C...s 'Pumping Ugly Muscle' Composed by The Primitive Calculators 'Window to the World' Written by Ollie Olsen, Performed by Whirlywirld 'Happy Birthday' and 'Mr.
    [Show full text]
  • Studies in Contemporary Australian Film Music Sydney: Australian Film Television and Radio School, 1998 ISBN 1 876 35100 4, Pp
    Reviews 87 Sweethearts of Rhythm, while not being an overtly feminist book or expressly placed by its author in a feminist tradition, ends on an indisputably feminist note. At the end of Chapter Four, Dreyfus confronts the issue of the sex discrimination which is evident in the lives, attitudes and events covered in all the chapters. The confrontation is brief but important. Women both benefitted from being women in a men's world, where they were a novelty, and suffered from their situation, especially from the projections of masculine sexual wishful thinking, not to mention the scornful denigration which some men felt the urge to express. Dreyfus implies that the male dominance of the music profession which continues even today means that there is a need for the inspiration provided by knowledge of intrepid women musicians of the past. I find this book extremely informative and very pleasing. The times of all-girls bands are brought alive for the reader by the inclusion of well-chosen quotations from musicians, managers and the media, as well as by quantities of photographs, newspaper cuttings and programmes scattered over the pages. Sometimes the effect can be a little confusing, as one searches for the appropriate caption to an illustration, but there is also a certain charm of authenticity about the pages that resemble those of a private scrapbook or photo album. While being popular in tone rather than 'musicological,' Sweethearts of Rhythm is well researched and the research is well documented, especially in the footnotes which are clear, concise and accurate. The Select Bibliography is less satisfying, not as regards content, but as regards accuracy in the section entitled 'Books and Chapters in Books.' This section is riddled with inconsistencies in the use of capitals in book titles.
    [Show full text]
  • Senate Standing Committee on Environment and Communications
    Senate Standing Committee on Environment and Communications Answers to Senate Estimates Questions on Notice Supplementary Budget Estimates Hearings October 2012 Broadband, Communications and the Digital Economy Portfolio Australian Broadcasting Corporation Question No: 139 Program No. ABC Hansard Ref: Page 73 Topic: Mr Loewenstein Senator Abetz asked: Mr Scott: … I should point out that Mr Loewenstein is not an employee of the ABC. As you pointed out, he has appeared as a guest on our programs, but he is not an employee. Senator ABETZ: But he gets paid a fee from time to time for those appearances? Mr Scott: I would have to check on that. I do not know… Senator ABETZ: It was within the week of that column that the ABC took that decision. Compare Mr Milne's column to Mr Lowenstein's offensive comment, which remained in the ether for five weeks before an apology was finally dragged out of him. Is the ABC willing to continue to have Mr Loewenstein appear as a credible panellist on its programs? Mr Scott: That decision was made, I think, at the editorial level of Insiders. The first I have become aware of this incident was this afternoon. I can take that question on notice, but I understand this was a very offensive statement made— Answer: Antony Loewenstein is a freelance journalist, blogger and author and has appeared as a guest and commentator from time to time on various ABC Radio networks. In 2012 he has appeared on triple j’s Hack and Sunday Night Safran, on Radio National on Common Knowledge, on 702 ABC Sydney Afternoons and on 105.7 ABC Darwin Afternoons.
    [Show full text]
  • Australian Film Productions, 1990-2016
    AUSTRALIAN FILM PRODUCTIONS, 1990-2016 TITLE PRODUCTION CO. PRODUCERS SCRIPT DIRECTOR DOP PROD DESIGNER COSTUME DESIGN EDITOR SOUND DESIGN $9.99 * Feature (A) 2007 Sherman Pictures/Lama Amir Harel, Emile Etgar Keret, Tatia Tatia Rosenthal Susan Stitt Melinda Doring Caroline Sherman Dany Cooper Christopher Bowen Productions Ltd Sherman Rosenthal 02:37:00 * Feature 2005 Moon On A Stick Nick Matthews Murali K Thalluri Murali K Thalluri Nick Matthews Jeni Lee Murali K Thalluri, Mark Tschanz Productions Nick Matthews 10 TERRORISTS * Feature Andrea Buck, Dee Dee McLachlan, Dee McLachlan Peter Falk Jill Johanson Sam Davies, Doron Kipen 2011 McLachlan Lenny de Vries Dee McLachlan 100 BLOODY ACRES * Kate Croser, Julie Cameron Cairnes, Cameron Cairnes, Colin