The Omaha Community Playhouse Past Productions
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ADAMS, ELLERY 11.Indigo Dying 6. The Darling Dahlias and Books by the Bay Mystery 12.A Dilly of a Death the Eleven O'Clock 1. A Killer Plot* 13.Dead Man's Bones Lady 2. A Deadly Cliché 14.Bleeding Hearts 7. The Unlucky Clover 3. The Last Word 15.Spanish Dagger 8. The Poinsettia Puzzle 4. Written in Stone* 16.Nightshade 9. The Voodoo Lily 5. Poisoned Prose* 17.Wormwood 6. Lethal Letters* 18.Holly Blues ALEXANDER, TASHA 7. Writing All Wrongs* 19.Mourning Gloria Lady Emily Ashton Charmed Pie Shoppe 20.Cat's Claw 1. And Only to Deceive Mystery 21.Widow's Tears 2. A Poisoned Season* 1. Pies and Prejudice* 22.Death Come Quickly 3. A Fatal Waltz* 2. Peach Pies and Alibis* 23.Bittersweet 4. Tears of Pearl* 3. Pecan Pies and 24.Blood Orange 5. Dangerous to Know* Homicides* 25.The Mystery of the Lost 6. A Crimson Warning* 4. Lemon Pies and Little Cezanne* 7. Death in the Floating White Lies Cottage Tales of Beatrix City* 5. Breach of Crust* Potter 8. Behind the Shattered 1. The Tale of Hill Top Glass* ADDISON, ESME Farm 9. The Counterfeit Enchanted Bay Mystery 2. The Tale of Holly How Heiress* 1. A Spell of Trouble 3. The Tale of Cuckoo 10.The Adventuress Brow Wood 11.A Terrible Beauty ALAN, ISABELLA 4. The Tale of Hawthorn 12.Death in St. Petersburg Amish Quilt Shop House 1. Murder, Simply Stitched 5. The Tale of Briar Bank ALLAN, BARBARA 2. Murder, Plain and 6. The Tale of Applebeck Trash 'n' Treasures Simple Orchard Mystery 3. -
Online Versions of the Handouts Have Color Images & Hot Urls September
Online versions of the Handouts have color images & hot urls September 6, 2016 (XXXIII:2) http://csac.buffalo.edu/goldenrodhandouts.html Sam Wood, A NIGHT AT THE OPERA (1935, 96 min) DIRECTED BY Sam Wood and Edmund Goulding (uncredited) WRITING BY George S. Kaufman (screenplay), Morrie Ryskind (screenplay), James Kevin McGuinness (from a story by), Buster Keaton (uncredited), Al Boasberg (additional dialogue), Bert Kalmar (draft, uncredited), George Oppenheimer (uncredited), Robert Pirosh (draft, uncredited), Harry Ruby (draft uncredited), George Seaton (draft uncredited) and Carey Wilson (uncredited) PRODUCED BY Irving Thalberg MUSIC Herbert Stothart CINEMATOGRAPHY Merritt B. Gerstad FILM EDITING William LeVanway ART DIRECTION Cedric Gibbons STUNTS Chuck Hamilton WHISTLE DOUBLE Enrico Ricardi CAST Groucho Marx…Otis B. Driftwood Chico Marx…Fiorello Marx Brothers, A Night at the Opera (1935) and A Day at the Harpo Marx…Tomasso Races (1937) that his career picked up again. Looking at the Kitty Carlisle…Rosa finished product, it is hard to reconcile the statement from Allan Jones…Ricardo Groucho Marx who found the director "rigid and humorless". Walter Woolf King…Lassparri Wood was vociferously right-wing in his personal views and this Sig Ruman… Gottlieb would not have sat well with the famous comedian. Wood Margaret Dumont…Mrs. Claypool directed 11 actors in Oscar-nominated performances: Robert Edward Keane…Captain Donat, Greer Garson, Martha Scott, Ginger Rogers, Charles Robert Emmett O'Connor…Henderson Coburn, Gary Cooper, Teresa Wright, Katina Paxinou, Akim Tamiroff, Ingrid Bergman and Flora Robson. Donat, Paxinou and SAM WOOD (b. July 10, 1883 in Philadelphia, Pennsylvania—d. Rogers all won Oscars. Late in his life, he served as the President September 22, 1949, age 66, in Hollywood, Los Angeles, of the Motion Picture Alliance for the Preservation of American California), after a two-year apprenticeship under Cecil B. -
