DOCSLIB.ORG

Oct–Dec 2017 Season 51, Issue 2 Photo by Bruce Damonte by Photo Photo by Alessandra Mello Alessandra by Photo Photo by Alessandra Mello Alessandra by Photo

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Oct–Dec 2017 Season 51, Issue 2 Photo by Bruce Damonte by Photo Photo by Alessandra Mello Alessandra by Photo Photo by Alessandra Mello Alessandra by Photo SAN FRANCISCO’S PREMIER NONPROFIT THEATER COMPANY OCT–DEC 2017 SEASON 51, ISSUE 2 PHOTO BY BRUCE DAMONTE BY PHOTO PHOTO BY ALESSANDRA MELLO ALESSANDRA BY PHOTO PHOTO BY ALESSANDRA MELLO ALESSANDRA BY PHOTO The Strand Theater, located at Market and 7th in San Francisco, is a dynamic, versatile, and intimate complex, including a 120-seat event and performance space, a 283-seat theater, a welcoming lobby, and a café that’s open during the day. Visit act-sf.org/rentals or contact Amy Hand at [email protected]. My wealth. My priorities. My partner. You’ve spent your life accumulating wealth. And, no doubt, that wealth now takes many forms, sits in many places, and is managed by many advisors. Unfortunately, that kind of fragmentation creates gaps that can hold your wealth back from its full potential. The Private Bank can help. The Private Bank uses a proprietary approach called the LIFE Wealth Cycle SM to ­ind those gaps—and help you achieve what is important to you. To learn more, please visit unionbank.com/theprivatebank or contact: Vartan Shahijanian Private Wealth Advisor [email protected] 4157057258 Wills, trusts, foundations, and wealth planning strategies have legal, tax, accounting, and other implications. Clients should consult a legal or tax advisor. ©2017 MUFG Union Bank, N.A. All rights reserved. Member FDIC. Union Bank is a registered trademark and brand name of MUFG Union Bank, N.A. EAP full-page template.indd 1 7/17/17 3:09 PM October 2017 Volume 16, No. 2 music dance theater 2017/18 Cal Perform ances SEASON UNIVERSITY OF CALIFORNIA, BERKELEY The Hard Nut Paul Heppner Mark Morris Dance Group Publisher Susan Peterson Music by Tchaikovsky (The Nutcracker); Choreography by Mark Morris Colin Fowler, conductor; Members of the Berkeley Symphony Design & Production Director Piedmont East Bay Children’s Choir, Ensemble; Robert Geary, founding artistic director Ana Alvira, Robin Kessler, Shaun Swick, Stevie VanBronkhorst First Bay Area Performances in 5 years! Production Artists and Graphic Design Mike Hathaway Sales Director Amelia Heppner, Marilyn Kallins, Terri Reed “A boldly perfected San Francisco/Bay Area Account Executives masterpiece.” Brieanna Bright, —Theaterweek Joey Chapman, Ann Manning Seattle Area Account Executives “Waves of happy Carol Yip laughter greet The Sales Coordinator Hard Nut from curtain- up to curtain-down.” —The New York Times Paul Heppner President Mike Hathaway Vice President “You’ve never seen a Nutcracker quite like Genay Genereux this before.” Accounting & Office Manager —The Huffington Post Sara Keats Marketing Manager Ciara Caya Dec 15–24 Customer Service Representative & ZELLERBACH HALL Administrative Assistant Corporate Office 425 North 85th Street Seattle, WA 98103 p 206.443.0445 f 206.443.1246 [email protected] 800.308.2898 x105 www.encoremediagroup.com Encore Arts Programs is published monthly by Encore Media Season Group to serve musical and theatrical events in the Puget Sponsor: Sound and San Francisco Bay Areas. All rights reserved. calperformances.org ©2017 Encore Media Group. Reproduction without written permission is prohibited. 4 ACT-SF.ORG SAN FRANCISCO'S THEATER COMPANY American Conservatory Theater, San Francisco’s Tony Award– A.C.T.’s 50-year-old Conservatory, led by Melissa Smith, is winning nonprofit theater, nurtures the art of live theater at the center of our work. Our three-year, fully accredited through dynamic productions, intensive actor training, Master of Fine Arts Program is at the forefront of America’s and ongoing engagement with our community. Under the actor training programs. Meanwhile, our intensive Summer leadership of Artistic Director Carey Perloff and Executive Training Congress attracts students from around the world, Director Peter Pastreich, we embrace our responsibility to and the San Francisco Semester offers a unique study-abroad conserve, renew, and reinvent our rich theatrical traditions opportunity for undergraduates. Other programs include and literatures, while exploring new artistic forms and Studio A.C.T.