Jared Brown Collection of Biographical Sources
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Bangor Publishing Company
Blue Hill's 'Forum' fulfills longing for summertime laughs Thursday, July 17, 2008 - Bangor Daily News Summer, especially summer in Maine, is for laughter. In offering up "A Funny Thing Happened on the Way to the Forum," the New Surry Theatre not only recognizes but also honors this notion in its production that opened Friday and runs weekends through Aug. 16. The company’s production at the Blue Hill Town Hall Theater of the 1962 musical that earned Stephen Sondheim the first of many Tony Awards is a delicious way to spend a summer evening. The local talent serves up a show that’s a step above the usual community theater fare thanks to the tight direction of Bill Raiten and marvelous mugging of lead actor Michael Reichgott. "Forum" is loosely based on three comedies by the Roman playwright Plautus and tells the story of the Herculean efforts by the slave Pseudolus to earn his freedom from Hero, his young master. The only things standing in his way are courtesans, soldiers, long-lost children, a virgin and a fellow slave. Reichgott, who is a newcomer to Maine and the theater company, seems to channel Zero Mostel and Nathan Lane, who played the role on Broadway in 1962 and 1996, respectively. He hams it up colossally, always stepping up to but never crossing that thin line that divides hysterically funny from grossly crass. The actor is equally adept at the physical comedy, the double-entendres and belting the role requires. Reichgott wrings every drop of humor from the part and throwing himself into his character’s big numbers — "Comedy Tonight," "Free" and "Everybody Ought to Have a Maid." He is nearly matched by Christopher Candage as Hero and Jim Fisher as Hysterium, his fellow slave. -
C:\Docume~1\Johnkn~1
WHAT’S ON? ACROSS THE GLOBE (Professional companies in red amateur in black) America & Canada Blithe Spirit 3 to 5 Mar 2004 Crofton House School, Vancouver, BC JANUARY 20 to 30 Dec 2003 University Players, University of Windsor, Windsor, Ontario 2003 Mar to Apr 2004 Denver Center, Denver, CO Jul to Aug Atlantic Thr. Co., Wolfville, Nova Scotia Jun to Aug Purple Rose Thr., Chelsea, Mich. Sep to Oct Utah (more information to follow...) Hay Fever 20 Nov to 13 Dec Grand Prairie Live Theatre, Grand Prairie, Alberta 24 Jun to 31 Aug Utah Shakespeare Festival in Cedar City, Utah, USA. “Cocktails and Sept.-Oct Pacific Repertory Thr., Carmel, CA IN THIS ISSUE Come Into the Garden Maud Oct 9, Nov 3, & Dec 8. Food for Thought Productions, National Arts Club, NYC Laughter...” Page 1 - Steve Ross at Pizza- Tel: (212) 362-2560 STEVE ROSS You are invited to a Very Special On-The-Park Design For Living 5 to 13 Feb 2004 Amicus Productions Toronto, Ontario Page 2 Ten Chimneys - The Evening on Fallen Angels 18 to 31 Jan 2004 Bramalea Live Theatre, Brampton, Ontario Sequel st Present Laughter 2 Mar to 1 Nov Oregon Shakespeare Festival in Ashland OR. www.orshakes.org Saturday 31 Page 3 A Magical Day At Ten Private Lives 4 to 21 Febr Tribal Productions Inc. Thornhill, Ontario Chimneys 21 to 30 Aug Weston Playhouse in Weston, Vermont January, 2004. Page 5 Home Movies 20 to 30 Dec University of Windsor, School of Drama and Arts, Windsor, ON Page 6 Mary Ellis - The Sep to Nov Globe Thr., Regina, Saskatchewan., Canada, ; Missing Bits of the Obits. -
Robert Mulligan
CINÉMA RETROUVÉ | Robert Mulligan Robert Mulligan Des ombres à la lumière Jean-Pierre Coursodon Un des cinéastes les plus sous-estimés de sa génération, Robert En 1956, un producteur débutant, Alan Pakula, acquiert les Mulligan a souvent été jugé avec une réticence pouvant aller droits de l’autobiographie du base-balleur Jim Piersall, choisit jusqu’au souverain mépris d’un Jacques Rivette qui le traita, comme réalisateur Mulligan, homme de télévision dont ce sera en 1963, de « laborieux director »1. Une quarantaine d’années le premier lm, et comme vedette le jeune Anthony Perkins, plus tard, Le Monde, dans sa nécrologie, ressortait l’étiquette dont ce troisième rôle est le premier en vedette pour le grand passe-partout « honnête artisan hollywoodien ». Aux États-Unis écran. Le résultat est l’excellent Fear Strikes Out (Prisonnier de le lm de Mulligan le plus fameux est Du silence et des ombres la peur, titre français qui dit le contraire de l’original, « Victoire (To Kill a Mockingbird ), mais il n’a pas tiré le cinéaste d’une sur la peur » serait plus exact), où Perkins est remarquable semi-obscurité dont il n’est sorti que sporadiquement et de dans le rôle du jeune sportif que les e orts obsessionnels d’un manière éphémère. père abusif pour faire de lui une vedette nissent par mener à « Honnête » et « laborieux » artisan, Mulligan a pourtant la dépression nerveuse. On en oublie la réalisation appliquée construit une œuvre cohérente et personnelle, dont il est facile (mais non dé ciente) : Mulligan trouve ici les personnages et d’énumérer les thèmes, tropes et préférences : enfants ou ado- situations qu’il reprendra dans la plupart de ses lms majeurs. -
