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Philadelphia Young Playwrights Launches Paula Vogel Mentors Project
Press Representatives: Canary Promotion | Office: (215) 690-4065 Rose Mineo, [email protected] More info at: http://canarypromo.com/youngplaywrights http://www.phillyyoungplaywrights.org FOR IMMEDIATE RELEASE June 5, 2013 Philadelphia Young Playwrights Launches Paula Vogel Mentors Project Living Honor Extends Legacy of Mentorship to Next Generation of Playwrights PHILADELPHIA (June 5, 2013) — Philadelphia Young Playwrights has kicked off its 25th anniversary celebration by announcing the launch of the Paula Vogel Mentors Project, a living award honoring the Pulitzer Prize-winning playwright and teacher and extending her mentorship legacy. The three-year pilot program will bring together five acclaimed professional playwrights as mentors for five promising young playwright fellows, who will embark on yearlong playwriting journeys. Mentors in the inaugural year of the program are Christina Anderson, Marcus Gardley, Aaron Jafferies, Lucy Thurber and project curator Quiara Alegría Hudes, a Young Playwrights alumna and the first Latina and only Philadelphia public school student to have been awarded the Pulitzer Prize (2012, Water by the Spoonful). The final selection process for the fellows is currently underway as Hudes and Young Playwrights’ Resident Director David O'Connor work together to make this year’s five mentorship pairings, to be announced later in this month. “The power of this multi-generational dialogue and interaction in stimulating and stewarding creativity is undeniable,” says Hudes. “As I find time and again, the authenticity, -
Henley's the Wake of Jamie Foster and the Miss Firecracker Contest
‘SNOW BRIDE’ CAST BIOS PATRICIA RICHARDSON (Maggie Tannenhill) – Patricia Richardson is best known for her portrayal of Jill Taylor on the long running series “Home Improvement” in which she co-starred with Tim Allen. For her work on the series, she received four Emmy® nominations and two Golden Globe® nominations as Outstanding Lead Actress in a Comedy Series. While performing in “Home Improvement,” she also co-hosted the Emmy® Awards with Ellen DeGeneres. In 2009, the cast members of “Home Improvement” received a Fan Favorite Award from the TV Land Awards. She has also received a Vision Award and a Women In Film Award in Texas and commendations from the Prism Awards for her work in the show. For two years, she had a recurring role in “The West Wing” as Sheila Brooks, Sen. Arnold Vinick’s (Alan Alda) chief of staff. She was nominated for an Independent Spirit Award for her role in “Ulee’s Gold,” opposite Peter Fonda and directed by Victor Nunez. Previously, Richardson garnered rave reviews for her portrayal of Marilyn Monroe’s mother in the CBS miniseries “Blonde.” She played twins in “Viva Las Nowhere,” co-starring Danny Stern and James Caan, which was released on video under the title “Dead Simple” and won a Seattle Film Festival Award. She received more great reviews for her role in Lifetime’s “Sophie & the Moonhanger,” co-starring Lynn Whitfield and Jason Bernard and “Undue Influence,” with Brian Dennehy. Other films include “Lost Angels,” “In Country” and “Beautiful Wave.” She was brought out to Los Angeles from New York after several years of doing theater, first by Norman Lear and then Alan Burns, to do three different series prior to “Home Improvement” - “Double Trouble” for Lear and then “Eisenhower and Lutz” and “FM” for Burns. -
Hair: the Performance of Rebellion in American Musical Theatre of the 1960S’
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Winchester Research Repository University of Winchester ‘Hair: The Performance of Rebellion in American Musical Theatre of the 1960s’ Sarah Elisabeth Browne ORCID: 0000-0003-2002-9794 Doctor of Philosophy December 2017 This Thesis has been completed as a requirement for a postgraduate research degree of the University of Winchester MPhil/PhD THESES OPEN ACCESS / EMBARGO AGREEMENT FORM This Agreement should be completed, signed and bound with the hard copy of the thesis and also included in the e-copy. (see Thesis Presentation Guidelines for details). Access Permissions and Transfer of Non-Exclusive Rights By giving permission you understand that your thesis will be accessible to a wide variety of people and institutions – including automated agents – via the World Wide Web and that an electronic copy of your thesis may also be included in the British Library Electronic