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MAUY HEMENWAY HALL WELLESLEY, MASS., FEBRUARY 26, 1942 D~ Hu Shih To Address 1942 President's Wife·. Senate· Approves Plans For · · E . Outlines College At Commencement xerc1ses Role In Defense New College Radio Station __________.......__<e> Studio to Broadcast From Cbina Ambassador To Talk~ Mrs. Fl'ilnklin D. Roosevelt, who On Anniversary of Mme. Liliom Promises is to speak at Wellesley March 27 Pendleton Hall to All Chiang Kai-shek, '17 Dramatic Triumph during Forum's intercollegiate con Campus Dormitories ference, has issued the following Members of the class of 1942 statement to undergraduates: The College Senate took official will leave Wellesley twenty-five What -could be better spring action in a meeting Monday eve "The role of the colleg·e student years after the graduation of tonic than Spring Formals? ning, February 23, to approve in Civilian Defense is extremely plans, presented by Rosam.rnd Wil Madame Chiang Kai Shek. To em- Barnswallows' final production of important. As far as possible, it phasize her connection with Wel- fley '42, for establishing a Tadio seems to me there should be a lesley the peaker at the com the season, Franz Molnar's Liliom, station at Wellesley. One of forty duplication on the campuses of all mencement exercises this June complete with a Wellesley-Harvard colleges belonging to the network the services which would be re will be His Excellency, DL Hu of the Intercollegiate Broadcasting cast and more of Mr. Daniel Sat- quired of a citizen in his commu Shih, Ambassador from China System, the new • station will be to ler's famous scenery, including an nity, so that on the campus the the United States. -
William and Mary Theatre Main Stage Productions
WILLIAM AND MARY THEATRE MAIN STAGE PRODUCTIONS 1926-1927 1934-1935 1941-1942 The Goose Hangs High The Ghosts of Windsor Park Gas Light Arms and the Man Family Portrait 1927-1928 The Romantic Age The School for Husbands You and I The Jealous Wife Hedda Gabler Outward Bound 1935-1936 1942-1943 1928-1929 The Unattainable Thunder Rock The Enemy The Lying Valet The Male Animal The Taming of the Shrew The Cradle Song *Bach to Methuselah, Part I Candida Twelfth Night *Man of Destiny Squaring the Circle 1929-1930 1936-1937 The Mollusc Squaring the Circle 1943-1944 Anna Christie Death Takes a Holiday Papa is All Twelfth Night The Gondoliers The Patriots The Royal Family A Trip to Scarborough Tartuffe Noah Candida 1930-1931 Vergilian Pageant 1937-1938 1944-1945 The Importance of Being Earnest The Night of January Sixteenth Quality Street Just Suppose First Lady Juno and the Paycock The Merchant of Venice The Mikado Volpone Enter Madame Liliom Private Lives 1931-1932 1938-1939 1945-1946 Sun-Up Post Road Pygmalion Berkeley Square RUR Murder in the Cathedral John Ferguson The Pirates of Penzance Ladies in Retirement As You Like It Dear Brutus Too Many Husbands 1932-1933 1939-1940 1946-1947 Outward Bound The Inspector General Arsenic and Old Lace Holiday Kind Lady Arms and the Man The Recruiting Officer Our Town The Comedy of Errors Much Ado About Nothing Hay Fever Joan of Lorraine 1933-1934 1940-1941 1947-1948 Quality Street You Can’t Take It with You The Skin of Our Teeth Hotel Universe Night Must Fall Blithe Spirit The Swan Mary of Scotland MacBeth -
A Raisin in the Sun 2
s A TEACHER’S GUIDE TO THE SIGNET AND PLUME EDITIONS OF THE SCREENPLAY LORRAINE HANSBERRY’S RAISIN IN THE SUN By DIANA MITCHELL, Ph.D SERIES EDITORS: W. GEIGER ELLIS, ED.D., UNIVERSITY OF GEORGIA, EMERITUS and ARTHEA J. S. REED, PH.D., UNIVERSITY OF NORTH CAROLINA, RETIRED A Teacher’s Guide to Lorraine Hansberry’s A Raisin in the Sun 2 INTRODUCTION The certainty that the ideals of “life, liberty, and the pursuit of happiness” can become reality for anyone willing to work for them is what we call the American dream. For many, the dream does come true. For many it does not. Lorraine Hansberry knew about disappointment, false hope, and despair. For many of her African-American ancestors who had come north for a better life only to find exploitation and frustration, the dream had become a nightmare. In contemporary terms, she chronicles their nightmare in A Raisin in the Sun, an epic story of the Younger family struggling to realize the dream by escaping ghetto life. Hansberry’s screenplay not only tells the story of the Youngers but reveals the plight of all who have failed dreams. Her cosmic vision gives Raisin its power. For high school juniors who often study U.S. history concurrently with American literature, this previously unpublished version of the screenplay allows students to read an engrossing American play, while they experience a culture that either mirrors their own lives or provides a window into a world of people who are more similar to them than they are different from them. -
