Stagebill Collection, 1813-1986
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Avery Gagliano, Piano
Dorothy Rose Smith Concert Series Avery Gagliano, piano Highland Presbyterian Church 7:00 PM March 3, 2021 Performing Live on Highland’s Steinway & Sons Concert Grand Through the auspices of the Jacobs Music Company Mozart Sonata in F Major, K. 533 I. Allegro II. Andante III. Rondo (Allegretto) Ades Three Mazurkas for Piano, Op. 27 Chopin Sonata No. 2 in B-flat Minor, Op. 35 I. Grave - Doppio movimento II. Scherzo III. March funebre: Lento IV: Finale: Presto Chopin Andante Spianato et Grande Polonaise, Op. 22 Avery Gagliano, First Prize and Best Concerto Prize winner of the 2020 10th National Chopin Piano Competition, is a young artist who captures audiences with her sensitivity, emotional depth, and musical expression. Her success has taken her to stages and concert venues such as the Verbier Festival Academy, Ravinia Festival, Aspen Music Festival, Louis Vuitton Foundation in Paris, Jay Pritzker Pavilion at Chicago’s Millennium Park, WQXR Greene Space, WRTI Performance Studio, and the GRAMMY Salute to Classical Music at Carnegie Hall. As a soloist, Avery has collaborated with several symphonies in the United States including the Aspen Philharmonic Orchestra, Tuscarawas Philharmonic, MostArts Festival Orchestra, Capital City Symphony, National Chamber Ensemble, and most recently, the Oregon Mozart Players. She is also an avid chamber musician and will return as a guest artist with the Jupiter Symphony Chamber Players in 2021. Avery received the Audience Prize at the 2019 Cliburn International Junior Piano Competition, was the first- prize winner of the Aspen Music Festival Concerto Competition and the MostArts Festival Piano Competition, and is a winner of 2019 National YoungArts Competition. -
Musical Landmarks in New York
MUSICAL LANDMARKS IN NEW YORK By CESAR SAERCHINGER HE great war has stopped, or at least interrupted, the annual exodus of American music students and pilgrims to the shrines T of the muse. What years of agitation on the part of America- first boosters—agitation to keep our students at home and to earn recognition for our great cities as real centers of musical culture—have not succeeded in doing, this world catastrophe has brought about at a stroke, giving an extreme illustration of the proverb concerning the ill wind. Thus New York, for in- stance, has become a great musical center—one might even say the musical center of the world—for a majority of the world's greatest artists and teachers. Even a goodly proportion of its most eminent composers are gathered within its confines. Amer- ica as a whole has correspondingly advanced in rank among musical nations. Never before has native art received such serious attention. Our opera houses produce works by Americans as a matter of course; our concert artists find it popular to in- clude American compositions on their programs; our publishing houses publish new works by Americans as well as by foreigners who before the war would not have thought of choosing an Amer- ican publisher. In a word, America has taken the lead in mu- sical activity. What, then, is lacking? That we are going to retain this supremacy now that peace has come is not likely. But may we not look forward at least to taking our place beside the other great nations of the world, instead of relapsing into the status of a colony paying tribute to the mother country? Can not New York and Boston and Chicago become capitals in the empire of art instead of mere outposts? I am afraid that many of our students and musicians, for four years compelled to "make the best of it" in New York, are already looking eastward, preparing to set sail for Europe, in search of knowledge, inspiration and— atmosphere. -