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. -
73Rd-Nominations-Facts-V2.Pdf
FACTS & FIGURES FOR 2021 NOMINATIONS as of July 13 does not includes producer nominations 73rd EMMY AWARDS updated 07.13.2021 version 1 Page 1 of 20 SUMMARY OF MULTIPLE EMMY WINS IN 2020 Watchman - 11 Schitt’s Creek - 9 Succession - 7 The Mandalorian - 7 RuPaul’s Drag Race - 6 Saturday Night Live - 6 Last Week Tonight With John Oliver - 4 The Marvelous Mrs. Maisel - 4 Apollo 11 - 3 Cheer - 3 Dave Chappelle: Sticks & Stones - 3 Euphoria - 3 Genndy Tartakovsky’s Primal - 3 #FreeRayshawn - 2 Hollywood - 2 Live In Front Of A Studio Audience: “All In The Family” And “Good Times” - 2 The Cave - 2 The Crown - 2 The Oscars - 2 PARTIAL LIST OF 2020 WINNERS PROGRAMS: Comedy Series: Schitt’s Creek Drama Series: Succession Limited Series: Watchman Television Movie: Bad Education Reality-Competition Program: RuPaul’s Drag Race Variety Series (Talk): Last Week Tonight With John Oliver Variety Series (Sketch): Saturday Night Live PERFORMERS: Comedy Series: Lead Actress: Catherine O’Hara (Schitt’s Creek) Lead Actor: Eugene Levy (Schitt’s Creek) Supporting Actress: Annie Murphy (Schitt’s Creek) Supporting Actor: Daniel Levy (Schitt’s Creek) Drama Series: Lead Actress: Zendaya (Euphoria) Lead Actor: Jeremy Strong (Succession) Supporting Actress: Julia Garner (Ozark) Supporting Actor: Billy Crudup (The Morning Show) Limited Series/Movie: Lead Actress: Regina King (Watchman) Lead Actor: Mark Ruffalo (I Know This Much Is True) Supporting Actress: Uzo Aduba (Mrs. America) Supporting Actor: Yahya Abdul-Mateen II (Watchmen) updated 07.13.2021 version 1 Page -
TRU Speak Program 021821 XS
THEATER RESOURCES UNLIMITED VIRTUAL BENEFIT PLAYBILL TRU SPEAK Hear Our Voices! An evening of awareness to benefit THEATER RESOURCES UNLIMITED executive producer Bob Ost associate producers Iben Cenholt and Joe Nelms benefit chair Sanford Silverberg plays produced by Jonathan Hogue, Stephanie Pope Lofgren, James Rocco, Claudia Zahn assistant to the producers Maureen Condon technical coordinator Iben Cenholt/RuneFilms editor-technologists Iben Cenholt/RuneFilms, Andrea Lynn Green, Carley Santori, Henry Garrou/Whitetree, LLC video editors Sam Berland/Play It Again Sam’s Video Productions, Joe Nelms art direction & graphics Gary Hughes casting by Jamibeth Margolis Casting Social Media Coordinator Jeslie Pineda featuring MAGGIE BAIRD • BRENDAN BRADLEY • BRENDA BRAXTON JIM BROCHU • NICK CEARLEY • ROBERT CUCCIOLI • ANDREA LYNN GREEN ANN HARADA • DICKIE HEARTS • CADY HUFFMAN • CRYSTAL KELLOGG WILL MADER • LAUREN MOLINA • JANA ROBBINS • REGINA TAYLOR CRYSTAL TIGNEY • TATIANA WECHSLER with Robert Batiste, Jianzi Colon-Soto, Gha'il Rhodes Benjamin, Adante Carter, Tyrone Hall, Shariff Sinclair, Taiya, and Stephanie Pope Lofgren as the Voice of TRU special appearances by JERRY MITCHELL • BAAYORK LEE • JAMES MORGAN • JILL PAICE TONYA PINKINS •DOMINIQUE SHARPTON • RON SIMONS HALEY SWINDAL • CHERYL WIESENFELD TRUSpeak VIP After Party hosted by Write Act Repertory TRUSpeak VIP After Party production and tech John Lant, Tamra Pica, Iben Cenholt, Jennifer Stewart, Emily Pierce Virtual Happy Hour an online musical by Richard Castle & Matthew Levine directed -
ANTA Theater and the Proposed Designation of the Related Landmark Site (Item No
Landmarks Preservation Commission August 6, 1985; Designation List 182 l.P-1309 ANTA THFATER (originally Guild Theater, noN Virginia Theater), 243-259 West 52nd Street, Manhattan. Built 1924-25; architects, Crane & Franzheim. Landmark Site: Borough of Manhattan Tax Map Block 1024, Lot 7. On June 14 and 15, 1982, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the ANTA Theater and the proposed designation of the related Landmark Site (Item No. 5). The hearing was continued to October 19, 1982. Both hearings had been duly advertised in accordance with the provisions of law. Eighty-three witnesses spoke in favor of designation. Two witnesses spoke in opposition to designation. The owner, with his representatives, appeared at the hearing, and indicated that he had not formulated an opinion regarding designation. The Commission