The Call Is Places
The Call Is Places Welcome from Artistic Director Joseph Haj 2016–2017 SEASON Dear Friends, Sense and Sensibility To make a life in the theater is a bold choice, as the path to the stage is September 10 – October 29, 2016 hardly a direct one. It comes with insecurity, both financial and personal, Wurtele Thrust Stage instability and public critique. How many of us actors and artists, as teenagers, had that brave conversation with our parents when we swore The Parchman Hour allegiance to a dream in the footlights and they did all they could to dissuade October 1 – November 6, 2016 us? Looking back, it’s hard to fault them. Guaranteed work this is not. McGuire Proscenium Stage What theater is though, is a calling – to hone a craft, to entertain, to find A Christmas Carol meaning in the act of storytelling. And as depicted in George S. Kaufman November 16 – December 30, 2016 and Edna Ferber’s The Royal Family, theater is the connective tissue Wurtele Thrust Stage between generations. Sure, there are moments in the play when Kaufman and Ferber seem to be satirizing the Cavendish family of thespians – lest any The Lion in Winter actor ever take him or herself too seriously. But there are also extraordinarily November 19 – December 31, 2016 poignant moments when relationships must be considered and hard McGuire Proscenium Stage decisions made by the Cavendish women, all of whom find themselves at a crossroads between their vocation and a The Royal Family decidedly different way of life. January 28 – March 19, 2017 McGuire Proscenium Stage There’s broad comedy, and there’s also beautiful nuance to be found in this nearly century-old King Lear story in terms of what’s uplifting and what can February 11 – April 2, 2017 be heartbreaking about a theatrical pursuit. -
Critical Perspectives on American Musical Theatre Thea
Critical Perspectives on American Musical Theatre Thea. 80200, Spring 2002 David Savran, CUNY Feb 4—Introduction: One Singular Sensation To be read early in the semester: DiMaggio, “Cultural Boundaries and Structural Change: The Extension of the High Culture Model to Theater, Opera, and the Dance, 1900-1940;” Block, “The Broadway Canon from Show Boat to West Side Story and the European Operatic Ideal;” Savran, “Middlebrow Anxiety” 11—Kern, Hammerstein, Ferber, Show Boat Mast, “The Tin-Pan-Tithesis of Melody: American Song, American Sound,” “When E’er a Cloud Appears in the Blue,” Can’t Help Singin’; Berlant, “Pax Americana: The Case of Show Boat;” 18—No class 20—G. and I. Gershwin, Bolton, McGowan, Girl Crazy; Rodgers, Hart, Babes in Arms ***Andrea Most class visit*** Most, Chapters 1, 2, and 3 of her manuscript, “We Know We Belong to the Land”: Jews and the American Musical Theatre; Rogin, Chapter 1, “Uncle Sammy and My Mammy” and Chapter 2, “Two Declarations of Independence: The Contaminated Origins of American National Culture,” in Blackface, White Noise: Jewish Immigrants in the Hollywood Melting Pot; Melnick, “Blackface Jews,” from A Right to Sing the Blues: African Americans, Jews, and American Popular Song 25— G. and I. Gershwin, Kaufman, Ryskind, Of Thee I Sing, Shall We Dance Furia, “‘S’Wonderful: Ira Gershwin,” in his Poets of Tin Pan Alley, Mast, “Pounding on Tin: George and Ira Gershwin;” Roost, “Of Thee I Sing” Mar 4—Porter, Anything Goes, Kiss Me, Kate Furia, “The Tinpantithesis of Poetry: Cole Porter;” Mast, “Do Do That Voodoo That You Do So Well: Cole Porter;” Lawson-Peebles, “Brush Up Your Shakespeare: The Case of Kiss Me Kate,” 11—Rodgers, Hart, Abbott, On Your Toes; Duke, Gershwin, Ziegfeld Follies of 1936 Furia, “Funny Valentine: Lorenz Hart;” Mast, “It Feels Like Neuritis But Nevertheless It’s Love: Richard Rodgers and Lorenz Hart;” Furia, Ira Gershwin: The Art of the Lyricist, pages 125-33 18—Berkeley, Gold Diggers of 1933; Minnelli, The Band Wagon Altman, The American Film Musical, Chaps. -