In Nineteenth-Century American Theatre: the Image
Burlesquing “Otherness” 101 Burlesquing “Otherness” in Nineteenth-Century American Theatre: The Image of the Indian in John Brougham’s Met-a-mora; or, The Last of the Pollywogs (1847) and Po-Ca-Hon-Tas; or, The Gentle Savage (1855). Zoe Detsi-Diamanti When John Brougham’s Indian burlesque, Met-a-mora; or, The Last of the Pollywogs, opened in Boston at Brougham’s Adelphi Theatre on November 29, 1847, it won the lasting reputation of an exceptional satiric force in the American theatre for its author, while, at the same time, signaled the end of the serious Indian dramas that were so popular during the 1820s and 1830s. Eight years later, in 1855, Brougham made a most spectacular comeback with another Indian burlesque, Po-Ca-Hon-Tas; or, The Gentle Savage, an “Original, Aboriginal, Erratic, Operatic, Semi-Civilized, and Demi-savage Extravaganza,” which was produced at Wallack’s Lyceum Theatre in New York City.1 Both plays have been invariably cited as successful parodies of Augustus Stone’s Metamora; or, The Last of the Wampanoags (1829) and the stilted acting style of Edwin Forrest, and the Pocahontas plays of the first half of the nineteenth century. They are sig- nificant because they opened up new possibilities for the development of satiric comedy in America2 and substantially contributed to the transformation of the stage picture of the Indian from the romantic pattern of Arcadian innocence to a view far more satirical, even ridiculous. 0026-3079/2007/4803-101$2.50/0 American Studies, 48:3 (Fall 2007): 101-123 101 102 Zoe Detsi-Diamanti -
Ibsen in Chcago at Seattle Repertory Theatre Encore Arts Seattle
FEBRUARY 2018 by DAVID GRIMM DIRECTED BY BRADEN ABRAHAM FEBRUARY 2 - MARCH 4, 2018 2017/18 SEASON THE ODYSSEY | PRIDE AND PREJUDICE | THE HUMANS | TWO TRAINS RUNNING IBSEN IN CHICAGO | HERSHEY FELDER AS IRVING BERLIN | THE GREAT LEAP | FAMILIAR | MAC BETH January 2018 INTERNATIONAL Volume 14, No. 4 GUITAR NIGHT Wednesday, Jan. 24 7:30 pm | $19–$44 IGN brings together the world’s foremost guitarists for a special evening of solos, Paul Heppner duets, and quartets. The tour’s ECA Publisher WINTER 2018 engagement will feature Lulo Reinhardt, Sara Keats Calum Graham, Marek Pasieczny, and Encore Stages Editor Michael Chapdelaine. Susan Peterson HARLEM QUARTET & Design & Production Director Contents ALDO LÓPEZ-GAVILÁN Ana Alvira, Robin Kessler, Feature Thursday, Mar. 8 Stevie VanBronkhorst 7:30 pm | $19–$49 Production Artists and Graphic Design 3 Danielle Mohlman reflects Cuban piano prodigy Aldo Mike Hathaway López-Gavilán joins the on her one-woman Sales Director Harlem Quartet in this dynamic cross-cultural program to bring millennial collaboration. The program will consist of Brieanna Bright, Joey Chapman, audiences to the theater in Latin jazz and classical repertoire, as well as Ann Manning original compositions by Mr. López-Gavilán. Seattle Area Account Executives the age of Netflix. THE MYSTICAL Amelia Heppner, Marilyn Kallins, Terri Reed Dialogue ARTS OF TIBET San Francisco/Bay Area Account Executives Thursday, May 11 Carol Yip 10 SassyBlack on place, 7:30 pm | $15–$44 Sales Coordinator communication, As part of a 5-day ECA and creativity. residency that includes the creation of a Mandala Sand Painting, the Tibetan monks of Drepung Intermission Brain Transmission Loseling Monastery will give a performance combining multi-phonic chanting, music and 11 Test yourself with our dance into an unforgettable experience. -
