Papers of Eva Le Gallienne
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NON NOBIS, SED OMNIBUS Est Polit Ical Opposition
Page Two THE SCOP Published Monthly by Students of Notre Dama CollCQe of Staten Island Dentist - 1' m EDITORIAL STAFF afraid I'll have to IDITOll- lH-CHIIF drill. RUTH RUSHMORE ''I I The oratorical fires of the most bit he happens to be either a Democrat or Assistant Editors . Anna Mao Hubsc:h '11, Holen Hennessey '11 Patient-What's ter presidential campaign In recent Anoclete Editor..... - •. --··········-··--···-------·---·--· Muriel Rotunno '12 a Republican. It bases its line of polit the matter? Can't years have fl ickered down to glowing ical activity on a platform of slogans you fix my teeth COLUMNISTS I renc O'Leary '11 Rosemary Lcikert '12 Rosemary Altieri '12 embers and ashes. The talents of our and hysteria. The other carefully without rehearsal? Margaret Lyons ' 41 Jayne KIiroy '12 politically minded throughout the na weighs the issues at hand and, finding AMARILLO ll1P01lTl1lS tion have been turned into the chan cause for disagreement with some GLOMBUS Mary Boyle '11 Carol De Rose '12 Catherine O'Dea '13 nels of conciliation. Radio addresses, faction, states its case and offers sug Just Advice: W1n,fred Lennon ''41 Mary Hickey '12 Chorlotle Stout '43 Mary O'Connell '11 Virginia Shea ''42 Patricia Kenny '43 editorials, stump speeches; all bear gestions. If it seeks to destroy some A good line is the shortest distance Ruth Anne Schaffer '41 Helen Uieski ' 42 Johanna Shortell '43 the stamp of the dove of peace. The thing it offers a sensible alternative in between dates. Betty Decker ' '42 Marie Nevins ''43 Anne Damrau '13 necessity of unity between the par its place. -
Program Design: Tim Osborne
MATC Offi cers President: Beth Osborne, Florida State University 1st Vice President: Chris Woodworth, Hobart and William Smith Colleges 40th 2nd Vice President/Conference Coordinator: Shawna Mefferd Kelty, ANNUAL College at Plattsburgh, Mid-America Theatre Conference State University of New York Associate Conference Coordinator: March 7-10, 2019 La Donna Forsgren, Cleveland Marriott Downtown University of Notre Dame at Key Tower Cleveland, Ohio Secretary: Jennifer Goff, Virginia Tech University Treasurer: Brian Cook, Invention University of Alaska, Anchorage Theatre History Studies, the Journal of the Mid-America Theatre Conference Editor: Sara Freeman, Conference Keynote Speakers: University of Puget Sound Tami Dixon and Jeffrey Book Review Editor: Robert B. Shimko, Carpenter, University of Houston Co-founders Bricolage Production Company Theatre/Practice: The Online Journal of the Practice/Production Symposium of MATC Theatre History Symposium Editor: Jennifer Schlueter, Respondent: The Ohio State University Amy E. Hughes, www.theatrepractice.us Brooklyn College, City University of New York Website/Listserv: Travis Stern, Bradley University Playwriting Symposium Respondent: matc.us/[email protected] Lisa Langford Graduate Student Coordinators: Sean Bartley, Florida State University Shelby Lunderman, University of Washington Program Design: Tim Osborne 3 40th Mid-America Theatre Conference Symposia Co-Chairs MATC Fellows Theatre History Symposium Arthur Ballet, 1988 Shannon Walsh, Louisiana State University Jed Davis, 1988 Heidi Nees, Bowling Green State University Patricia McIlrath, 1988 Charles Shattuck, 1990 Practice/Production Symposium Ron Engle, 1993 Karin Waidley, Kenyatta University Burnet Hobgood, 1994 Wes Pearce, University of Regina Glen Q. Pierce, 1997 Julia Curtis, 1999 Playwriting Symposium Tice Miller, 2001 Eric Thibodeaux-Thompson, University of Felicia Hardison Londré, 2002 Illinois, Springfi eld Robert A. -
Horton Foote
38th Season • 373rd Production MAINSTAGE / MARCH 29 THROUGH MAY 5, 2002 David Emmes Martin Benson Producing Artistic Director Artistic Director presents the World Premiere of by HORTON FOOTE Scenic Design Costume Design Lighting Design Composer MICHAEL DEVINE MAGGIE MORGAN TOM RUZIKA DENNIS MCCARTHY Dramaturgs Production Manager Stage Manager JENNIFER KIGER/LINDA S. BAITY TOM ABERGER *RANDALL K. LUM Directed by MARTIN BENSON Honorary Producers JEAN AND TIM WEISS, AT&T: ONSTAGE ADMINISTERED BY THEATRE COMMUNICATIONS GROUP PERFORMING ARTS NETWORK / SOUTH COAST REPERTORY P - 1 CAST OF CHARACTERS (In order of appearance) Constance ................................................................................................... *Annie LaRussa Laverne .................................................................................................... *Jennifer Parsons Mae ............................................................................................................ *Barbara Roberts Frankie ...................................................................................................... *Juliana Donald Fred ............................................................................................................... *Joel Anderson Georgia Dale ............................................................................................ *Linda Gehringer S.P. ............................................................................................................... *Hal Landon Jr. Mrs. Willis ....................................................................................................... -
The Key Reporter
reporter volume xxxi number four summer 1966 NEW PROGRAMS FOR THE HUMANITIES The National Foundation on the Arts and the Humanities aspects of the program. Panels for review of proposals are celebrates its first birthday next month. One of the youngest also set up in selected fields. The Councils are obliged to make federal agencies, the Foundation was established last year by annual reports to the President for transmittal to Congress. the 89th Congress on September 16. Although legislation in Federal Council on the Arts and the Humanities support of cultural undertakings, particularly the arts, had been before Congress for some 88 years, last year was the first In order to avoid duplication of programs and with an eye to time that legislation had been introduced to benefit both the assuring maximum opportunity for cooperative activities humanities and the arts means of one independent national by the among federal government agencies, a Federal Council on foundation. That Congress voted to enact this legislative pro Arts and the Humanities was also established by Congress. gram the first time it was introduced can be attributed to strong There are nine members on the Federal Council, including the Administration backing of the proposed Foundation, biparti Secretary of the Smithsonian Institution, who serves as chair san support and sponsorship of the legislation in Congress, man. The Federal Council is authorized to assist in co and general public recognition and agreement that the national ordinating programs between the two Endowments and with government should support and encourage the humanities and related Federal bureaus and agencies; to plan and coordinate the arts. -
BACKSTORY: the CREDITS an Actor
BACKSTORY Your behind-the-scenes look at TimeLine productions YESTERDAY’S STORIES. TODAY’S TOPICS. From Artistic Director PJ Powers a message Dear Friends, that their “Person of the — can influence history is made With his blend of social classic for the ages. You just Year” was You. Me. Us. The through activism, be On behalf of TimeLine’s not only in commentary and might be surprised that the average citizen. it personal, social or entire company, I am government emotional complexity, age in which it was written political. thrilled to welcome you to Admittedly, upon first buildings and Odets revolutionized the really is not our own! our 11th season! Each year hearing that, I thought There are many complex at corporate American theater during As we usher in a second we go through a series of it was a poor excuse for issues — not the least of board tables, but in the The Depression by putting decade of making history at discussions about the issues not choosing a person of which will be a Presidential homes and workplaces of the struggles and longings TimeLine, we’re delighted and types of stories we national prominence — a election — that will demand people like you and me. of everyday citizens on the to share another Odets stage. With Paradise Lost, want explore, and this year single someone who had great thoughtfulness in the We begin our season-long play with you. With much he gives voice to those our deliberations seemed made a sizeable imprint on coming year. Each of us will conversation by revisiting to discuss, I hope our little individuals and exposes a even more extensive and issues of global importance. -
2018 Annual Report