Theses On-line System (EThOS). Once the Work is deposited, a citation to the Work will always remain visible. Removal of the Work can be made after discussion with the University of Winchester’s Research Repository, who shall make best efforts to ensure removal of the Work from any third party with whom the University of Winchester’s Research Repository has an agreement. Agreement: I understand that the thesis listed on this form will be deposited in the University of Winchester’s Research Repository, and by giving permission to the University of Winchester to make my thesis publically available I agree that the: • University of Winchester’s Research Repository administrators or any third party with whom the University of Winchester’s Research Repository has an agreement to do so may, without changing content, translate the Work to any medium or format for the purpose of future preservation and accessibility. -
At Play Fall-Winter 03.Qxd
representing the american theatre by publishing and licensing the works of new and established playwrights JacquesBrelisAliveandWell Polly Pen on Writing Musicals Cowgirls’ Mary Murfitt Issue 9, Fall/Winter 2003 MUSICALS INTERVIEW WITH A BAT BOY Director of Professional Rights Robert Vaughan and Director of Publications Michael Fellmeth met with Bat Boy in the Palm Court of the Plaza Hotel in Manhattan to talk about growing up in a cave in Hope Falls, West Virginia, Bat Boy: The Musical, and his rise to global celebrity as the lead in a hit show about his own life. The pointy- eared, fanged star arrived with an entourage of bodyguards, personal assistants, agent, lawyer and publi- cist. Bat Boy, immaculately clad in Savile Row, seemed only vaguely aware of their presence. He greeted us warmly, sat down, lit a miniature cigar and ordered a bloody mary. continued on next page FELLMETH. Let me begin by saying how taken I EDGAR. Ahhh, Jenna. Jenna the Menace, that lips” motion.) Perhaps we’d best not discuss Dr. am with your voice, Bat Boy. Did you have any was my pet name for her. She was such a terror. Parker. That is a difficult subject for me. formal training? The media had it all wrong, though. It was she FELLMETH. Understandably so. A father who BAT BOY. Please don’t call me Bat Boy. My name who took to following me. After I finally got a abandoned you in infancy to be raised by bats is Edgar. restraining order she went on that binge in Texas and then — as if that weren’t enough — tried to FELLMETH. -
Screen Plays: from Broadway to Hollywood, 1920-1966
The Museum of Modern Art For Immediate Release June 1995 SCREEN PLAYS: FROM BROADWAY TO HOLLYWOOD, 1920 - 1966 June 30 - October 3, 1995 A major retrospective of Hollywood films adapted from the Broadway stage opens at The Museum of Modern Art on June 30, 1995. SCREEN PLAYS: FROM BROADWAY TO HOLLYWOOD, 1920 - 1966 presents more than 100 films that drew their commercially and critically successful plots and characters, and their talented actors, writers, and directors from Broadway. The series, which continues through October 3, features such Broadway actors as George Arliss, the Barrymores, Shirley Booth, Marlon Brando, Ina Claire, John Garfield, Julie Harris, Helen Hayes, Judy Holliday, the Lunts, Fredric March, Sidney Poitier, Otis Skinner, Laurette Taylor, and Mae West re-creating on film the roles that made them stage legends. While the relationship between the Broadway musical and the Hollywood musical is well-established, this exhibition spotlights the relationship between the Broadway play and the Hollywood film. Since the beginning of the studio system, Hollywood has sought plays that could be adapted into so-called prestige films, adding a patina of class and sophistication. The retrospective places particular emphasis on films made from plays produced by the Theatre Guild, the Group Theatre, and the Playwrights' Company, since many members of these companies made lasting contributions both on Broadway and in Hollywood. Highlights of the series include Alfred Lunt and Lynn Fontanne in the only film they made together, The Guardsman (Sidney Franklin, 1931; play by Ferenc Molnar); Anna Magnani in the film version of The Rose Tattoo (Daniel - more - 11 West 53 Street, New York, NY. -
Akins Papers: Finding Aid
