A Christmas Carol
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A Christmas Carol by Charles Dickens
A Christmas Carol by Charles Dickens Stave V "The End of It" Yes! and the bedpost was his own. The bed was his own, the room was his own. Best and happiest of all, the Time before him was his own, to make amends in! “I will live in the Past, the Present, and the Future!” Scrooge repeated, as he scrambled out of bed. “The Spirits of all Three shall strive within me. Oh Jacob Marley! Heaven, and the Christmas Time be praised for this. I say it on my knees, old Jacob, on my knees!” He was so fluttered and so glowing with his good intentions, that his broken voice would scarcely answer to his call. He had been sobbing violently in his conflict with the Spirit, and his face was wet with tears. “They are not torn down!” cried Scrooge, folding one of his bed- curtains in his arms, “they are not torn down, rings and all. They are here – I am here – the shadows of the things that would have been, may be dispelled. They will be! I know they will.” His hands were busy with his garments all this time; turning them inside out, putting them on upside down, tearing them, mislaying them, making them parties to every kind of extravagance. “I don’t know what to do!” cried Scrooge, laughing and crying in the same breath; and making a perfect Laocoon of himself with his stockings. “I am as light as a feather, I am as happy as an angel, I am as merry as a schoolboy. -
New Stage Theatre Presents a Christmas Arol a C GHOST STORY of CHRISTMAS by Charles Dickens Adapted by Michael Wilson Directed by Peppy Biddy
New Stage Theatre Presents A ChriStmas arol A C GHOST STORY OF CHRISTMAS by Charles Dickens adapted by Michael Wilson directed by Peppy Biddy musical director Carol Joy Sparkman choreographer Drew Stark EBENEZER SCROOGE December 3-22, 2019 Sponsored by Production Manager / Stage Manager Lighting Designer Scenic Designer Technical Director Josh Harris Bronwyn Teague Chris Rich Richard Lawrence Sound Design and Costume Designer Properties Designer Original Music Caleb Blackwell Marie Venters John Gromada acc_program_final.indd 1 12/2/19 2:09 PM A ChriStmas Carol By Charles Dickens Adapted by Michael Wilson Originally produced by the Alley Theatre, Houston, Texas, Gregory Boyd, Artistic Director; Paul R. Tetreault, Managing Director Sound Design and Original Music by John Gromada “A CHRISTMAS CAROL – A GHOST STORY OF CHRISTMAS is presented by special arrangement with Dramatists Play Service, Inc., New York.” The videotaping or other video or audio recording of this production is strictly prohibited. Theatrical Fog and Smoke are used in this production There will be one 15-minute intermission Please silence your cell phone THE SETTING London, 1843 acc_program_final.indd 2 12/2/19 2:09 PM THE CAST (in order of appearance) EBENEZER SCROOGE ........................................Turner Crumbley* MRS. DILBER/PARTY GUEST .......................................Jenn Harris BOB CRATCHIT ..............................................Christopher Sferra FRED/YOUNG SCROOGE .......................................... Sam Lovorn FIRST SOLICITOR/UNDERTAKER/PARTY GUEST ......................Drew Stark SECOND SOLICITOR/MR. FEZZIWIG ......................... Christan McLaurine DOLL VENDOR (MRS. PIDGEON)/SPIRIT OF CHRISTMAS PAST .....Mandy Kate Myers FRUIT VENDOR (BERT)/SPIRIT OF CHRISTMAS PRESENT . Joseph Frost CLOCK VENDOR (MR. MARVEL)/PARTY GUEST/ ..................Cameron Pitre SPIRIT OF CHRISTMAS FUTURE THE GHOST OF JACOB MARLEY/OLD JOE .........................Chris Roebuck MRS. -
Encountering Christ in Charles Dickens' a Christmas Carol