Annual Report
ANNUAL REPORT Fiscal Year 2017: July 2016 – June 2017 Season 33 "I love to sing, I love connecting with my fellow members, and I love sharing our music with the community." — Jon Brockelman, Tenor 2 2 Welcome to CGMC Since 1985, Chicago Gay Men’s Chorus has been a leading voice of social justice, offering a safe and support- ive environment for LGBTQ+ performers to celebrate their talents and share our message of diversity and inclusivity through our shows. Fiscal year 2017 (from July 2016 – June 2017) included more than 40 public performances. In addition to our traditional programming, for the first time we also piloted a high school outreach program to share our message with the next generation. We plan to continue outreach programs like this in future years. The season kicked off in September 2016 with ourThe Great Gaymerican Songbook cabaret performance at Mayslake Peabody Estate in Oak Brook and the Uptown Underground on the north side of the city. Our holiday show Home for the Holidivas in December 2016 brought us to the Harris Theater, the North Shore Center for the Performing Arts in Skokie, and the Beverly Art Center. Lipsticks & Lyrics: The Dragtones, our live singing drag show in February 2017, featured several iconic girl groups, to the delight of our audience in four shows at Uptown Underground. Finally, our spring show *B-Town: From Barbershop to Boybands in May 2017 brought us back to rock the Harris Theater, North Shore Center for the Performing Arts, and the Beverly Arts Center. Outside of our regular mainstage shows, we performed at numerous community events across Chicagoland, including the Chicago AIDS Run/Walk opening ceremony, National Anthem for American Veterans for Equal Rights (AVER) memorial in Boystown and a Chicago Fire soccer game, Market Days, and Midsommarfest. -
Great Offers for Your Employees
Email not displaying correctly? View it in your browser. SEPTEMBER 2017 Great offers for your employees SCHOOL OF ROCK From Only EXCLUSIVE OFFER: $79 ORCHESTRA SEATS New York, NY - The Winter Garden Theatre $59 Reg. Price: $79 - $155 FROZEN THE BROADWAY MUSICAL From Only GET ACCESS TO TICKETS New York, NY - St. James Theatre $93 BANDSTAND From Only FINAL WEEKS! LAST PERFORMANCE SEPTEMBER 17 - SAVE 30% $59 New York, NY - Bernard B Jacobs Theatre Reg. Price: $89 - $159 ALADDIN From Only TICKETS FROM $65.50 New York, NY - New Amsterdam Theatre $65.50 Reg. Price: $77 - $170 ANASTASIA From Only WEEKDAY OFFER: $94 ORCHESTRA SEATS New York, NY - Broadhurst Theatre $69 Reg. Price: $69 - $143 THE PHANTOM OF THE OPERA From Only SAVE OVER $45 New York, NY - The Majestic Theatre $69 Reg. Price: $89 - $135 BEAUTIFUL - THE CAROLE KING MUSICAL From Only SEE THE TONY WINNING MUSICAL AND SAVE $40 $60 New York, NY - Stephen Sondheim Theatre Reg. Price: $79 - $249 CATS From Only SAVE OVER 45% New York, NY - Neil Simon Theatre $61.50 TIME AND THE CONWAYS From Only SEE ELIZABETH MCGOVERN AND ANNA CAMP ON BROADWAY $59 New York, NY - American Airlines Theatre Reg. Price: $79 - $139 KINKY BOOTS From Only BILLY PORTER AND STARK SANDS RETURN 9/26 - SAVE OVER $45 $62 New York, NY - Al Hirschfeld Theatre Reg. Price: $79 - $137 Just a reminder that you're receiving this email because you subscribed via our website or provided your email during your last visit. You may Unsubscribe if you're no longer interested. *Prices and Offers are subject to availability and subject to change without notice. -
The African-American Shakespeare Company Looks to Explore What It Means to Be Family in 2018 Version of Cinderella