http://oac.cdlib.org/findaid/ark:/13030/c8h132ss No online items Zoë Akins Papers: Finding Aid Finding aid prepared by Gayle M. Richardson. The Huntington Library, Art Collections, and Botanical Gardens Manuscripts Department The Huntington Library 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2191 Email: [email protected] URL: http://www.huntington.org © 2008 The Huntington Library. All rights reserved. Zoë Akins Papers: Finding Aid mssZA 1-7330 1 Overview of the Collection Title: Zoë Akins Papers Dates (inclusive): 1878 - 1959 Collection Number: mssZA 1-7330 Creator: Akins, Zoë, 1886-1958. Extent: 7,354 pieces in 185 boxes + ephemera. Repository: The Huntington Library, Art Collections, and Botanical Gardens. Manuscripts Department 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2191 Email: [email protected] URL: http://www.huntington.org Abstract: This collection contains the personal and professional papers of American writer Zoë Akins (1886-1958). It includes correspondence with various literary, theatrical and motion picture figures of the first half of the twentieth century. There are also manuscripts of novels, plays, poems, short stories, outlines for plays, and articles. There is also correspondence related to her husband, Hugo Rumbold (d. 1932), and the Rumbold family. Language: English. Access Open to qualified researchers by prior application through the Reader Services Department. For more information, contact Reader Services. Publication Rights The Huntington Library does not require that researchers request permission to quote from or publish images of this material, nor does it charge fees for such activities. The responsibility for identifying the copyright holder, if there is one, and obtaining necessary permissions rests with the researcher. -
Rethinking Complicity and Survival in Paula Vogel's How I Learned to Drive
Georgia State University ScholarWorks @ Georgia State University English Theses Department of English 5-8-2020 “SHE’S A SLY ONE:” RETHINKING COMPLICITY AND SURVIVAL IN PAULA VOGEL’S HOW I LEARNED TO DRIVE Mary Ann Barfield Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/english_theses Recommended Citation Barfield, Mary Ann, "“SHE’S A SLY ONE:” RETHINKING COMPLICITY AND SURVIVAL IN PAULA VOGEL’S HOW I LEARNED TO DRIVE." Thesis, Georgia State University, 2020. https://scholarworks.gsu.edu/english_theses/252 This Thesis is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. “SHE’S A SLY ONE:” RETHINKING COMPLICITY AND SURVIVAL IN PAULA VOGEL’S HOW I LEARNED TO DRIVE by MARY ANN BARFIELD Under the Direction of Matthew Roudané ABSTRACT In an early 1998 interview, playwright, Paula Vogel, sat in conversation with Arthur Holmberg to discuss the ambivalent victim-perpetrator power dynamics in her critically- acclaimed play, How I Learned to Drive, explaining that “there are two forgivenesses in the play. one forgiveness for Peck, but the most crucial forgiveness would be Li’l Bit’s forgiving Li’l Bit. Li’l Bit as an adult looking at and understanding her complicity.” Since the Holmberg interview, critics have made only passing references to Vogel’s discussion of complicity in play reviews and critical essays. This thesis represents the first sustained engagement with complicity as an ethical subject to argue that Li’l Bit’s dependence upon her uncle for emotional and sometimes physical survival exempts her from moral scrutiny in the course of his abuse. -
For Quiara Alegría Hudes, a Soldier's Story Leads to This Remarkable Feat: 3 Plays on 3 L.A. Stages
For Quiara Alegría Hudes, a soldier's story leads to this remarkable feat: 3 plays on 3 L.A. stages latimes.com/entertainment/arts/la-ca-cm-quiara-alegria-hudes-20180202-story.html By Daryl H. Miller "I’m the griot, I’m the storyteller," Quiara Alegría Hudes says of her role in the sprawling family that inspires her writing. (Katie Falkenberg / Los Angeles Times) Pulitzer Prize-winning playwright Quiara Alegría Hudes learned storytelling among a sprawl of aunts, uncles and cousins. When her mother's talkative Puerto Rican family got together, Hudes not only picked up the art of entertaining an audience with a story, but also accumulated many of the details — and characters — now filling her tales. She learned so well that at just 29 she had her first brush with a Pulitzer. In 2007, she was a drama prize finalist for "Elliot, A Soldier's Fugue," which was inspired by a Marine cousin serving in Iraq during the first days of fighting there. As that story grew into what would become three plays brimming with other family members, she won the 2012 drama Pulitzer for the second tale, "Water by the Spoonful," in which the cousin reacclimates to civilian life after sustaining a grievous leg injury in the war. In between, she was a 2009 finalist with Lin-Manuel Miranda for writing the script to his musical "In the Heights," about life in a vibrant Latin American neighborhood in New York. Her writing for the musical also earned a Tony nomination, and the show was named best musical. -