—our expansive course of theater study for new communities. Founded by William Ball, a pioneer of adults—and the Professional Development Training Program, the regional theater movement, A.C.T. opened its first San which offers actor training for companies seeking to elevate Francisco season in 1967. We have since performed more than their employees’ business performance skills. Our alumni 350 productions to a combined audience of more than seven often grace our mainstage and perform around the Bay million people. Every year we reach more than 250,000 people Area, as well as on stages and screens across the country. through our productions and programs. A.C.T. also brings the benefits of theater-based arts education Rising from the wreckage of the earthquake and fire of 1906 to more than 16,000 Bay Area students and educators and hailed as the “perfect playhouse,” the beautiful, historic each year. Director of Education & Community Programs Geary Theater has been our home since the beginning. When Elizabeth Brodersen oversees both the world-famous Young the 1989 Loma Prieta earthquake ripped the roof apart, San Conservatory (for students ages 8 to 19), and our ACTsmart Franciscans rallied together to raise a record-breaking $30 education programs, including the Student Matinee (SMAT) million to rebuild the theater. The Geary reopened in 1996 with program that has brought thousands of young people to A.C.T. a production of The Tempest directed by Perloff, who took over performances since 1968. We also provide touring Will on in 1992 after the retirement of A.C.T.’s second artistic director, Wheels Shakespeare productions, teaching-artist residencies, gentleman artist Ed Hastings. in-school workshops, and study materials to Bay Area schools and community-based organizations. Perloff’s 25-season tenure has been marked by groundbreaking productions of classical works and new translations creatively With our increased presence in the Central Market neighborhood colliding with exceptional contemporary theater; cross- marked by the renovation of The Strand Theater and the disciplinary performances and international collaborations; opening of The Costume Shop Theater, A.C.T. plays a leadership and theater made by, for, and about the Bay Area. Her fierce role in securing the future of theater for San Francisco and commitment to audience engagement ushered in a new era the nation. of InterACT events and dramaturgical publications, inviting everyone to explore what goes on behind the scenes. American Conservatory Theater Board of Trustees (As of September 2017) The Board of Directors of the M.F.A. Program Kirke M. Hasson Ray Apple Peter Pastreich Joan Danforth CHAIR Lesley Ann Clement Carey Perloff Dagmar Dolby Abby Sadin Schnair Kay Yun Richard T. Davis-Lowell Robina Riccitiello William Draper III CHAIR PRESIDENT Jerome L. Dodson Sally Rosenblatt John Goldman Michael G. Dovey Rusty Rueff Kaatri Grigg Sara Barnes Nancy Livingston IMMEDIATE PAST CHAIR Olympia Dukakis Abby Sadin Schnair James Haire Carlotta Dathe Sarah M. Earley Lori Halverson Schryer Kent Harvey Frannie Fleishhacker Celeste Ford Frannie Fleishhacker Jeff Spears Sue Yung Li Arnie Glassberg VICE CHAIR Ken Fulk Robert Tandler Christine Mattison Christopher Hollenbeck Priscilla Geeslin Dianne Hoge Patrick S. Thompson Joan McGrath Luba Kipnis VICE CHAIR Jo S. Hurley Joaquin Torres Deedee McMurtry Linda Kurtz David Riemer Jeri Lynn Johnson Jeff Ubben Mary S. Metz Jennifer Lindsay VICE CHAIR Alan Jones Adriana López Vermut Toni Rembe Joseph Ratner Steven L. Swig Jascha Kaykas-Wolff Susy Wadsworth Cherie Sorokin Toni Ratner Miller VICE CHAIR James H. Levy Nola Yee Alan L. Stein Toni Rembe Heather Stallings Little Barry Lawson Williams Sally Rosenblatt Linda Jo Fitz TREASURER Janet