DOCSLIB.ORG

Holiday in the Fielding Nextstage

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Holiday in the Fielding Nextstage Media Contact: Dawn Kellogg Communications Manager (585) 420-2059 [email protected] FOR IMMEDIATE RELEASE Screen Plays – Hollywood’s Golden Age on Stage presents Holiday in the Fielding Nextstage November 30, 2015, Rochester, N.Y. Geva Theatre Center is delighted to host Screen Plays – Hollywood’s Golden Age on Stage, and their production of Holiday by Philip Barry, directed by Jean Gordon Ryon, from December 17 – December 27 in the Fielding Stage at Geva Theatre Center. Johnny Case, a hard-working corporate lawyer on Wall Street, has great financial prospects, but not a lot of social background. His life’s goal is to “retire early and work late” – to experience life. This plan is news to Julia, his heiress fiancée and an anathema to her banker father. Can Johnny keep to his goal and keep the girl? Holiday is a comedy by Rochester-born playwright Philip Barry (1896 – 1949), author of The Philadelphia Story and many other plays. Holiday premiered on Broadway in 1928 and was twice adapted for the silver screen – the most famous starring Katharine Hepburn and Cary Grant in a 1938 version directed by the great George Cukor. This sparkling romantic comedy, set in the roaring twenties, is as relevant today as it was when it originally premiered: What’s the most effective way to use the years of life accorded to us? Is work always for the young and retirement always for the old? Is there more to life than getting and spending? Holiday features Rochester actors Marcy J. Savastano, Sean Michael Smith, Sammi Cohen, Bill Alden, Tyler Lucero, Nancy Fancher, Kevin Sweeney, Gretchen Woodworth, Larry Ploscowe, Roger Sutphen, Tim Shea and Kathy Dauer. For further information, photographs or to arrange interviews, please contact: Dawn Kellogg, Communications Manager, (585) 420 2059. TICKET PRICES: $17 General Admission (Before December 5) RESERVATIONS: 232-GEVA or via the website: www.gevatheatre.org LOCATION: Geva Theatre Center, Fielding Nextstage, 75 Woodbury Blvd, Rochester, NY 14607 PERFORMANCE SCHEDULE: Thursday, December 17 - 7:00 p.m. Friday, December 18 - 7:00 p.m. Saturday, December 19 – 7:00 p.m. Sunday, December 20 - 2:00 p.m. Saturday, December 26 - 2:30 p.m. and 7:00 p.m. Sunday, December 17 – 2:00 p.m. GEVA THEATRE CENTER Founded in 1972, Geva Theatre Center is a not-for-profit, professional theatre company dedicated to creating and producing professional theatre productions, programs and services of a national standard. As Rochester’s leading professional theatre, Geva Theatre Center is the most attended regional theatre in New York State, and one of the 25 most attended in the country, attracting over 160,000 patrons annually, including more than 16,000 students. The 526-seat Elaine P. Wilson Mainstage offers a wide variety of shows, from musicals to American and world classics. The 180- seat Ron & Donna Fielding Nextstage is home to Geva’s own series of cutting-edge drama, comedy and musical theatre; Geva Comedy Improv; Geva’s New Play Reading Series and the Hornet’s Nest - an innovative play-reading series facilitating community-wide discussion on controversial topics. The Nextstage also hosts visiting companies of both local and international renown. Geva Theatre Center offers a wide variety of educational, outreach and literary programs, nurturing audiences and artists alike. Since 1995 the organization has been led by Artistic Director Mark Cuddy. SCREEN PLAYS ~ HOLLYWOOD’S GOLDEN AGE ON STAGE What began as a love of classic Hollywood films is now a new, classical theater production company. Producer Karen Tuccio, brings more than a decade of local theater and film experience to this exciting venture. Her company will present plays from Hollywood's Golden Age that have a positive message, especially those showcasing women in the best, brightest, and most beautiful aspects of life. *ENDS* .