Press Contact Liam Passmore Shave and a Haircut [email protected] 415-865-0860 (p); 415-218-1544 (c) The African-American Shakespeare Company Looks to Explore What It Means To Be Family in 2018 Version of Cinderella Paige Mayes in the 2017 African-American Shakespear Company's Cinderella Director Mark A. Davis looks to Sondheim and Into The Woods as inspirations to give context as he takes the reins for this year’s production of the company’s holiday classic as a story of a girl being raised by a mother “who doesn’t like her,” and her search for authentic family, which in this version will feature a Fairy Godfather offering some needed assistance in her transformation and journey that includes a pair of particularly life-changing shoes Cinderella runs for 4 performances, December 21-23 at the Herbst Theatre in San Francisco; Tickets: $25 - $45 can be purchased at african-americanshakes.org October 29, 2018, San Francisco– The African-American Shakespeare Company’s annual holiday offering Cinderella returns this December in an update that recontextualizes our heroine’s dilemma into a journey that finds her seeking what director Mark A. Davis describes as “authentic family.” This, the company’s 17th production spun from their original take first produced in 2000 is their take on the oft-told tale of a girl who while fully aware of the inequalities in her life—forced as she is to wait on her stepmother and two stepsisters hand and foot— doesn't allow them to define her. After being a holiday staple for the company for close to two decades, with a number of revisions, additions and updates, Executive Director Sherri Young is always looking for ways to keep the story relevant to new audiences and reflect the changing times, all while “keeping the uniqueness that only the African-American Shakespeare Company can bring.” As always, the musical production will find our heroine thanklessly toiling away before seizing the opportunity to pursue her dreams after coming into temporary possession of a particularly life-changing pair of shoes. -
SWALI.ACK-8 THEATRE. V
v NEW-YORK DAILY TRIBUNE, SUNDAY, MARCH 7, 1900. iNEVV PLAYS THIS WEEK STAGE AFFAIRS MONDAY NIGHT. NEW AMSTERDAM THEATRE ACADEMY OF MUSIC.MUSIC Bnaasi W ACADEMY Mant^li begins engagement with revival of Frederic Thompson's production at "Bre»Eter> "KingJohn." rMillions" willb* the attraction at the Academy for night. LJ- RETURN ENGAGEMENTS. X ailianii period, beginning to-morrow \u25a0-,,,: Abel** Is the chief actor In that drama It ACADEMY OF MUSlC—Edward Abelea, In " ago. and " hod to. lor.p run hi this city two \u25a0"\u25a0\u25a0 "Prewster's Millions." In other Basana fr-.r.j successful engagements WEST END THEATRE -Mr. Faversham, In parts of Use tsottntry- to-night, "The World and His \Vlf<\" Hurr Slclntosh mta give a lecture here on "Cur Country." It w!l!be amply illustrated. LEADING PERFORMERS ON VARIETY STAGE- L< ASTOR THEATRE. Hodpe as the AMERICAN MUSIC HALL—Laurenc* Irvir*. "The Man from Hcme." with Mr. play, that have In "The Kin** and the Vagabond." principal actor, is one of the few beginning of the oe*- COLONIAL THEATRE- Mny Imin. In been on the boards since the "Mr?. favorite, Caraajsa-." wn. Itis BtHIa Pscknasa'a LINCOLN SQUARE THEATRE Jarri^s J. BELASCO THEATRE. Jeffries. Bau-^ »nU The FigLtir.K Hope" are *t'.V. VICTORIA THEATRE— Eva Tanguay and JilM nc*s at the Belasco. Afternoon performs Wllla Hoit \Vaken>!d Viialar of |!m t*if< a week. t:. 2UHh performance >U 'hat drama w-i!! occur shortly. RINGLING BROTHERS' CIRCUS. BIJOU THEATRE la Another "World's Greatest Due at Those r.h. -
Theater Events: Body Image at Play in Clockwise's 'Impenetrable'