V. Lustgarten EMERITUS Carlie Wilmans Anne Shonk Jamie Martin ADVISORY BOARD Melissa Smith Daniel E. Cohn Jeffrey S. Minick Barbara Bass Bakar Patrick S. Thompson SECRETARY Michael P. Nguyen Rena Bransten Alan L. Stein Martim Oliveira Jack Cortis CHAIR EMERITUS American Conservatory Theater was founded in 1965 by William Ball. Edward Hastings, Artistic Director 1986–92 415.749.2228 5 by Charles Dickens Adapted by Carey Perloff and Paul Walsh Music by Karl Lundeberg Choreography by Val Caniparoli Directed by Domenique Lozano Based on the original direction by Carey Perloff “A SMASH HIT! HOLIDAY TRADITIONS DON’T GET ANY BETTER.” Stark Insider “THE BEST CHRISTMAS CAROL EVER . A GUARANTEED GOOD TIME!” Jan Wahl, KCBS Featuring a lively cast of dozens, gorgeous costumes, and those deliciously spooky ghosts, the Bay Area’s favorite holiday tradition—a sparkling, music-infused production of A Christmas Carol—returns to The Geary. Bring your family, bring your friends, and check your “humbugs” at the door! OPENS DECEMBER 1 A.C.T.’S GEARY THEATER 415 Geary Street BUY YOUR TICKETS TODAY AT ACT-SF.ORG/CAROL The 2016 cast of A Christmas Carol. Photo by Kevin Berne. EXPERIENCE A.C.T.’S 17 18 SEASON PACK AGES START AT $14 A PLAY THE BAY AREA’S FAVORITE HOLIDAY TRADITION RETURNS THE MYSTERIOUS PINTER CLASSIC AN IRREVERENT ROAD-TRIP COMEDY THE BIRTHDAY PARTY THE HIT BROADWAY PLAY A NEW AMERICAN ODYSSEY A WORLD-PREMIERE MUSICAL HEISEN BERG ACT-SF.ORG/JOIN | 415.749.2228 | PHOTO BY T. CHARLES ERICKSON T. BY PHOTO WHAT’S INSIDE The cast of the 2017–18 national tour of Small Mouth Sounds. ABOUT THE PLAY INSIDE A.C.T. 11 LETTER FROM THE 24 THE STRAND HITS ITS STRIDE EDITOR SIMON HODGSON ARTISTIC DIRECTOR Your Stories, Your Space, Your Theater By Carey Perloff By Taylor Steinbeck ASSOCIATE EDITOR ELSPETH SWEATMAN 14 THE PURSUIT OF HAPPINESS 26 VINTAGE AND VANGUARD An Interview with Playwright Bess Wohl CONTRIBUTORS M.F.A. Actors Mix It Up in a New Season CAREY PERLOFF and Director Rachel Chavkin By Simon Hodgson TAYLOR STEINBECK By Simon Hodgson 28 SILENCE SHATTERED 16 THE MEDITATION MARKET Harold Pinter’s The Birthday Party A Brief History of Mindfulness By Elspeth Sweatman in America VOLUNTEER! A.C.T.
Load more

Recommended publications
  • NOV–DEC 2016 SEASON 50, ISSUE 3 Untitled-2 1
    SAN FRANCISCO’S PREMIER NONPROFIT THEATER COMPANY NOV–DEC 2016 SEASON 50, ISSUE 3 “ City National helps keep my financial life in tune.” So much of my life is always shifting; a different city, a different piece of music, a different ensemble. I need people who I can count on to help keep my financial life on course so I can focus on creating and sharing the “adventures” of classical music. City National shares my passion and is instrumental in helping me bring classical music to audiences all over the world. They enjoy being a part of what I do and love. That is the essence of a successful relationship. City National is The way up® for me. Michael Tilson Thomas Conductor, Educator and Composer Hear Michael’s complete story at Findyourwayup.com/Tuned2SF Find your way up.SM Call (866) 618-5242 to speak with a personal banker. 16 City National Bank 16 City National 0 ©2 City National Personal Banking CNB MEMBER FDIC Untitled-2 1 8/10/16 12:13 PM B:8.625” T:8.375” S:7.375” B:11.125” T:10.875” S:9.875” We care for the city that helped you start a new chapter. Our kidney and transplant programs have higher than expected outcomes than any other hospital in the country. When you call this city home, you call CPMC your hospital. cpmc2020.org EAP full-page template.indd 1 10/7/16 4:47 PM 40775 Version:01 09-02-16 hr 40775_SFEncore_BStore 1 SF Ballet-Encore_Bookstore Saved at 09-02-2016 from by Printed At None Job info Approvals Fonts & Images Job 40775 Art Director Fonts Client Sutter Health Copywriter Helvetica Neue LT Std (75 Bold, 45 Light), Media Type Magazine Account Mgr Helvetica Neue (Bold) Live 7.375” x 9.875” Studio Artist Trim 8.375” x 10.875” Proofreader Images Bleed 8.625” x 11.125” Pubs SF Ballet Notes Inks SF Encore Cyan, Magenta, Yellow, Black None November 2016 Volume 15, No.