DAILY DEVOTIONS FOR ADVENT Encountering Christ in Charles Dickens’ A Christmas Carol AUTHOR’S INTRODUCTION Charles Dickens’ A Christmas Carol has been a delightful part of the celebration of Christmas since it was first written in 1843. Dickens deeply, and penitently, understands that Scrooge is really a reflection of himself and so many of us in our sinful state; yet the transformation of this central character, and us, is the blessing we receive from the Child of Christmas. There are five sections, or staves, in this classic, and each of them is represented in part in the selections to follow: The first stave (Marley’s Ghost)—an introduction to Ebeneezer Scrooge and his life before his transformation: The first week of Advent to Tuesday after the Second Sunday of Advent. The next three staves (The Three Spirits of Christmas Past, Present, and Yet-to-Come)—Scrooge’s journey through repentance and renewal: Wednesday after the Second Sunday of Advent to Saturday after the Third Sunday of Advent. The final stave (The End)—Scrooge’s transformed-self that now embraces the joy of Christmas: The final week of Advent. I hope my own reflections for each of these days in Advent will help to lift up the Child who was not ashamed to take upon himself the poverty of our being and makes us all new—for our sake, and for the sake of the whole world! FIRST SUNDAY of ADVENT The grass withers, the flower fades, when the breath of the Lord blows upon it; surely the people are grass. -
The Calgary Exhibition and Stampedes: Culture, Context and Controversy, 1884-1923
University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies Legacy Theses 1999 The Calgary exhibition and stampedes: culture, context and controversy, 1884-1923 English, Linda Christine English, L. C. (1999). The Calgary exhibition and stampedes: culture, context and controversy, 1884-1923 (Unpublished master's thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/17659 http://hdl.handle.net/1880/24998 master thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY The Calgary Exhibition and Stampedes: Culture, Context and Controversy, 1884- 1923 Linda Christine English A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS DEPARTMENT OF HISTORY CALGARY, ALBERTA MAY, 1999 Q Linda Christine English 1999 National Library Bibliotheque nationale I*I of Canada du Canada Acquisitions and Acquisitions et Bibliographic Services services bibliographiques 395 Wellington Street 395, rue Wellington Ottawa ON KIA ON4 OttawaON K1AON4 Canada Canada Your file Votre mlemce Our IW Notre relerence The author has granted a non- L'auteur a accordi me licence non exclusive licence allowing the exclusive pernettant a la National Library of Canada to Bibliotheque nationale du Canada de reproduce, loan, distribute or sell reproduire, prster, distribuer ou copies of ths thesis in microform, vendre des copies de cette these sous paper or electronic formats. -
A Christmas Carol.Pdf
A CHRISTMAS CAROL Today we are continuing in our series Christmas at the Movies. We are looking at popular Christmas movies and looking for biblical truth in them. The book A Christmas Carol was written by Charles Dickens and published in 1843. It tells the story of Ebenezer Scrooge, an elderly miser who is visited by the ghost of his former business partner Jacob Marley. He is then visited by the spirits of Christmas past, present and future. After their visits he wakes up on Christmas morning completely transformed into a kinder, gentler man. A Christmas Carol is one of the best known books in English literature. It has been adapted into more than 20 movies as well as countless theatre performances and television programs. In addition to all the live action movies there have been many animated ones. There was Mickey’s Christmas Carol with Scrooge McDuck. The Muppet Christmas Carol, Barbie’s Christmas Carol (2008), Bugs Bunny’s Christmas Carol, The Jetsons Christmas Carol, Alvin and the Chipmunks Christmas Carol, The Flintstones Christmas Carol and even Mr. Magoo’s Christmas Carol. The clip we saw this morning was from one of my favorite adaptations, the 1951 film Scrooge staring Alastair Sim. So what is it that makes this story so compelling? What can we learn from this story? Titus 3:3-7 At one time we too were foolish, disobedient, deceived and enslaved by all kinds of passions and pleasures. We lived in malice and envy, being hated and hating one another. 4 But when the kindness and love of God our Savior appeared, 5 he saved us, not because of righteous things we had done, but because of his mercy. -
Finding Meaning in a Christmas Carol