Load more

Recommended publications
  • Screwball Syll
    Webster University FLST 3160: Topics in Film Studies: Screwball Comedy Instructor: Dr. Diane Carson, Ph.D. Email: [email protected] COURSE DESCRIPTION: This course focuses on classic screwball comedies from the 1930s and 40s. Films studied include It Happened One Night, Bringing Up Baby, The Awful Truth, and The Lady Eve. Thematic as well as technical elements will be analyzed. Actors include Katharine Hepburn, Cary Grant, Clark Gable, and Barbara Stanwyck. Class involves lectures, discussions, written analysis, and in-class screenings. COURSE OBJECTIVES: The purpose of this course is to analyze and inform students about the screwball comedy genre. By the end of the semester, students should have: 1. An understanding of the basic elements of screwball comedies including important elements expressed cinematically in illustrative selections from noteworthy screwball comedy directors. 2. An ability to analyze music and sound, editing (montage), performance, camera movement and angle, composition (mise-en-scene), screenwriting and directing and to understand how these technical elements contribute to the screwball comedy film under scrutiny. 3. An ability to apply various approaches to comic film analysis, including consideration of aesthetic elements, sociocultural critiques, and psychoanalytic methodology. 4. An understanding of diverse directorial styles and the effect upon the viewer. 5. An ability to analyze different kinds of screwball comedies from the earliest example in 1934 through the genre’s development into the early 40s. 6. Acquaintance with several classic screwball comedies and what makes them unique. 7. An ability to think critically about responses to the screwball comedy genre and to have insight into the films under scrutiny.
    [Show full text]
  • Cinema, Democracy and Perfectionism: Joshua Foa Dienstag in Dialogue
    Cinema, democracy and perfectionism CRITICAL POWERS Series Editors: Bert van den Brink (University of Utrecht), Antony Simon Laden (University of Illinois, Chicago), Peter Niesen (University of Hamburg) and David Owen (University of Southampton). Critical Powers is dedicated to constructing dialogues around innova- tive and original work in social and political theory. The ambition of the series is to be pluralist in welcoming work from different philosophical traditions and theoretical orientations, ranging from abstract concep- tual argument to concrete policy-relevant engagements, and encourag- ing dialogue across the diverse approaches that populate the field of social and political theory. All the volumes in the series are structured as dialogues in which a lead essay is greeted with a series of responses before a reply by the lead essayist. Such dialogues spark debate, fos- ter understanding, encourage innovation and perform the drama of thought in a way that engages a wide audience of scholars and students. Published by Bloomsbury On Global Citizenship, James Tully Justice, Democracy and the Right to Justification, Rainer Forst Forthcoming from Manchester University Press Rogue Theodicy – Politics and power in the shadow of justice, Glen Newey Democratic Inclusion, Rainer Baubock Law and Violence, Christoph Menke Autonomy Gaps, Joel Anderson Toleration, Liberty and the Right to Justification, Rainer Forst Cinema, democracy and perfectionism Joshua Foa Dienstag in dialogue Edited by Joshua Foa Dienstag Manchester University Press Copyright © Manchester University Press 2016 While copyright in the volume as a whole is vested in Manchester University Press, copyright in individual chapters belongs to their respective authors, and no chapter may be reproduced wholly or in part without the express permission in writing of both author and publisher.
    [Show full text]
  • 1931 Article Titles and Notes Vol. III, No. 1, January 10, 19311
    1931 article titles and notes Vol. III, No. 1, January 10, 19311 "'The Youngest' Proves Entertaining Production of Players' Club. Robert W. Graham Featured in Laugh Provoking Comedy; Unemployed to Benefit" (1 & 8 - AC, CO, CW, GD, and LA) - "Long ago it was decided that the chief aim of the Players' Club should be to entertain its members rather than to educate them or enlighten them on social questions or use them as an element in developing new ideas and methods in the Little Theatre movement."2 Philip Barry's "The Youngest" fit the bill very well. "Antiques, Subject of Woman's Club. Chippendale Furniture Discussed by Instructor at School of Industrial Art. Art Comm. Program" (1 - AE and WO) - Edward Warwick, an instructor at the Pennsylvania Museum School of Industrial Art, spoke to the Woman's Club on "The Chippendale Style in America." "Legion Charity Ball Jan. 14. Tickets Almost Sold Out for Benefit Next Friday Evening. Auxiliary Assisting" (1 & 4 - CW, LA, MO, SN, VM, and WO) - "What was begun as a Benefit Dance for the Unemployed has grown into a Charity Ball sponsored by the local America Legion Post with every indication of becoming Swarthmore's foremost social event of the year." The article listed the "patrons and patronesses" of the dance. Illustration by Frank N. Smith: "Proposed Plans for New School Gymnasium" with caption "Drawings of schematic plans for development of gymnasium and College avenue school buildings" (1 & 4 - BB, CE, and SC) - showed "how the 1.035 acres of ground just west of the College avenue school which was purchased from Swarthmore College last spring might be utilized for the enlargement of the present building into a single school plant." "Fortnightly to Meet on Monday" (1 - AE and WO) - At Mrs.