John Brawley Tony Cronin Chloe Spalding Joshua Waddell Emma Bortignon Feature 2012 Ryan, Bryce Menzies, Colin Cairnes Cairnes Jonathan Page 1001 NIGHTS * Teleseries 1001 Nights Productions Dan Fill, Frank Andrew Kunzel, Stephen 2016 Pty Ltd Verheggen, Luke Bristow Jurevicius, Melissa Sheldrick 13 GANTRY ROW * Robert Bruning Robert Bruning Tony Morphett Catherine Millar Mark Wareham Michael Bridges Jackline Sassine Mark Perry Chris Neal Telemovie 1998 Productions Pty Ltd 15 AMORE * Feature 1998 MTXM Movies Maurice Murphy, Brooke Maurice Murphy Maurice Murphy John Brock Emma Hamilton Lawes Kate Walker Dana Hughes Carlo Giacco Wilson 1500 STEPS * Feature Peter Cameron, Maurine Maureen Gibbons Josh Reid Daniel Kajardi Kate Bailey Kate Bailey Daniel Kajardi Luke Topic 2012 Gibbons, Josh Reid 2:22
    [Show full text]
  • Annual Report 2001–2002 Australian Film Television and Radio School Annual Report 2001– 2002
    AUSTRALIAN FILM TELEVISION AND RADIO SCHOOL ANNUAL REPORT 2001–2002 AUSTRALIAN FILM TELEVISION AND RADIO SCHOOL ANNUAL REPORT 2001– 2002 A Commonwealth Government Initiative Australian Film Television and Radio School Cnr Epping and Balaclava Roads North Ryde NSW 2113 PO Box 126, North Ryde NSW 1670 Tel +61 (0)2 9805 6611 Fax +61 (0)2 9887 1030 [email protected] http://www.aftrs.edu.au http://www.aftrs.edu.au/school/reports.html State Offices and Representatives Queensland Judith Wright Centre of Contemporary Arts Level 2, Cnr Brunswick and Berwick Streets PO Box 1480 Fortitude Valley Qld 4006 Tel +61 (0)7 3257 7646 Fax +61 (0)7 3257 7641 [email protected] Contact: Alex Daw South Australia 3 Butler Drive Hendon SA 5014 Tel +61 (0)8 8244 0357 Fax +61 (0)8 8244 5608 [email protected] Contact: Ann Walton Tasmania 5 Trumpeter Street Battery Point Tas. 7004 Tel + 61 (0)3 6223 8703 Fax + 61 (0)3 6224 6143 [email protected] Contact: Craig Kirkwood Victoria 1st Floor, 144 Moray Street © Commonwealth of Australia 2002 PO Box 1008, South Melbourne Vic. 3205 Tel + 61 (0)3 9690 7111 ISSN 0819-2316 Fax +61 (0)3 9690 1283 [email protected] This work is copyright.Apart from any use as permitted Contact: Simon Britton under the Copyright Act 1968, no part may be reproduced by any process without earlier written Western Australia 92 Adelaide Street, Fremantle WA 6160 permission from the Commonwealth available from Tel +61 (0)8 9431 6700 AusInfo. Requests and enquiries about reproduction Fax +61 (0)8 9335 1283 and rights should be addressed to the Manager, [email protected] Legislative Services, AusInfo, GPO Box 1920, Canberra Contact:Tom Lubin ACT 2601.
    [Show full text]
  • First Folio Teacher Curriculum Guide
    First Folio Teacher Curriculum Guide Titus Andronicus by William Shakespeare directed by Gale Edwards April 3—May 20, 2007 First Folio: Teacher Curriculum Guide Table of Contents Page Number Welcome to the Shakespeare Theatre Company’s production ofTitus Andronicus A Brief History of the Audience…………………….1 by William Shakespeare! About the Playwright Each season, the Shakespeare Theatre Company On William Shakespeare…………………………………3 presents five plays by William Shakespeare and Elizabethan England……………………………………….4 other classic playwrights. The mission of all Shakespeare’s Works……………………………………….5 Education Department programs is to deepen Shakespeare’s Verse and Prose……………………..7 understanding, appreciation and connection to A Timeline of Western World Events…….……..9 classic theatre in learners of all ages. One approach is the publication of First Folio: Teacher About the Play Curriculum Guides. Synopsis of Titus Andronicus……………….…..….10 For the 2006•07 season, the Education Romans, Goths and Moors: Who’s Who in Department will publishFirst Folio: Teacher Titus Andronicus. ………………………..….….……...…11 Curriculum Guides for our productions ofAn Vengeance Is Mine: Revenge Tragedies in Enemy of the People, The Beaux’ Stratagem, Shakespeare’s Time…………….…...………………..…13 Richard III and Titus Andronicus. First Folio Blood and Gore: Staging Violence Then and Guides provide information and activities to help Now…………………………………………………………..……14 students form a personal connection to the play Code of Honor in Titus Andronicus….…….…16 before attending the production at the Shakespeare’s Symbolism……………………………17 Shakespeare Theatre Company. First Folio Guides contain material about the playwrights, their Classroom Connections world and the plays they penned. Also included Before the Performance…………………….………..18 are approaches to explore the plays and · Create a Vice Character productions in the classroom before and after · Costume Design the performance.
    [Show full text]