J. M. Barrie's Literary Approach to Adolescent Psychology
Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1947 J. M. Barrie's Literary Approach to Adolescent Psychology Richard F. Burnham Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the English Language and Literature Commons Recommended Citation Burnham, Richard F., "J. M. Barrie's Literary Approach to Adolescent Psychology" (1947). Master's Theses. 81. https://ecommons.luc.edu/luc_theses/81 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1947 Richard F. Burnham J. M. BARRRIE'S LITERARY APPROACH TO ADOLESCENT PSYCHOLOGY BY RIC~AP~ F. BURNHAM, S.J. A THESIS SUBMITTED IN PARTIAL FtJLFILLMENT OF THE REQ'CTREMENTS FOR THE DEGREE OF MASTER OF ARTS IN LOY0LA tJNIVERSITY AUGUST 1947 VITA AUCTORIS Richard Francis Burnham, son of Norbert and Mary Short Burnham, was born in Chicago, Illinois, April 3, 1920. He rec8iVed his elementary schbol education at St. Ita's parochial schbol in Chicago and at the Scottville Public Schbol in Scott ville, Michigan. His first year high school was ~pent at the Scottville High School, and the latter three years at Nicholas Senn ITigh School in Chicago, from which he graduated in June, 1937 In September, 1937, he entered Wright Junior Colloge in Chicago and in June, 1939, finished his two year pre-legal course. -
Sunshine State
SUNSHINE STATE A FILM BY JOHN SAYLES A Sony Pictures Classics Release 141 Minutes. Rated PG-13 by the MPAA East Coast East Coast West Coast Distributor Falco Ink. Bazan Entertainment Block-Korenbrot Sony Pictures Classics Shannon Treusch Evelyn Santana Melody Korenbrot Carmelo Pirrone Erin Bruce Jackie Bazan Ziggy Kozlowski Marissa Manne 850 Seventh Avenue 110 Thorn Street 8271 Melrose Avenue 550 Madison Avenue Suite 1005 Suite 200 8 th Floor New York, NY 10019 Jersey City, NJ 07307 Los Angeles, CA 9004 New York, NY 10022 Tel: 212-445-7100 Tel: 201 656 0529 Tel: 323-655-0593 Tel: 212-833-8833 Fax: 212-445-0623 Fax: 201 653 3197 Fax: 323-655-7302 Fax: 212-833-8844 Visit the Sony Pictures Classics Internet site at: http:/www.sonyclassics.com CAST MARLY TEMPLE................................................................EDIE FALCO DELIA TEMPLE...................................................................JANE ALEXANDER FURMAN TEMPLE.............................................................RALPH WAITE DESIREE PERRY..................................................................ANGELA BASSETT REGGIE PERRY...................................................................JAMES MCDANIEL EUNICE STOKES.................................................................MARY ALICE DR. LLOYD...........................................................................BILL COBBS EARL PICKNEY...................................................................GORDON CLAPP FRANCINE PICKNEY.........................................................MARY -
Broadway Buzz- Spring Awakening
Broadway Buzz- Spring Awakening THEATER MAY NEVER BE THE SAME “If you have just one night to spend in the theater,” the New York Post says, “awake yourself with SPRING AWAKENING” as the Key Bank Broadway Series continues at PlayhouseSquare March 3-15, 2009. Awards Winner of 8 Tony Awards, 4 Drama Desk Awards, a Grammy Award, New York Times Drama Critics Award, a Drama League Award and 3 Outer Critics Circle Awards, SPRING AWAKENING has won best musical, best book of a musical, best choreography, best score, best orchestration, best director, best lighting and best featured actor. “Everything combines for a show that bursts off the stage with heart and Photo: Blake Bashoff Read More... Should sex education be a mandatory part of high school curriculum? Buzz Extra is a publication of the Arts Yes Education Department at PlayhouseSquare No Vice President of Theatricals: Gina Vernaci Director of Arts Education: Colleen Porter Director of Ticket Sales & Marketing: Spring Awakening