    [Show full text]
  • The Argument for Agency in the Stardom of Katharine Hepburn
    Sara Bakerman Too Good for the Fan Rags: The Argument for Agency in the Stardom of Katharine Hepburn Abstract During her tenure at RKO in the 1930s, Katharine Hepburn ascended to the top echelon of stardom, establishing herself in the public eye as a gifted actress even as she resisted the formal structures of fame and celebrity. Through the examination of personal correspondences, including letters and telegrams from fans, friends, and colleagues, this paper investigates the extent to which Hepburn actively contributed to the maintenance of her image leveraged her stardom as the means to manage her own career. Of equal concern in this inquiry are the implications of the actress’s agency for the longevity of her early career; to this end, contemporary fan magazine coverage will be analyzed for its role in constructing Hepburn’s public persona. The discrepancies and overlaps in the public and private discourses surrounding her star image serve as crucial evidence of Hepburn’s privileged status within the industry, which runs contrary to broadly accepted notions of the studio system. As early as 1935, RKO memorandums reveal that the star wielded considerable power within the studio and was making decisions regarding production, which was particularly rare for actresses during this phase of the studio era. That same year, Hepburn received a letter that predicted her eventual labeling as “box office poison” and suggested ways to achieve greater influence in Hollywood; subsequent correspondence indicates the nuances of the studio’s response to Hepburn’s attempts to follow that advice. In terms of industrial agency, these communications offer a dynamic that is particularly crucial to the understanding of the ostensibly “private” star.
    [Show full text]
  • Nashville Community Theatre: from the Little Theatre Guild
    NASHVILLE COMMUNITY THEATRE: FROM THE LITTLE THEATRE GUILD TO THE NASHVILLE COMMUNITY PLAYHOUSE A THESIS IN Theatre History Presented to the Faculty of the University of Missouri – Kansas City in partial fulfillment of the requirements for the degree MASTER OF ARTS by ANDREA ANDERSON B.A., Trevecca Nazarene University, 2003 Kansas City, Missouri 2012 © 2012 ANDREA JANE ANDERSON ALL RIGHTS RESERVED THE LITTLE THEATRE MOVEMENT IN NASHVILLE, TENNESSEE: THE LITTLE THEATRE GUILD AND THE NASHVILLE COMMUNITY PLAYHOUSE Andrea Jane Anderson, Candidate for the Master of Arts Degree University of Missouri - Kansas City, 2012 ABSTRACT In the early 20th century the Little Theatre Movement swept through the United States. Theatre enthusiasts in cities and towns across the country sought to raise the standards of theatrical productions by creating quality volunteer-driven theatre companies that not only entertained, but also became an integral part of the local community. This paper focuses on two such groups in the city of Nashville, Tennessee: the Little Theatre Guild of Nashville (later the Nashville Little Theatre) and the Nashville Community Playhouse. Both groups shared ties to the national movement and showed a dedication for producing the most current and relevant plays of the day. In this paper the formation, activities, and closure of both groups are discussed as well as their impact on the current generation of theatre artists. iii APPROVAL PAGE The faculty listed below, appointed by the Dean of the College of Arts and Sciences, have examined a thesis titled “Nashville Community Theatre: From the Little Theatre Guild to the Nashville Community Playhouse,” presented by Andrea Jane Anderson, candidate for the Master of Arts degree, and certify that in their opinion it is worthy of acceptance.