dailyherald.com http://www.dailyherald.com/article/20141010/entlife/141019986/ Theater events: Body image at play in Clockwise's 'Impenetrable' Barbara Vitello Body image A spa billboard showing a gorgeous, bikini-clad woman with arrows pointing to her imperfections and how they could be improved provokes outrage in a Chicago suburb in "Impenetrable" by Mia McCullough. Judy Blue directs Clockwise Theatre's production of the 2012 play about body image and perception and how this advertisement affects men and women in the community. Opens at 8 p.m. Friday, Oct. 10, at 221 N. Genesee St., Waukegan. $12, $20. See clockwisetheatre.org. A sneak peek The Actors Gymnasium offers a glimpse of new works as part of its Circus in Progress series showcasing circus arts. Featured artists include Striding Lion dance theater along with trapeze artist Camille Swift and Akemi Berry on silks. Next up is "A Circus Night's Dream," written and directed by The House Theatre's Chris Mathews. 4:30 and 7:30 p.m. Saturday, Oct. 11, at the Noyes Cultural Arts Center, 927 Noyes St., Evanston. $15. (847) 328-2795 or actorsgymnasium.org. Devil has his 'Day' Signal Ensemble Theatre opens its season with the world premiere of "Devil's Day Off" by Jon Steinhagen ("Blizzard '67," "Dating Walter Dante"). Set during a record-breaking heat wave that is accompanied by massive power outages, "Devil's Day Off" chronicles the fear, humor and heroism of the event through multiple vignettes. Co-artistic director Ronan Mara directs the premiere, which features 13 actors playing 100 characters. -
Laquet Sharnell Pringle Performer Resume
Commercial - VO Agents: CESD | 212-477-1666 LAQUET SHARNELL PRINGLE AEA - SAG/AFTRA Height: 5’1 Hair: Black Eyes: Brown Voice: Mix/Belt - G5 BROADWAY LYSISTRATA JONES (Original Cast) Mhyrinne/Tiffany Walter Kerr Theater Dir/Chor: Dan Knechtges MEMPHIS (Original Cast) Ethel Shubert Theatre Dir: Christopher Ashley THE LION KING Ensemble Minskoff Theatre Dir: Julie Taymor SWEET CHARITY U/S Helene Al Hirschfeld Theatre Dir: Walter Bobbie National Tour BEAUTIFUL: THE CAROLE KING MUSICAL Swing National Tour Dir: Marc Bruni SWEET CHARITY U/S Helene National Tour Dir: Scott Faris OFF-BROADWAY AVENUE Q u/s Gary Coleman, u/s Kate/Lucy New World Stages LYSISTRATA JONES Mhyrinne/Tiffany Transport Group NYC WORKSHOPS/SHOWCASES/READINGS JAWBREAKER Featured Ensemble Dir: Gabriel Barre SWEETIE Hedy Dir: Pat Birch / Signature Theatre I DREAM Georgia Dir: Daniel Goldstein BRING IT ON: THE MUSICAL U/S Danielle & Nautica Dir/Chor: Andy Blankenbuehler SHREK: THE MUSICAL Baby Bear Dir: Jason Moore CATY BRIDGWATER Caty Bridgwater Dir: David Alpert DAYBREAK: A MUSICAL Kelly Dir: Johanna Pinzler MAKE MINE MANHATTAN Vocal Soloist Dir: Ben West REGIONAL THEATRE FLASHDANCE Kiki Gateway Playhouse ALL SHOOK UP Lorraine North Shore Music Theatre THE WIZ Dorothy Maine State Music Theatre BRING IT ON: THE MUSICAL U/S Danielle & Nautica Alliance Theater FOOTLOOSE Wendy Jo, u/s Rusty Carousel Dinner Theatre AIN’T MISBEHAVIN’ Charlaine Gateway Playhouse PRINCESSES: A NEW MUSICAL Carolyn Goodspeed Opera TELEVISION/FILM Unbreakable Kimmy Schmidt Lion King Dancer Netflix Devoted Lead Short Film Slyvia Plath Project Lead Short Film AS THE WORLD TURNS U/5 CBS STEP UP 3-D Tango Dancer Walt Disney Pictures TRAINING & EDUCATION NC SCHOOL FOR THE ARTS (Modern Dance Major): Trisch Casey, Brenda Daniels, Sean Sullivan, Diane Markham Acting: William Esper, Karen Kohlhaas, Nancy Mayans, Jennifer Monoco TV/Film: Marci Phillips, Kim Graham, Blaine Johnston, Jack Bowdan, Peter Bolte Improv: UCB, The PIT Voice: Amanda Flynn, Dr. -
Making Contributions to the Field Mission the Lloyd A