Videos, Photos, Music Autumn Kiser Spring Awakening on Facebook Editors: Spring Awakening Parents Guide Linda Jackson, Cindi Szymanski Writer: Robin Pease Photos: Paul Kolnik http://www.playhousesquare.org/bbuzz/springawakening/index.html[2/24/2009 12:49:26 PM] Broadway Buzz- Spring Awakening Home Theater May Never Be the Same Talking with Christy Altomare Download and read the printable version of the Buzz (535Kb in PDF format) here Banned! The Gospel According to Spring Awakening A Chorus Line Legally Blonde The Musical Ripped from the Headlines Radio City Christmas Spectacular Frost/ Nixon Enrich Your Experience: Broadway Buzz Events Spring Awakening Teen Night We welcome your feedback and suggestions for the Buzz Extra. -
Pipeline for Immediate Release
PIPELINE FOR IMMEDIATE RELEASE FOR MORE INFORMATION: Tuesday, February 4, 2020 Nicholas Peterson - 617.512.1688 Press Performance: Monday, March 9 at 7:30pm or by request. (CAMBRIDGE) – From March 5 to 29, 2020, The Nora and WAM Theatre are proud to present PIPELINE by Dominique Morisseau. Nya, an inner-city public school teacher, strives to give her only son Omari the opportunities her own students will never have. When he is threatened with expulsion from his upstate, private school, she must confront his rage and her own parenting choices. A lyrical play by Dominique Morisseau praised by the New York Times for “piercing eloquence” about “family struggling to outrun social prophecy.” Dawn M. Simmons makes her Central Square Theater debut directing PIPELINE. The cast of PIPELINE includes Hubens “Bobby” Cius, Alexandria Danielle King, Kevin Craig West, James Ricardo Milord, Barbara Douglass, and Sandra Seoane-Serí. The design team is Shelley Barish (Scenic Designer), Elizabeth Rocha (Costume Designer), Michaela Carmela Bocchino (Lighting Designer), John Oluwole ADEkoji (Projections Designer), and Greg Smith (Sound Designer). Lauren Burke is the Stage Manager and Lyanne Low is the Assistant Stage Manager. PIPELINE will run March 5 to 29, 2020 at Central Square Theater, 450 Massachusetts Avenue in Cambridge. For tickets and other information the public is invited to call Central Square Theater’s Box Office at 617.576.9278 x1 or visit CentralSquareTheater.org Production History PIPELINE was commissioned by Chicago’s Steppenwolf Theatre Company and premiered at the Lincoln Center Theatre in New York City in June 2017 under the direction of Lileana Blain-Cruz. -
I Know Why the Caged Bird Sings by Maya Angelou
y f !, 2.(T I Know Why the Caged Bird Sings MAYA ANGELOU Level 6 Retold by Jacqueline Kehl Series Editors: Andy Hopkins and Jocelyn Potter Contents page Introduction V Chapter 1 Growing Up Black 1 Chapter 2 The Store 2 Chapter 3 Life in Stamps 9 Chapter 4 M omma 13 Chapter 5 A New Family 19 Chapter 6 Mr. Freeman 27 Chapter 7 Return to Stamps 38 Chapter 8 Two Women 40 Chapter 9 Friends 49 Chapter 10 Graduation 58 Chapter 11 California 63 Chapter 12 Education 71 Chapter 13 A Vacation 75 Chapter 14 San Francisco 87 Chapter 15 Maturity 93 Activities 100 / Introduction In Stamps, the segregation was so complete that most Black children didn’t really; absolutely know what whites looked like. We knew only that they were different, to be feared, and in that fear was included the hostility of the powerless against the powerful, the poor against the rich, the worker against the employer; and the poorly dressed against the well dressed. This is Stamps, a small town in Arkansas, in the United States, in the 1930s. The population is almost evenly divided between black and white and totally divided by where and how they live. As Maya Angelou says, there is very little contact between the two races. Their houses are in different parts of town and they go to different schools, colleges, stores, and places of entertainment. When they travel, they sit in separate parts of buses and trains. After the American Civil War (1861—65), slavery was ended in the defeated Southern states, and many changes were made by the national government to give black people more rights.