    [Show full text]
  • The PHILADELPHIA STORY
    The PHILADELPHIA STORY Study Guide and Dramaturgical Packet Mia Haruko Logan * TRACY: Story? What Story? SANDY: The Philadelphia Story. MARGARET: And what on earth’s that? - Act I * The Story Behind the Play Phillip Barry’s play The Philadelphia Story premiered on March 28, 1939 at the Shubert Theatre on Broadway. The show ran for 417 performances and was so popular that before the show closed to go on the road in March 1940, the film version was already in the works. In December 1940, less than a year after the play closed on Broadway to go on tour, the film premiered in New York and was later generally released in January 1941 so as not to compete with the touring stage production. The character of Tracy Lord was based on the real socialite, Helen Hope Montgomery Scott who was married to one of Phillip Barry’s friends. He wrote the part specifically for Katherine Hepburn. In 1938 Katherine Hepburn was considered "box office poison" but Barry’s play helped revive her career. Along with her partner at that time, Howard Hughes, Hepburn bought out her own contract with RKO Radio Pictures and acquired the film rights to The Philadelphia Story, which she sold to MGM Pictures on the condition that she be the star and have the right to choose her co-stars, Cary Grant and James Stewart. (They were the second choices as Hepburn’s first choices, Clark Gable and Spencer Tracy, were unavailable.) The Philadelphia Story is considered one of Barry’s most popular plays. Philadelphia Ledger wrote it was “the season’s most sparkling comedy” and Barry “the best manipulator of light dialogue in American theatre.” The play also inspired a musical remake in 1956 called High Society starring Frank Sinatra, Bing Crosby, Grace Kelly and Louis Armstrong.
    [Show full text]
  • Holiday (1938) Or How Live to Work and Make Money Cannot Buy Happiness
    HOLIDAY (1938) OR HOW LIVE TO WORK AND MAKE MONEY CANNOT BUY HAPPINESS DÉBORA ESPINOSA ANTÓN Abstract In 1938 was released the second big screen version of Philip Barry’s play “Holiday: a comedy in three acts”, written in 1928, about money and happiness only a year before the crash of 1929. Ten years later, Donald Ogden Stewart, Philip Barry’s partner at Yale and the inspiration for the Professor Nick Potter character, wrote the script to take the play brought to the big screen by George Cukor. Two years before filming the movie, in 1936, Ogden became Chairman of the Hollywood Anti-Nazi League, considered during the 1947 HUAC’s hearings as a fellow traveler. At the script Professor Nick (Edward Everett Horton) at the end of the story is forced to travel to Europe in a hurry for no apparent reason. Holiday (1938) becomes a story about power, money and ideals, where young Johnny Case (Cary Grant) must choose between happiness and accumulate great wealth, offering a critical insight about the idea of "to live to work", and questioning the need to accumulate assets and wealth when there's no time to enjoy and spend. KEY WORDS: Ideology, money, wealth, power, happiness. Resumen En 1938 se estrenó la segunda versión para la gran pantalla de la obra teatral de Philip Barry, “Holiday: a comedy in three acts”, escrita en 1928, sobre el dinero y la felicidad tan solo un año antes del crack de 1929. Diez años más tarde, Donald Ogden Stewart, compañero de Philip Barry en Yale e inspiración del personaje del Professor Nick Potter, escribió la adaptación cinematográfica que fue llevada a la gran pantalla por George Cukor.
    [Show full text]
  • THE PHILADELPHIA STORY Directed by George Cukor USA, 1940, 112 Mins, Cert U
    THE PHILADELPHIA STORY Directed by George Cukor USA, 1940, 112 mins, Cert U Starring Katharine Hepburn, Cary Grant, James Stewart, Ruth Hussey Opening on 13 February 2015 at BFI Southbank, IFI Dublin, Cornerhouse Manchester and selected cinemas UK-wide George Cukor’s dazzling, sophisticated tale of a society wedding threatened by scandal is one of the greatest and best-loved of Hollywood romantic comedies. Re-released in cinemas UK-wide on 13 February, just in time for Valentine’s Day, The Philadelphia Story will also be the centrepiece of a major Katharine Hepburn season at BFI Southbank (1 February – 19 March 2015). Katharine Hepburn plays Tracy Lord, a breezy socialite whose imminent wedding to a dull, self-made millionaire brings her charmingly impudent ex-husband C.K. Dexter Haven (Cary Grant) back into her life. He arrives at the family mansion accompanied by Macaulay Connor (James Stewart) and Elizabeth ‘Liz’ Imbrie (Ruth Hussey), journalists at the scandal-sheet 'Spy Magazine'. Posing as friends of Tracy’s absent brother, they hope to nab a scoop on the private lives of this notoriously publicity-shy family. Playful yet insightful, The Philadelphia Story’s witty banter delivers cutting truths about romance, marriage and forgiveness while allowing its brilliant cast to tease comedy out of class conflict and shattered illusions, and drama out of an innocent, drunken midnight swim. The film is based on a stage play by Philip Barry, the leading role of which was specially written for Katharine Hepburn who starred in the Broadway production. It was during her Broadway stint that Hepburn wisely acquired the movie rights which she sold to MGM in a deal that guaranteed her the role of Tracy Lord and the choice of director and co-stars.