    [Show full text]
  • NUTCRACKER Light Design ……...Todd Bedell “Simply a Magical
    Artistic Director....…...Kim Tuttle Choreography.……....Kim Tuttle Dance Alive Music …………P.I. Tchaikovsky Set Design ……….. Bob Moody National Ballet Front Border ……...Carlos Asse Costume Design…...Soili Arvola Presents Mother Goose costume & props Carlos Asse NUTCRACKER Light Design ……...Todd Bedell “Simply a Magical Dance Alive National Ballet is Performance!” a professional ballet company touring the Southeastern United States and Latin “It Wouldn’t Be The Holiday Season America representing the Without Nutcracker!” State of Florida. Dance Alive National Ballet lives up to its “The Best Holiday Gift To You And name. Movement is at the Your Students Is Nutcracker!” heart of everything it does. With an extraordinary group of The story of the NUTCRACKER, based on a tale by E.T.A. Hoffman, dancers from all over the begins with a gala Christmas Eve party. Uncle Drosselmeyer, the chil- world, and dynamic lead- dren’s favorite, arrives and presents Clara, the heroine of the story, with er and Artistic Director, Kim an amazing Nutcracker in the shape of a soldier. To her brother Franz, Tuttle, Dance Alive National Ballet has developed he gives a toy sword! into one of the most distinguished and creative That night, Clara is too excited to sleep. On the stroke of midnight, she ballet companies in the creeps downstairs to retrieve her Nutcracker and witnesses a fierce bat- Southeast. Dance Alive National tle between her brother’s toy soldiers and hundreds of mice, led by a Ballet continues to develop fierce Mouse King. At the height of the battle, when her Nutcracker is innovative arts educa- about to be felled by the Mouse King, Clara saves him by throwing her tion programming and is slipper smack into the Mouse King! Lo and behold, her Nutcracker be- involved in artist residencies, comes a Prince, and strangely enough, looks just like her Uncle developing dance curriculum and outreach performances Drosselmeyer’s nephew! for public schools.
    [Show full text]
  • The Birthday Party at A.C.T. Encore Arts San Francisco
    SAN FRANCISCO’S PREMIER NONPROFIT THEATER COMPANY THE BIRTHDAY PARTY JAN 2018 SEASON 51, ISSUE 4 BY QUI NGUYEN DIRECTED BY JAIME CASTAÑEDA Vietgone is not your typical how-Mom- met-Dad story. Not unless they hit it off at a refugee camp in Arkansas. But that’s the story of playwright Qui Nguyen’s parents, who fell in love against all odds. Fleeing war-torn Vietnam, Tong and Quang navigate the unfamiliar landscape of 1970s America. As they learn more about the culture of this new land, they ponder what “home” really means. Is home a place, a person, a feeling? Bending genres and breaking rules, Nguyen’s cheeky retelling of his own family story skips through time and “A raucous, immensely moving comedy.” Charles Isherwood, The New York Times BEGINS FEBRUARY 21 A.C.T.’S STRAND THEATER act-sf.org/vietgone | 415.749.2228 “Hip, high-wire theatricality . sultry sexiness . quirky playfulness.” The Seattle Times bounces between borders, cracking Winner of the 2016 Harold and Mimi jokes along the way. Director Jaime Steinberg/American Theatre Critics Castañeda, who’s known Nguyen for Association New Play Award, Vietgone years, calls this play “uniquely Qui— was an off-Broadway hit at Manhattan he takes what seems like a traditional Theatre Club and sold out shows at immigrant story and turns it into this 2016’s Oregon Shakespeare Festival. wild, epic road-trip fantasia with fights This all-new production—complete and music and dancing and sex.” with kick-ass ninja fights and an original rap-inspired score—will burst Set to an original soundtrack that mixes into The Strand this February.