has received many letters and other expressions of support in favor of this designation. DESCRIPTION AND ANALYSIS The ANTA Theater survives today as one of the historic theaters that symbolize American theater for both New York and the nation. Built in the 1924-25, the ANTA was constructed for the Theater Guild as a subscription playhouse, named the Guild Theater. The fourrling Guild members, including actors, playwrights, designers, attorneys and bankers, formed the Theater Guild to present high quality plays which they believed would be artistically superior to the current offerings of the commercial Broadway houses. More than just an auditorium, however, the Guild Theater was designed to be a theater resource center, with classrooms, studios, and a library. The theater also included the rrost up-to-date staging technology. -
The Last Days of Buster Keaton John C. Tibbetts
Fall 1995 79 The Hole in the Doughnut: The Last Days of Buster Keaton John C. Tibbetts In the Fall of 1995 Eleanor Norris Keaton will come to Kansas to celebrate the 100th birthday of her late husband.1 Part of an extensive itinerary that also takes her to other centenary observances in New York, Muskegon, Michigan, and Los Angeles, the Kansas trip is particularly poignant. Keaton was born on October 4,1895, in the tiny farm community of Piqua, in southeast Kansas, while his parents were performing with a medicine show.2 Although he may have been a Kansan only through sheer accident of circumstances—the baby and his mother remained in Piqua only two weeks before rejoining the troupe on the road—he returned there many times as a child on tour with his parents.3 Later, the classic slapstick comedian paid tribute to his home state in many of the themes and situations of his best films, most notably in the cyclone sequence in Steamboat Bill, Jr. (1928). To my mind, even his trademark "deadly horizontal" hat (as James Agee described it) evokes the stark flatness of the Kansas prairies.4 While the Keaton phenomenon will be fully explored throughout the centenary year, Eleanor herself should not be forgotten. By all accounts, she was an important force in Buster's later years. "She has seen Buster Keaton through a long period of painful adjustment, relapse, and readjustment and a dozen partial comebacks," wrote Rudi Blesh, shortly before Buster's death on February 1,1966. "She has carried him, content and at times happy, across the threshold of his seventies. -
The Baseball Film in Postwar America ALSO by RON BRILEY and from MCFARLAND
The Baseball Film in Postwar America ALSO BY RON BRILEY AND FROM MCFARLAND The Politics of Baseball: Essays on the Pastime and Power at Home and Abroad (2010) Class at Bat, Gender on Deck and Race in the Hole: A Line-up of Essays on Twentieth Century Culture and America’s Game (2003) The Baseball Film in Postwar America A Critical Study, 1948–1962 RON BRILEY McFarland & Company, Inc., Publishers Jefferson, North Carolina, and London All photographs provided by Photofest. LIBRARY OF CONGRESS CATALOGUING-IN-PUBLICATION DATA Briley, Ron, 1949– The baseball film in postwar America : a critical study, 1948– 1962 / Ron Briley. p. cm. Includes bibliographical references and index. ISBN 978-0-7864-6123-3 softcover : 50# alkaline paper 1. Baseball films—United States—History and criticism. I. Title. PN1995.9.B28B75 2011 791.43'6579—dc22 2011004853 BRITISH LIBRARY CATALOGUING DATA ARE AVAILABLE © 2011 Ron Briley. All rights reserved No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying or recording, or by any information storage and retrieval system, without permission in writing from the publisher. On the cover: center Jackie Robinson in The Jackie Robinson Story, 1950 (Photofest) Manufactured in the United States of America McFarland & Company, Inc., Publishers Box 611, Jefferson, North Carolina 28640 www.mcfarlandpub.com Table of Contents Preface 1 Introduction: The Post-World War II Consensus and the Baseball Film Genre 9 1. The Babe Ruth Story (1948) and the Myth of American Innocence 17 2. Taming Rosie the Riveter: Take Me Out to the Ball Game (1949) 33 3. -
Feminist Film Theory, with Application to Klute