Annual Report 2018 Dear Friends, welcome anyone, whether they have worked in performing arts and In 2018, The Actors Fund entertainment or not, who may need our world-class short-stay helped 17,352 people Thanks to your generous support, The Actors Fund is here for rehabilitation therapies (physical, occupational and speech)—all with everyone in performing arts and entertainment throughout their the goal of a safe return home after a hospital stay (p. 14). nationally. lives and careers, and especially at times of great distress. Thanks to your generous support, The Actors Fund continues, Our programs and services Last year overall we provided $1,970,360 in emergency financial stronger than ever and is here for those who need us most. Our offer social and health services, work would not be possible without an engaged Board as well as ANNUAL REPORT assistance for crucial needs such as preventing evictions and employment and training the efforts of our top notch staff and volunteers. paying for essential medications. We were devastated to see programs, emergency financial the destruction and loss of life caused by last year’s wildfires in assistance, affordable housing, 2018 California—the most deadly in history, and nearly $134,000 went In addition, Broadway Cares/Equity Fights AIDS continues to be our and more. to those in our community affected by the fires and other natural steadfast partner, assuring help is there in these uncertain times. disasters (p. 7). Your support is part of a grand tradition of caring for our entertainment and performing arts community. Thank you Mission As a national organization, we’re building awareness of how our CENTS OF for helping to assure that the show will go on, and on. -
Acting Hysteria: an Analysis of the Actress and Her Part
City University of New York (CUNY) CUNY Academic Works Dissertations, Theses, and Capstone Projects CUNY Graduate Center 1992 Acting Hysteria: An Analysis of the Actress and Her Part Lydia Stryk The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/4291 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. -
The Group Theatre: an Evaluation
The Group Theatre: an evaluation Item Type text; Thesis-Reproduction (electronic) Authors James, Barry Lee, 1945- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 29/09/2021 04:24:09 Link to Item http://hdl.handle.net/10150/554486 THE GROUP THEATRE:. AN EVALUATION Barry Lee James A Thesis Submitted to the Faculty of the DEPARTMENT OF DRAMA In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 1 9 7 3 STATEMENT BY.AUTHOR This thesis has been submitted in partial fulfillment of re quirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: APPROVAL BY THESIS DIRECTOR This thesis has been approved on the date shown below: niL WILLIAM A. LAN( Assistant Professor <£f Drama COPYRIGHTED BY BARRY LEE JAMES 1973 iii ACKNOWLEDGMENTS Gratitude is expressed to Professor Peter R e Marroney, Head of the Department of Drama, for his inspiration in the writing of this thesis. -
THE ELEANOR ROOSEVELT PROGRAM April 13, 1951 Description
THE ELEANOR ROOSEVELT PROGRAM April 13, 1951 Description: In the opening segment, ER and Elliott Roosevelt respond to a listener's question about the different commissions that are a part of the United Nations. In the interview segment, ER's guest is Shakespearean actor Maurice Evans. In a final segment, ER quotes a passage from the Declaration of Independence. Participants: ER, Elliott Roosevelt, Maurice Evans [ER:] How do you do? This is Eleanor Roosevelt speaking. It gives me great pleasure to visit with you as I do each day at this time from my living room atop the Park Sheraton Hotel overlooking New York. I'm grateful for the many encouraging letters you send me, and most happy that you find my guests both informative and entertaining as I do. Now my son Elliott, who assists me on these programs will speak to you. [Elliott Roosevelt] Yes I will Mother, thank you. Today's guest Mr. Maurice Evans [1901-1989] has brought Shakespearian plays to life for many people in many places but his role on today's program will be strictly Mr. Evans playing himself. Mrs. Roosevelt will introduce him a little later on the program but first we're going to look over the mail and also hear a message from the sponsors who make this recorded program possible. (Break 1:00-1:05) [Elliott Roosevelt:] Mother, today I have a request from Mrs. Tony Rosengarten of Point Pleasant Pennsylvania. She says she wants to learn much more from you about the United Nations, and especially about the different commissions, what is done and what could have been done. -
Paul Green Foundation