    [Show full text]
  • Boxoffice Barometer (April 15, 1963)
    as Mike Kin*, Sherman. p- builder the empire Charlie Gant. General Rawlmgs. desperadc as Linus border Piescolt. mar the as Lilith mountain bub the tut jamblei's Zeb Rawlings, Valen. ;tive Van horse soldier Prescott, e Zebulon the tinhorn Rawlings. buster Julie the sod Stuart, matsbil's*'' Ramsey, as Lou o hunter t Pt«scott. marsl the trontie* tatm gal present vjssiuniw SiNGiN^SVnMNG' METRO GOlPWVM in MED MAYER RICHMOND Production BLONDE? BRUNETTE? REDHEAD? Courtship Eddies Father shih ford SffisStegas 1 Dyke -^ ^ panairtSioo MuANlNJR0( AMAN JACOBS , st Grea»e Ae,w entl Ewer Ljv 8ecom, tle G,-eai PRESENTS future as ^'***ied i Riel cher r'stian as Captain 3r*l»s, with FILMED bronislau in u, PANAVISION A R o^mic RouND WofBL MORE HITS COMING FROM M-G-M PmNHunri "INTERNATIONAL HOTEL (Color) ELIZABETH TAYLOR, RICHARD BURTON, LOUIS JOURDAN, ORSON WELLES, ELSA MARTINELLI, MARGARET RUTHERFORD, ROD TAYLOR, wants a ROBERT COOTE, MAGGIE SMITH. Directed by Anthony Asquith. fnanwitH rnortey , Produced by Anotole de Grunwald. ® ( Pana vision and Color fEAlELI Me IN THE COOL OF THE DAY” ) ^sses JANE FONDA, PETER FINCH, ANGELA LANSBURY, ARTHUR HILL. Mc^f^itH the Directed by Robert Stevens. Produced by John Houseman. THE MAIN ATTRACTION” (Metrocolor) PAT BOONE and NANCY KWAN. Directed by Daniel Petrie. Produced LPS**,MINDI// by John Patrick. A Seven Arts Production. CATTLE KING” [Eastmancolor) ROBERT TAYLOR, JOAN CAULFIELD, ROBERT LOGGIA, ROBERT MIDDLETON, LARRY GATES. Directed by Toy Garnett. Produced by Nat Holt. CAPTAIN SINDBAD” ( Technicolor— WondroScope) GUY WILLIAMS, HEIDI BRUEHL, PEDRO ARMENDARIZ, ABRAHAM SOFAER. Directed by Byron Haskin. A Kings Brothers Production.
    [Show full text]
  • Holiday by Philip Barry
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Supervised Undergraduate Student Research Chancellor’s Honors Program Projects and Creative Work Fall 12-2006 Holiday by Philip Barry Lauren M. Houston University of Tennessee-Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_chanhonoproj Recommended Citation Houston, Lauren M., "Holiday by Philip Barry" (2006). Chancellor’s Honors Program Projects. https://trace.tennessee.edu/utk_chanhonoproj/971 This is brought to you for free and open access by the Supervised Undergraduate Student Research and Creative Work at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Chancellor’s Honors Program Projects by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. Holiday By Philip Barry A Senior Honors Project by """"""'--.11/1 Lauren Houston Peformed Fall 2005: November 10, 11, 17, & 18: 8 pm November 13 & 20: 2 pm CBT Lab Theatre " " , Holiday 511 JULIA [advancing]. She's going with them, isn't she? ........ Isn't she? NED [smiles an,d picks up his glass again]. -Going to get her Johnny. .. and Mrs. JULIA [laughs shortly]. A fine chance she's gotl has 'gone NED. -Any bets? [Then savagely.] --Any bets, Julia? [He raises his glass.] -To Lil1da- [The portrait, \.nd throw above the fireplace catches his eye.] -And while fawn, too. we're at i t-,~ randfa therl~ I He d !i~~~.l ~~~~~~_. __. ___ ~_.~ ____ ~_"_"" _._~ .., .n Johnny, CURTAIN 1 flat, you "'hat if it s, he does ,world in t me.