Lloyd A. Fry Foundation 2005 Annual Report Making Contributions to the Field Mission The Lloyd A. Fry Foundation supports organizations with the strength and commitment to address persistent problems of urban Chicago resulting from poverty, violence, ignorance, and despair. We seek to build the capacity of individuals and the systems that serve them. Our vision is a Chicago that offers education, prosperity, and hope for all. About the Foundation In 1933 Lloyd A. Fry founded the Lloyd A. Fry Roofing Company on the Southwest Side of Chicago. During the next five decades, the company grew to become the world’s largest manufacturer of asphalt roofing and allied products, with nearly 5,000 dedicated employees in manufacturing facilities nationwide. The company was sold to Owens-Corning Fiberglass Corporation in 1977. In large part, the proceeds from the sale of the company now serve as the endowment of the Lloyd A. Fry Foundation. The Foundation has been addressing the needs of the Chicago community since 1983. Table of Contents 2 Message from the Chairman 3 Message from the Executive Director 14 Grant Highlights 22 Urban Leadership Awards 24 High School Initiative 30 2005 Grants 36 Independent Auditor’s Report 42 Grantmaking Programs 43 Grant Application Procedures 44 Board of Directors and Staff Message from the Chairman Message from the Executive Director 2005 was a year of quiet change for the Fry Foundation. Our new executive director, Unmi Song, put her Fry Foundation grantees are among the most important institutions in Chicago. Reaching out to our indelible stamp on our grantmaking in a number of subtle (and a few not-so-subtle) ways. -
The Auditorium Theatre Celebrates 50Th Anniversary of Their Grand Re
10/12/2017 Auditorium Theatre One-Night-Only Performance Honoring the Theatre's Past, Present, Future View in browser 50 E Congress Pkwy Lily Oberman Chicago, IL 312.341.2331 (office) | 973.699.5312 (cell) AuditoriumTheatre.org [email protected] Release date: October 5, 2017 THE AUDITORIUM THEATRE CELEBRATES 50th ANNIVERSARY OF THEIR GRAND RE-OPENING WITH ONE-NIGHT-ONLY PERFORMANCE FEATURING PREMIER DANCERS FROM TOP COMPANIES AROUND THE WORLD THE EVENING INCLUDES PERFORMANCES BY DANCERS FROM ALVIN AILEY AMERICAN DANCE THEATER, AMERICAN BALLET THEATRE, DUTCH NATIONAL BALLET, THE JOFFREY BALLET, NEW YORK CITY BALLET, THE WASHINGTON BALLET, AND FINALISTS FROM YOUTH AMERICA GRAND PRIX A Golden Celebration of Dance – November 12, 2017 On November 12, 2017, the Auditorium Theatre, The Theatre for the People, commemorates the 50th anniversary of its grand re-opening with A Golden Celebration of Dance, a one-night-only mixed repertory program featuring dancers from the world’s premier dance companies: Alvin Ailey American Dance Theater, American Ballet Theatre, Dutch National Ballet, Eifman Ballet of St. Petersburg, Hubbard Street Dance Chicago, The Joffrey Ballet, MOMIX, New York City Ballet, Parsons Dance, The Suzanne Farrell Ballet, and The Washington http://tracking.wordfly.com/view/?sid=NjUzXzQ4NTRfMjc3ODA2XzY5NTk&l=4d2b8dea-61af-e711-8416-e41f1345a486&utm_source=wordfly&utm_me… 1/5 10/12/2017 Auditorium Theatre Ballet. In addition, the evening will feature special performances by finalists from the Youth America Grand Prix, the next generation of great dancers. In 1941, the Auditorium Theatre closed its doors to the public in the wake of the Great Depression. Aside from when it was used as a servicemen’s center during World War II, the theatre sat unused and in disrepair, until a 7-year-long fundraising campaign – led by Beatrice Spachner and the Auditorium Theatre Council – covered the costs of theatre renovation, culminating with a grand re-opening on October 31, 1967.