Paul Green Foundation NEWS – October 2015 Paul Green Foundation Recent NEWS ANNUAL This Body the Earth is being MEETING: adapted for the stage at November 21 Campbell University for spring 2016. Written in 1935, this is NC Botanical the tragic story of Alvin Barnes, Garden in Chapel Hill son of a tenant farmer, who dreams that someday “he’ll have a farm of his own and might gain, as well, some standing in the community – some acceptance of his worth.” Foundation’s Granting Program Paul Green and Kurt Weill’s 1936 anti-war play The Paul Green Foundation has two grant cycles a year – April 1 and October 1. In 2012, the trustees Johnny Johnson was performed in a concert decided to combine the long-standing separate adaptation in Germany. Arts and Human Rights grants programs into a single Grants program that would focus on efforts The Philharmonia Orchestra of London has to 1) uphold basic humans rights and racial requested permission to use Paul Green’s equality, 2) dramatic art and 3) literary projects. translation of Isben’s* Peer Gynt in a perform- The criteria for funding goes on to say that: ance of Peer Gynt Suite November 26 in Royal “Proposals to fund projects that combine Festival Hall, with actors speaking the parts. any of the three would be welcomed.” From A Southern Life: “In 1948 Cheryl Crawford The October Grant cycle brought in 11 (American theatre producer and director associated outstanding requests for funding. These dynamic with the Theatre Guild) began discussions with Green about adapting Peer Gynt. -
Reminds of 9/11 Tragic Situation
‘Come from Away’ reminds of 9/11 tragic situation Posted by Bob Evans BROADWAY’S TONY® AWARD-WINNING “MUST-SEE MUSICAL” (NPR) COME FROM AWAY PLAYS KANSAS CITY’S MUSIC HALL FEBRUARY 11-16, 2020 Kansas City is thrilled to announce the national tour of COME FROM AWAY, a Broadway musical about the true story of the small town that welcomed the world, will make its Kansas City debut at the Music Hall February 11-16, 2020. Tickets for COME FROM AWAY are on sale now and are available online at Ticketmaster.com, or at the Music Hall box office, at 301 W. 13th Street. Groups of 10+ call 1.866.314.7687. The touring production of COME FROM AWAY will star Marika Aubrey (Lincoln Center’s South Pacific), Kevin Carolan (Disney’s Newsies), Harter Clingman (Peter and The Starcatcher), Nick Duckart (In the Heights), Chamblee Ferguson, Christine Toy Johnson (The Music Man), Julie Johnson (Memphis), James Earl Jones II (The Gershwin’s Porgy and Bess), Julia Knitel (Beautiful), Andrew Samonsky (South Pacific), Sharone Sayegh (The Band’s Visit), Danielle K. Thomas (Avenue Q), Jenny Ashman, Jane Bunting, Amelia Cormack, Aaron Michael Ray, Kilty Reidy and Brandon Springman. With a book, music and lyrics by Tony® and Grammy Award® nominees Irene Sankoff & David Hein,COME FROM AWAY is directed by Tony Award® winner Christopher Ashley (Come From Away), musical staging by two-time Tony Award® nominee Kelly Devine(Come From Away, Rocky), with music supervision by Grammy Award® nominee Ian Eisendrath (Come From Away), scenic design by Tony Award® winner Beowulf Boritt (Act One), costume design by Tony Award® nominee Toni-Leslie James (Jelly’s Last Jam), lighting design by two-time Tony Award® winner Howell Binkley (Hamilton), sound design by Tony Award® nominee Gareth Owen (End of the Rainbow), orchestrations by Tony Award® nominee August Eriksmoen (Bright Star), music arrangements by Grammy Award® nominee Ian Eisendrath and casting by Telsey + Company. -
Finding Aid for the Gary L. Hill Broadway Theatre Guild Stage Door Collection Collection 349
Finding aid for the Gary L. Hill Broadway Theatre Guild Stage Door collection Collection 349 This finding aid was produced using ArchivesSpace on July 20, 2021. Describing Archives: A Content Standard Grand Rapids History and Special Collections 111 Library Street NE Grand Rapids, Michigan 49503 [email protected] URL: https://www.grpl.org/research/history/ Finding aid for the Gary L. Hill Broadway Theatre Guild Stage Door collection Collection 349 Table of Contents Summary Information ......................................................................................................................................... 4 Biographical / Historical ...................................................................................................................................... 4 Scope and Contents .............................................................................................................................................. 6 Administrative Information ............................................................................................................................... 6 Controlled Access Headings ............................................................................................................................... 7 Collection Inventory ............................................................................................................................................. 7 Series I. Historical & Biographical information. ......................................................................................