Finding meaning in A Christmas Carol As the Christmas season approaches, people around the Archdiocese of Baltimore are feeling the sting of Ebenezer Scrooge’s words, “Bah humbug!” once again. Charles Dickens’ novella “A Christmas Carol,” made the miser’s catchphrase part of popular lexicon when it was published in 1843. Since then, countless adaptations have been staged as plays. Movies and television versions have been filmed and it has been recorded for radio. Even the Muppets and Mickey Mouse have chipped in with their own take on the story. The story’s been translated so much, people can finish Tiny Tim’s “God bless us, every one,” before the sick boy closes the story. “They’re all generally quite good,” said Brian Murray, a professor of writing at Loyola University Maryland in Baltimore. “You can’t go wrong with the story. It’s the pleasure of the familiar now. You enjoy knowing precisely how it’s going to end. People like to see how Jim Carrey or Alastair Sim are going to play those parts.” A Christmas Carol is, outside of the birth of Jesus Christ, the most re-told Christmas- themed story. Yet, as Murray noted, there are few mentions of Jesus or Christianity in Dickens’ book. Murray is an expert on the author and wrote a book called “The Bedside, Bathtub & Armchair Companion to Dickens” “None of his characters are explicitly Christian,” Murray said. “It’s a story of secular redemption. The story shows how mortal and how miserable (Scrooge) is. The only way he is renewed is by reconnecting with the community.” Still, Murray said, the characters that dominate the story’s landscape are imbued with Christian values. -
Dickens' Holiday Classic
Dickens’ Holiday Classic A VIRTUAL TELLING OF A CHRISTMAS CAROL DECEMBER 19–31, 2020 Inside IN PICTURES Behind the Lens • 3 WELCOME From Artistic Director Joseph Haj • 5 GUTHRIE SPOTLIGHT GUTHRIE SPOTLIGHT Welcome to Dickens’ Holiday Classic • 6 To Our First-Time Patrons • 6 DICKENS’ HOLIDAY CLASSIC Cast, Creative, Film Production and Native Artist Fellows • 11 Biographies • 12 PLAY FEATURES E.G. Bailey and Joseph Haj in Conversation • 15 Changing Tunes in Changing Times • 17 Meet the Native Artist Fellows • 20 A Christmas Carol Memories From Patrons • 23 PLAY FEATURE Backstory • 26 From the Adapters/Directors • 15 SUPPORTERS Annual Fund Contributors • 29 Corporate, Foundation and Public Support • 37 WHO WE ARE Board of Directors and Guthrie Staff •38 GOOD TO KNOW Virtual Viewing Guide • 39 PLAY FEATURE Stories From Productions Past • 23 Guthrie Theater Program Volume 58, Issue 1 • Copyright 2020 818 South 2nd Street, Minneapolis, MN 55415 EDITOR Johanna Buch ADMINISTRATION 612.225.6000 GRAPHIC DESIGNER/COVER DESIGN Brian Bressler BOX OFFICE 612.377.2224 or 1.877.447.8243 (toll-free) CONTRIBUTORS E.G. Bailey, Ernest Briggs, Joseph Haj, guthrietheater.org • Joseph Haj, Artistic Director Margaret Leigh Inners, Katie “KJ” Johns, Tom Mays, Sam Aros Mitchell, Carla Steen. Special thanks to Guthrie The Guthrie creates transformative theater experiences that ignite the patrons for sharing their A Christmas Carol memories. imagination, stir the heart, open the mind and build community through the illumination of our common humanity. The Guthrie program is published by the Guthrie Theater. 2 \ GUTHRIE THEATER • DICKENS’ HOLIDAY CLASSIC IN PICTURES Behind the Lens Two artistic worlds collided for the making of Dickens’ Holiday Classic: theater and film. -
XV Olympic Winter Games Organizing Committee
PREFACE The City of Calgary Archives is a section of the City Clerk's Department. The Archives was established in 1981. The descriptive system currently in use was established in 1991. The Archives Society of Alberta has endorsed the use of the Bureau of Canadian Archivists' Rules for Archival Description as the standard of archival description to be used in Alberta's archival repositories. In acting upon the recommendations of the Society, the City of Calgary Archives will endeavour to use RAD whenever possible and to subsequently adopt new rules as they are announced by the Bureau. The focus of the City of Calgary Archives' descriptive system is the series level and, consequently, RAD has been adapted to meet the descriptive needs of that level. RAD will eventually be used to describe archival records at the fonds level. The City of Calgary Archives creates inventories of records of private agencies