    [Show full text]
  • Tom Stoppard
    Tom Stoppard: An Inventory of His Papers at the Harry Ransom Center Descriptive Summary Creator: Stoppard, Tom Title: Tom Stoppard Papers 1939-2000 (bulk 1970-2000) Dates: 1939-2000 (bulk 1970-2000) Extent: 149 document cases, 9 oversize boxes, 9 oversize folders, 10 galley folders (62 linear feet) Abstract: The papers of this British playwright consist of typescript and handwritten drafts, revision pages, outlines, and notes; production material, including cast lists, set drawings, schedules, and photographs; theatre programs; posters; advertisements; clippings; page and galley proofs; dust jackets; correspondence; legal documents and financial papers, including passports, contracts, and royalty and account statements; itineraries; appointment books and diary sheets; photographs; sheet music; sound recordings; a scrapbook; artwork; minutes of meetings; and publications. Call Number: Manuscript Collection MS-4062 Language English Access Open for research Administrative Information Acquisition Purchases and gifts, 1991-2000 Processed by Katherine Mosley, 1993-2000 Repository: Harry Ransom Center, University of Texas at Austin Stoppard, Tom Manuscript Collection MS-4062 Biographical Sketch Playwright Tom Stoppard was born Tomas Straussler in Zlin, Czechoslovakia, on July 3, 1937. However, he lived in Czechoslovakia only until 1939, when his family moved to Singapore. Stoppard, his mother, and his older brother were evacuated to India shortly before the Japanese invasion of Singapore in 1941; his father, Eugene Straussler, remained behind and was killed. In 1946, Stoppard's mother, Martha, married British army officer Kenneth Stoppard and the family moved to England, eventually settling in Bristol. Stoppard left school at the age of seventeen and began working as a journalist, first with the Western Daily Press (1954-58) and then with the Bristol Evening World (1958-60).
    [Show full text]
  • The Negative Costs of the Current Framework for Licensing Choreography and a Proposal for an Alternative Licensing Model, 36 Hastings Comm
    Hastings Communications and Entertainment Law Journal Volume 36 | Number 1 Article 5 1-1-2014 Copyright and Choreography: The egN ative Costs of the Current Framework for Licensing Choreography and a Proposal for an Alternative Licensing Model Matt Kovac Follow this and additional works at: https://repository.uchastings.edu/ hastings_comm_ent_law_journal Part of the Communications Law Commons, Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Matt Kovac, Copyright and Choreography: The Negative Costs of the Current Framework for Licensing Choreography and a Proposal for an Alternative Licensing Model, 36 Hastings Comm. & Ent. L.J. 137 (2014). Available at: https://repository.uchastings.edu/hastings_comm_ent_law_journal/vol36/iss1/5 This Note is brought to you for free and open access by the Law Journals at UC Hastings Scholarship Repository. It has been accepted for inclusion in Hastings Communications and Entertainment Law Journal by an authorized editor of UC Hastings Scholarship Repository. For more information, please contact [email protected]. Copyright and Choreography: The Negative Costs of the Current Framework for Licensing Choreography and a Proposal for an Alternative Licensing Model by MATT KOVAC* Abstract Although approaches rooted in copyright law are available, choreographers tend to rely instead on contract law in order to control distribution of their work; choreographers license their ballets to dance companies via contracts which are typically negotiated on an ad hoc basis. This relatively conservative approach allows choreographers to maintain tight artistic control over subsequent reproductions of their ballets, but it comes at a cost to both the dance community and the general public.