    [Show full text]
  • Ann Harding ~ 22 Films
    Ann Harding ~ 22 Films Born in Texas in 1902 and forsaking commerce for the theatre in 1921, by 1929 Ann Harding was an established Broadway lead. In that year she signed with Pathé (soon part of RKO) and through the mid-'30s starred in a series of soap operas, most typically as suffering heroines forced to make noble sacrifices for the men they love. With her ash-blonde hair usually swept back into a bun, classical makeup-free good looks and deep, beautifully modulated voice, the patrician Harding brought a gentle, serene strength to such worthy star vehicles as When Ladies Meet (1933) and The Life Of Vergie Winters (1934) but fared less well in more faltering efforts such as Devotion (1931) and Enchanted April (1935). Ideal for the philosophical sophistication of playwright Phillip Barry, Harding shone in fine adaptations of two of his most successful comedy- drama talkfests: Holiday (1930), for which she received a Best Actress Oscar nomination and The Animal Kingdom (1932). She made two of her strongest films late in her reign as a star: the haunting almost surreal love story Peter Ibbetson (1935, opposite Gary Cooper) and the taut suspense melodrama Love From A Stranger (1937, with Basil Rathbone). She continued to appear on film, stage and television until 1965 and died in 1981, aged 79. With her favourite leading man, Leslie Howard Moira Finnie talks to Ann Harding biographer Scott O'Brien "Looking at Harding," wrote film historian Mick LaSalle in his book Complicated Women "is like looking into clear, deep water. Nothing stands in the way.
    [Show full text]
  • The Philadelphia Story Program
    DESTINYDecember 9-11 MAGAZINE $6/$8/$10 “The Philadelphia Story” By Philip Barry Directed by Ronni Marshak Fashionable Philadelphia: Heiress Tracy Lord to Wed Former Coal Miner By Macaulay Connor Pictures by Elizabeth Imbrie Architectural Wonders: Kresge Little Theater at MIT Feature: Broadway This Month’s Delicious Exposé: & Finance— The Tawdry Side of the The Lowdown Rich and Famous Destiny –– MAGAZINE –– PRODUCER Alice Waugh (S) DIRECTOR Ronni Marshak SET DESIGNER Bob Mussett (S) COSTUMER Kristin Hughes DeVivo (affil) LIGHTING DESIGNER Stuart Levine ’97 MASTER ELECTRICIAN Melina Fan ’97 STAGE MANAGER Michelle Dunnewind PROPS COORDINATORS Karen Mueller-Harder (S), Sonia Chawla (A) SOUND DESIGNER Ronni Marshak SOUND OPERATOR Vanessa Thomas (A) PUBLICITY Alice Waugh (S), Ian Dowell (A) DROP POSTER Alice Waugh (S) TICKET DESIGN Erik Mueller-Harder (affil) PROGRAM Kevin Cunningham (A/S) HOUSE MANAGERS Melanie Pincus (U), Kortney Adams (G), Brian Bermack (A), Jim Carroll SET CREW Bob Mussett (S), Billy Wong, Alice Waugh (S), Ben Dubrovsky (Affil), Eric Lindblad (G), Don Hovey, Lance Nathan, Peter Floyd (A/S), John van der Meer (A), Ronni Marshak, Michelle Dunnewind LIGHTING CREW Jeri Levine (A), Edmund Golaski (G), Benji Chen (G), Vanessa Thomas (A) Published semi-annually by The MIT Community Players Subscription Information: (617) 253-2530 [email protected], http://web.mit.edu/mitcp/ S=MIT staff member, G=graduate student, A=alumnus, U=undergraduate student, affil=affiliated with MIT community member The MITCP is a group of MIT staff, students, alumni/ae, and other interested people who produce a fall and spring show at MIT each year, as well as summer events.
    [Show full text]