and individuals as the basic structural finding aid to private records. Private records include a broad range of material such as office records of elected municipal officials, records of boards and commissions funded in part or wholly by the City of Calgary, records of other organizations which function at the municipal level, as well as personal papers of individuals. All of these records are collected because of their close relationship to the records of the civic government, and are subject to formal donor agreements. The search pattern for information in private records is to translate inquiries into terms of type of activity, to link activity with agencies which are classified according to activity, to peruse the appropriate inventories to identify pertinent record series, and then to locate these series, or parts thereof, through the location register. -
A Christmas Carol
DECEMBER 1 - 24, 2020 | QUADRACCI POWERHOUSE JAY FRANKE AND DAVID HERRO PRESENT PLAY GUIDE BY TOM MULA | DIRECTED BY MARK CLEMENTS www.MilwaukeeRep.com | 414-224-9490 of TA B L E CONTENTS DECEMBER 1 - 24, 2020 | QUADRACCI POWERHOUSE Jay Franke and David Herro Present By Tom Mula | Directed by Mark Clements Executive Producers Corporate Sponsor Richard & Jo Ann Beightol • Tom & Molly Duffey Sandra and William Haack • Saints Andrew & Mark Charitable Gift Trust TABLE of CONTENTS Synopsis.......................................................................3 Characters........................................................................4 Mark Clements ARTISTIC DIRECTOR The Life and Works of Charles Dickens..............................5 Chad Bauman EXECUTIVE DIRECTOR The Enduring Legacy of A Christmas Carol..........................6 PLAYGUIDE WRITTEN BY Lindsey Hoel-Neds CONTENT WRITER Social Issues in Victorian England........................................7 PLAYGUIDE EDITED BY Victorian Christmas Traditions................................................8 Deanie Vallone LITERARY DIRECTOR & ASSOCIATE ARTISTIC PRODUCER Story Theater Style...................................................................10 Lisa Fulton CHIEF MARKETING OFFICER A Christmas Carol: A Milwaukee Rep Tradition...............11 2 Jacob Marley’s Christmas Carol – PlayGuide Synopsis with making Scrooge, his former business partner, Marley in the Afterlife have a “total and complete change of heart.” This is a tall task considering Scrooge is a more Our story begins with Jacob Marley miserable human being than Marley was in life and they only have 24 hours to complete the in a counting house and the classic assignment. beginning of A Christmas Carol: “Marley was dead to begin with.” Saving Scrooge This counting house is not the one audiences may Marley and Bogle arrive at Scrooge’s counting be familiar with as the business place of Marley house just as he is berating Bob Cratchit about and his partner Scrooge, but the counting house his request for a day off for Christmas. -
Crude Optimism Romanticizing Alberta’S Oil Frontier at the Calgary Stampede Kimberly Skye Richards
Crude Optimism Romanticizing Alberta’s Oil Frontier at the Calgary Stampede Kimberly Skye Richards An immaculate young woman regally waves at a sea of enthusiastic fans. Perched on her head is a white cowboy hat embellished with a tiara that has “Calgary Stampede Queen” written on it in rhinestones. She is a vision of “westernness” in cowboy boots, a buckskin skirt and jacket, and turquoise jewels. Her express purpose this hot July afternoon is to welcome the 115,000 folks attending the “Greatest Outdoor Show on Earth,” the Calgary Exhibition and Stampede. She is a “welcome figure,”1 like those white-cowboy-hat-wearing individuals in the Calgary air- port who stand in the arrivants’ path and greet travelers. These performances of western hospi- tality amount to a performance of power: the assertion of settler rights to land.2 They are just 1. I borrow this term from Stó:lō scholar Dylan Robinson’s essay “Welcoming Sovereignty,” which examines Indigenous sovereignty and gestures of welcome that take place in spaces of transit and gathering (2016:24). 