    [Show full text]
  • Biography Cast in Irony: Caveats, Stylization, and Indeterminacy in the Biographical History Plays of Tom Stoppard and Michael Frayn, Written by Christopher M
    BIOGRAPHY CAST IN IRONY: CAVEATS, STYLIZATION, AND INDETERMINACY IN THE BIOGRAPHICAL HISTORY PLAYS OF TOM STOPPARD AND MICHAEL FRAYN by CHRISTOPHER M. SHONKA B.A. Creighton University, 1997 M.F.A. Temple University, 2000 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Doctor of Philosophy Department of Theatre 2010 This thesis entitled: Biography Cast in Irony: Caveats, Stylization, and Indeterminacy in the Biographical History Plays of Tom Stoppard and Michael Frayn, written by Christopher M. Shonka, has been approved for the Department of Theatre Dr. Merrill Lessley Dr. James Symons Date The final copy of this thesis has been examined by the signatories, and we Find that both the content and the form meet acceptable presentation standards Of scholarly work in the above mentioned discipline. iii Shonka, Christopher M. (Ph.D. Theatre) Biography Cast in Irony: Caveats, Stylization, and Indeterminacy in the Biographical History Plays of Tom Stoppard and Michael Frayn Thesis directed by Professor Merrill J. Lessley; Professor James Symons, second reader Abstract This study examines Tom Stoppard and Michael Frayn‘s incorporation of epistemological themes related to the limits of historical knowledge within their recent biography-based plays. The primary works that are analyzed are Stoppard‘s The Invention of Love (1997) and The Coast of Utopia trilogy (2002), and Frayn‘s Copenhagen (1998), Democracy (2003), and Afterlife (2008). In these plays, caveats, or warnings, that illustrate sources of historical indeterminacy are combined with theatrical stylizations that overtly suggest the authors‘ processes of interpretation and revisionism through an ironic distancing.
    [Show full text]
  • Audience Guide
    Audience Guide December 1—27, 2017 Benedum Center, Pittsburgh 1 Teacher Resource Guide Terrence S. Orr’s Benedum Center for the Performing Arts December 1 - 27, 2017 Student Matinee Sponsor: The Pittsburgh Ballet Theatre Education Department is grateful for the support of the following organizations: Allegheny Regional Asset District Anne L. and George H. Clapp Charitable Trust BNY Mellon Foundation Claude Worthington Benedum Foundation Eat ‘n Park Hospitality Group Edith L. Trees Charitable Trust ESB Bank Giant Eagle Foundation The Grable Foundation Hefren-Tillotson, Inc. The Heinz Endowments Henry C. Frick Educational Fund of The Buhl Foundation Highmark Foundation Peoples Natural Gas Pennsylvania Council on the Arts Pennsylvania Department of Community and Economic Development PNC Bank Grow up Great PPG Industries, Inc. Richard King Mellon Foundation James M. and Lucy K. Schoonmaker Cover photo by Duane Rieder; Artist: William Moore. Created by PBT’s Department of Education and Community Engagement, 2017 2 Contents 4 Synopsis 6 About the Ballet 7 Did You Know? Hoffmann’s The Nutcracker and Mouse King 7 I Thought her Name was Clara! 8 Important Dates for The Nutcracker Ballet 8 The Music 8 The Composer: Peter Ilych Tchaikovsky 9 A Nutcracker Innovation: The Celesta 10 Did You Know? Tchaikovsky’s Nutcracker 10 Cast List and Setting for PBT’s The Nutcracker 11 The Pittsburgh Connection 12 The Choreography 14 Signature Steps—Pirouette and Balancé 15 The Costumes 17 The Scenic Design 17 Getting to Know PBT’s Dancers 18 The Benedum Center 19 Accessibility 3 Synopsis Act 1 It is Christmas Eve in the early years of the 20th century at the Stahlbaum home in Shadyside.
    [Show full text]
  • THE BECKETT CIRCLE LE CERCLE DE BECKETT O N E W S L E T T E R O F T H E S a M U E L B E C K E T T S O C I E T Y
    THE BECKETT CIRCLE LE CERCLE DE BECKETT O N e w s l e t t e r o f t h e S a m u e l B e c k e t t S o c i e t y Beckett. Delaware The Festival’s muse was Beckett’s own muse, Billie Whitelaw. She graced by her presence Celebrates Beckett all parts of the Festival, and, in her retrospec- tive in Mitchell Hall on Friday evening, she The University of Delaware’s Samuel Beckett brought the large audience into close touch Festival, which took place 9-11 October 2003, with Samuel Beckett’s humanity, moods, and was a joint undertaking of the Departments of methods as a director. Accounts of her experi- English, Foreign Languages, and Theatre as ences in performing Play, Not I (accompanied well as the University Library that celebrated by a screening of her film version),Happy Days, the addition to the Library’s Special Collections and a reading from Eh Joe highlighted her pre- of the distinguished private Samuel Beckett sentation. At the core of Whitelaw’s charm is collection of the late Sir Joseph Gold. Aiding her affectation-free, down-to-earth humanity, this effort was a memorable gathering of bear- which underlies her intuitive and poetic feel ers of the Beckett legacy: Billie Whitelaw, Pierre for Beckett’s plays. And yet there was an hyp- Chabert, Ruby Cohn, Martha Fehsenfeld, Lois notic transcendence, not homespunness, when Overbeck, Tom Bishop, Daniel Labeille, Stan she read the text of Eh Joe — such haunting Gontarski, Xerxes Mehta, Lois Oppenheim, music of bitter sadness, at once true and ethe- Jean-Michel Rabaté, and Thomas Cousineau.