1 A Gaze of One's Own: Feminist Film Theory, with application to Klute Pamela J. Hicks UniversitySubmitted ofin terms Cape of the requirementsTown for the degree of Master of Arts University of Cape Town 1994 Supervisor: John Higgins Department of English [r .. Q >·. ···:<:; ,r c:·. , ·. : , : ·.~ :.... ;;,-~;~~:J1 ~ r-:ic. r~~->~ ~·:_·: ;·~-:·:.:::.·~-.~;<..: _:;~ .• t~~·'::;s _;~, , .. _,>:;;::; -~ ( nr fn i>·./L (>:1 ::.~ :··;_;:;: ic~ ~;.:}\J by the ;;·~JiC:". ;.~ li '.- .. ·' ' ·... · ,., ' .... :. ... -.·,.- .• ·. ,._,_,.., The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town ABSTRACT This study is concerned with the development of a field of film theory around the place of the female spectator. Chapter 1 presents an historical overview of some trends in the development of film theory, with emphasis on the emergence of a paradigm in which theories of semiotics, ideology and psychoanalysis intersect. It critically assesses the establishment of a dominant theory founded in the notion of film as art, proposing certain parallels between this and contemporary Leavisite literary theory, and notes auteurism as the point of departure from this into the consideration of film as popular culture. It then traces the impact of the critiques by Barthes and Foucault of authorial intentionality, Althusser's theory of ideology and Lacanian psychoanalytic theory in the shift to a body of film theory centrally concerned with the notion of film as text. -
Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding Aid Prepared by Lisa Deboer, Lisa Castrogiovanni
Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding aid prepared by Lisa DeBoer, Lisa Castrogiovanni and Lisa Studier and revised by Diana Bowers-Smith. This finding aid was produced using the Archivists' Toolkit September 04, 2019 Brooklyn Public Library - Brooklyn Collection , 2006; revised 2008 and 2018. 10 Grand Army Plaza Brooklyn, NY, 11238 718.230.2762 [email protected] Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Table of Contents Summary Information ................................................................................................................................. 7 Historical Note...............................................................................................................................................8 Scope and Contents....................................................................................................................................... 8 Arrangement...................................................................................................................................................9 Collection Highlights.....................................................................................................................................9 Administrative Information .......................................................................................................................10 Related Materials ..................................................................................................................................... -
Smart Cinema As Trans-Generic Mode: a Study of Industrial Transgression and Assimilation 1990-2005
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by DCU Online Research Access Service Smart cinema as trans-generic mode: a study of industrial transgression and assimilation 1990-2005 Laura Canning B.A., M.A. (Hons) This thesis is submitted to Dublin City University for the award of Ph.D in the Faculty of Humanities and Social Sciences. November 2013 School of Communications Supervisor: Dr. Pat Brereton 1 I hereby certify that that this material, which I now submit for assessment on the programme of study leading to the award of Ph.D is entirely my own work, and that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge breach any law of copyright, and has not been taken from the work of others save and to the extent that such work has been cited and acknowledged within the text of my work. Signed:_________________________________ (Candidate) ID No.: 58118276 Date: ________________ 2 Table of Contents Chapter One: Introduction p.6 Chapter Two: Literature Review p.27 Chapter Three: The industrial history of Smart cinema p.53 Chapter Four: Smart cinema, the auteur as commodity, and cult film p.82 Chapter Five: The Smart film, prestige, and ‘indie’ culture p.105 Chapter Six: Smart cinema and industrial categorisations p.137 Chapter Seven: ‘Double Coding’ and the Smart canon p.159 Chapter Eight: Smart inside and outside the system – two case studies p.210 Chapter Nine: Conclusions p.236 References and Bibliography p.259 3 Abstract Following from Sconce’s “Irony, nihilism, and the new American ‘smart’ film”, describing an American school of filmmaking that “survives (and at times thrives) at the symbolic and material intersection of ‘Hollywood’, the ‘indie’ scene and the vestiges of what cinephiles used to call ‘art films’” (Sconce, 2002, 351), I seek to link industrial and textual studies in order to explore Smart cinema as a transgeneric mode.