2. In using the term “settler” to describe non-Indigenous people living in western Canada, I am referring to the idea within settler colonial studies that being a settler is not an identity, but a structural position and experience of power and privilege. Settlers settle into land appropriated by imperial nations and create independent homelands for themselves. They are defined by conquest; they are “founders of political orders and carry their sovereignty TDR: The Drama Review 63:2 (T242) Summer 2019. ©2019 138 New York University and the Massachusetts Institute of Technology Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00839 by guest on 26 September 2021 Student Essay Contest Winner Kimberly Skye Richards is a PhD Candidate in Performance Studies at the University of California-Berkeley. -
Elbow River LRT Bridge - 17 Avenue SE Stampede Crossing (17SX) Beltline (Ward 11)
Page 1 of 6 Item # 7.3.1 Transportation Report to ISC: UNRESTRICTED Calgary Planning Commission CPC2020-0383 2020 April 02 Elbow River LRT Bridge - 17 Avenue SE Stampede Crossing (17SX) Beltline (Ward 11) EXECUTIVE SUMMARY This report presents for information, the new Light Rail Transit (LRT) Bridge over the Elbow River between Erlton Station and the Big Four building located on Stampede Park as shown in Figure 1 (Attachment 1). The bridge is required to replace the current siding track at Victoria Park / Stampede Station to sustain critical Calgary Transit operations. The location of the current siding track conflicts with the 17 Avenue SE Stampede Crossing at grade station requirements. The bridge design and location minimizes the change to the horizontal and vertical track geometry associated with the existing LRT network and minimizes impacts to the hydraulic conditions of the Elbow River. The 3-span bridge reflects the site and seeks comparable aesthetic outcomes to the existing LRT bridges. In 2018 December, Calgary Municipal Land Corporation (CMLC) released the Rivers District Master Plan (RDMP) - a plan to integrate and align with the many existing and evolving plans, programs and development aspirations of the various stakeholders in the area. To enable the RDMP, the 17SX project was initiated to extend 17 Avenue SE at Macleod Trail via an at grade crossing of the Red Line C-Train tracks into Stampede Park, accommodating all modes of transportation. As part of CMLC’s mandate to lead the delivery of the overall RDMP for east Victoria Park, CMLC will manage the delivery of the bridge as part of the 17SX project and it will be funded through the Community Revitalization Levy (CRL). -
October 2012 X: 403.269.6029 ISSN 1205-0350 .Nail: [email protected] PMA #40010031
The membership newsletter of the The Historical Society of Alberta Box 4035, Station C Calgary, AB T2T 5M9 NO. 4 T8lephone: 403.261 .3662 October 2012 x: 403.269.6029 ISSN 1205-0350 _.nail: [email protected] PMA #40010031 IN THIS ISSUE Headstones and History Head ston es and History Story and photos by John Chalme rs Now Hiring - Ed itor 2 President's Report 3 Welcome 3 Thank You 4 Legacy Donations 4 Headstones ... Continued 5 Chapter Reports 8 Boo k Review - Hadrian and the Triumph of Rome 12 'ook Review - Inside the Ark 13 BookRevlew - The Temp lars On May 26 and 27, 2012, for the first tim e I attended the annual conference of and the Shroud of Christ 13 the Historical Society of Alberta, held this year in Ca lgary. While the western Book Summary - Fro ntier Life theme in program topics and attire is common with special events in Calgary, in the Mounted Po lice 14 this year it had special meaning as 2012 marks the 100th An niversary of the first Calgary Stampede. Book Summary - The Fort Edm onton HouseJournals 15 Before attending the conference I read Wendy Bryden's new book, TIle First Flores (often called Florence) was the wife ofGuy Best Dress ed Cowgirl 16 Stampede of Flores LaDue. Weadick, father of the Stampede with the financial backing of the Big Four - New Alberta Historic Sites 17 Patrick Burns, George Lane, Archie McLean and A.E. (Alfred Ernest) Cross. Appropriately, the conference was held in the impressive log structur e at Conference Concerns 18 Stampede Park, the Big Four Building, nam ed for those four far-sighted friends Book Summary - Fensala 19 ofwhat would become a world famous annual event.