    [Show full text]
  • The Hard Nut at the Paramount Seattle
    DECEMBER 2019 DECEMBER 6 - 15 THE PARAMOUNT THEATRE DECEMBER 6 – 15 The Hard Nut Based on The Nutcracker and Mouseking, by E.T.A. Hoffmann Music by Pyotr Ilyich Tchaikovsky, The Nutcracker, Op. 71 (1891-1892) Mark Morris, choreography Adrianne Lobel, set design Martin Pakledinaz, costume design James F. Ingalls, lighting design Production based on the work of Charles Burns MARK MORRIS DANCE GROUP MICA BERNAS KARLIE BUDGE BRANDON COURNAY DOMINGO ESTRADA, JR. LESLEY GARRISON LAUREN GRANT SARAH HAARMANN DEEPA LIEGEL AARON LOUX LAUREL LYNCH MATTHEW McLAUGHLIN DALLAS McMURRAY MINGA PRATHER BRANDON RANDOLPH NICOLE SABELLA CHRISTINA SAHAIDA BILLY SMITH NOAH VINSON JAMMIE WALKER SAM BLACK JOHN HEGINBOTHAM BRIAN LAWSON JANELLE BARRY DEREK CRESCENTI JOHN EIRICH JULIE FIORENZA AVA GIRARD ROBERT LEWIS CLAUDIA MACIEJUK CLAUDIA MCDONALD WENDY REINERT CAITLIN SCRANTON TIMOTHY WARD Artistic Director MARK MORRIS Executive Director NANCY UMANOFF THE PARAMOUNT ORCHESTRA EASTSIDE PREP CHOIR SHORECREST HIGH SCHOOL CHOIR Colin Fowler, Conductor Official Tour Sponsor Bloomberg Philanthropies Major support for the Mark Morris Dance Group is provided by American Express, Anonymous, Beyer Blinder Belle Architects & Planners, LLP, Allan and Rhea Bufferd Education Fund, Frederick and Morley Bland, Gale Epstein, Doris Duke Charitable Foundation, Judith R. and Alan H. Fishman, York-Chi and Stephen Harder, Howard Hodgkin Estate, John and Tommye Ireland (in memoriam), Suzy Kellems Dominik, Shelby and Frederick Gans, Isaac Mizrahi and Arnold Germer, Howard Gilman Foundation, Elizabeth Amy Liebman, Nicholas Ma and William Lopez, The Pierre and Tana Matisse Foundation, Suzanne Berman and Timothy J. McClimon, McDermott, Will & Emery, The Andrew W. Mellon Foundation, Meyer Sound/Helen and John Meyer, Mark Morris, Harris A.
    [Show full text]
  • THE BALD SOPRANO” October 23 – November 22, 2009
    media contact: erica lewis-finein brightbutterfly pr brightbutterfly[at]hotmail.com CUTTING BALL THEATER OPENS 10 TH ANNIVERSARY SEASON WITH IONESCO’S ABSURDIST MASTERPIECE “THE BALD SOPRANO” October 23 – November 22, 2009 SAN FRANCISCO (August 30, 2009) – San Francisco’s cutting-edge Cutting Ball Theater opens its 10 th season with Eugène Ionesco’s comic masterpiece THE BALD SOPRANO , in a new translation by Cutting Ball Artistic Director Rob Melrose . This hysterically funny play is the perfect follow up to last season’s hit production of Ionecso’s Victims of Duty , which garnered a Bay Area Critics Circle award for Best Production. Featuring Paige Rogers , David Sinaiko , Caitlyn Louchard , Donell Hill , Derek Fischer , and Anjali Vashi with direction by Rob Melrose , THE BALD SOPRANO plays October 23 through November 22 (Press opening: October 29 ) at the Cutting Ball Theater in residence at Exit on Taylor (277 Taylor Street) in San Francisco. For tickets ($15-30) and more information, the public may visit cuttingball.com or call 800-838-3006 . In THE BALD SOPRANO , Mr. and Mrs. Smith invite Mr. and Mrs. Martin over for a cheerful dinner. Plans for a sedate evening soon give way to hilarious chaos as polite conversation turns to confusion and the two couples engage in an escalating battle of linguistic acrobatics. Simultaneously comic and profound, THE BALD SOPRANO , about which The New York Times recently said, “The play has not aged. One might even suggest that we have caught up with [it],” is a play that breaks all the rules. While trying to learn English, Ionesco noticed the absurdity of the dialogues between the husband and wife in the textbook he was studying - she would inform him that they live in London, that they have three children, that the ceiling is above them and the floor is below them, all things he already knew perfectly well.
    [Show full text]
  • APR–MAY 2018 SEASON 51, ISSUE 7 EAP Full-Page Template.Indd 1 3/15/18 3:21 PM My Legacy
    SAN FRANCISCO’S PREMIER NONPROFIT THEATER COMPANY APR–MAY 2018 SEASON 51, ISSUE 7 EAP full-page template.indd 1 3/15/18 3:21 PM My legacy. My partner. You have dreams. Goals you want to achieve during your lifetime and a legacy you want to leave behind. The Private Bank can help. Our highly specialized and experienced wealth strategists can help you navigate the complexities of estate planning and deliver the customized solutions you need to ensure your wealth is transferred according to your wishes. Take the first step in ensuring the preservation of your wealth for your lifetime and future generations. To learn more, please visit unionbank.com/theprivatebank or contact: Vartan Shahijanian Private Wealth Advisor [email protected] 415-705-7258 Wills, trusts, foundations, and wealth planning strategies have legal, tax, accounting, and other implications. Clients should consult a legal or tax advisor. ©2018 MUFG Union Bank, N.A. All rights reserved. Member FDIC. Union Bank is a registered trademark and brand name of MUFG Union Bank, N.A. EAP full-page template.indd 1 12/12/17 9:50 AM April 2018 Volume 16, No. 7 Business, meet box office. Encore connects your business to arts patrons wherever they are. Paul Heppner Publisher To learn what Encore can do for your business, Susan Peterson visit encoremediagroup.com. Design & Production Director Ana Alvira, Robin Kessler, Stevie VanBronkhorst Production Artists and Graphic Design Mike Hathaway Sales Director MAKE YOUR SUMMER Amelia Heppner, Marilyn Kallins, EPIC Terri Reed 2018
    [Show full text]
  • The Nutcracker by Jennifer Fisher
    The Nutcracker by Jennifer Fisher Created in 1892, during a golden age of classical children could also be classically rigorous and ballet in Russia, The Nutcracker might have rapturously beautiful. remained one of Tchaikovsky’s lesser-known ballets if not for its virtual immigration to the Although Anna Pavlova had toured the U.S. in United States. The first Russian critics found the early 20th century with a ballet called plenty to dislike, though they did praise parts of “Snowflakes,” using Nutcracker music, two very the choreography by Lev Ivanov, when the different abbreviated 1940 versions laid more ballet was presented at the Imperial Theatre in significant groundwork for the annual St. Petersburg. The plot was thought too child- Nutcracker phenomenon. The Ballet Russe de centered and implausible, given that it centers Monte Carlo criss-crossed the country with a on an ordinary Christmas gift that leads to a popular one-act Nutcracker suite (selections journey through glittering fantasy lands; and from the ballet arranged by Alexandra there were thought to be too many decorative Federova) in their repertoire. Starting the same special effects. In the United States, however, year, American audiences could also see the these very qualities appealed to an aspirational, Disney film Fantasia, with a whole section of democratic nation that was still culturally animated flowers and falling leaves swirling to young. After the first evening-length American Nutcracker selections. For audiences unfamiliar production at the San Francisco Ballet (1944, by with classical ballet, the popular Ballet Russe Willam Christensen) and then the influential and Disney’s animated version of dancers New York City Ballet version (1954, by George provided an unthreatening introduction to the Balanchine), the annual Nutcracker aesthetics of the art form.
    [Show full text]