ERICA ANDERSON.Indd
ERICA ANDERSON GRADUATE 2014 ACTING PHOTO: TIM LEYES TIM PHOTO: National Theatre School OF Canada 5030 St. Denis Street, Montréal, Qc, Canada H2J 2L8 ACTING 514 842-7954 [email protected] www.ent-nts.ca ERICA ANDERSON [email protected] Height: 5' 6'' Hair colour: BLONDE Weight: 115 lbs. Eye colour: HazEL Vocal range: SOpranO Languages: EngLISH, BASIC FREncH ROLES AT THE NATIONAL THEATRE SCHOOL Year Role Play Author Director 2014 TBA New Words Festival – The Circle Geoffrey Simon Brown Ann-Marie Kerr TBA New Words Festival – Prey Britney Tangedal Ann Hodges Isabella, Diaphanta The Changeling Thomas Middleton / William Rowley David Latham 2013 Duckling, Lt. Will Dawes Our Country’s Good Timberlake Wertenbaker Tadeusz Bradecki Sue, Jill, Virgin Mary, Lion in the Streets Judith Thompson Ravi Jain understudy for Isobel Hermia, Mustardseed, A Midsummer Night’s Dream William Shakespeare Joseph Ziegler Moonshine Victoria Solo Show – The List Erica Anderson Adam Lazarus / Jodi Essery Yakov The Seagull Anton Chekhov / Martin Crimp Tanja Jacobs Irina, Natalia, Olga Scene Study – Three Sisters Anton Chekhov Laszlo Marton 2012 Courteous Safari David Yee Nina Lee Aquino Miss Julie Scene Study – After Miss Julie Patrick Marber Yael Farber Various Vocal Masque – Independence Erica Anderson Paul Dunn / Damien Atkins Reagan King Lear William Shakespeare Jonathan Goad 2011 Hedda, Thea Scene Study – Hedda Gabler Henrik Ibsen Martha Burns TRAINING AT THE NATIONAL THEATRE SCHOOL – under the direction of Alisa Palmer and Sherry Bie Acting: Nina Lee Aquino, -
David Rabe's Good for Otto Gets Star Studded Cast with F. Murray Abraham, Ed Harris, Mark Linn-Baker, Amy Madigan, Rhea Perl
David Rabe’s Good for Otto Gets Star Studded Cast With F. Murray Abraham, Ed Harris, Mark Linn-Baker, Amy Madigan, Rhea Perlman and More t2conline.com/david-rabes-good-for-otto-gets-star-studded-cast-with-f-murray-abraham-ed-harris-mark-linn-baker-amy- madigan-rhea-perlman-and-more/ Suzanna January 30, 2018 Bowling F. Murray Abraham (Barnard), Kate Buddeke (Jane), Laura Esterman (Mrs. Garland), Nancy Giles (Marci), Lily Gladstone (Denise), Ed Harris (Dr. Michaels), Charlotte Hope (Mom), Mark Linn- Baker (Timothy), Amy Madigan (Evangeline), Rileigh McDonald (Frannie), Kenny Mellman (Jerome), Maulik Pancholy (Alex), Rhea Perlman (Nora) and Michael Rabe (Jimmy), will lite up the star in the New York premiere of David Rabe’s Good for Otto. Rhea Perlman took over the role of Nora, after Rosie O’Donnell, became ill. Directed by Scott Elliott, this production will play a limited Off-Broadway engagement February 20 – April 1, with Opening Night on Thursday, March 8 at The Pershing Square Signature Center (The Alice Griffin Jewel Box Theatre, 480 West 42nd Street). Through the microcosm of a rural Connecticut mental health center, Tony Award-winning playwright David Rabe conjures a whole American community on the edge. Like their patients and their families, Dr. Michaels (Ed Harris), his colleague Evangeline (Amy Madigan) and the clinic itself teeter between breakdown and survival, wielding dedication and humanity against the cunning, inventive adversary of mental illness, to hold onto the need to fight – and to live. Inspired by a real clinic, Rabe finds humor and compassion in a raft of richly drawn characters adrift in a society and a system stretched beyond capacity. -
The Work of the Little Theatres
TABLE OF CONTENTS PART THREE PAGE Dramatic Contests.144 I. Play Tournaments.144 1. Little Theatre Groups .... 149 Conditions Eavoring the Rise of Tournaments.150 How Expenses Are Met . -153 Qualifications of Competing Groups 156 Arranging the Tournament Pro¬ gram 157 Setting the Tournament Stage 160 Persons Who J udge . 163 Methods of Judging . 164 The Prizes . 167 Social Features . 170 2. College Dramatic Societies 172 3. High School Clubs and Classes 174 Florida University Extension Con¬ tests .... 175 Southern College, Lakeland, Florida 178 Northeast Missouri State Teachers College.179 New York University . .179 Williams School, Ithaca, New York 179 University of North Dakota . .180 Pawtucket High School . .180 4. Miscellaneous Non-Dramatic Asso¬ ciations .181 New York Community Dramatics Contests.181 New Jersey Federation of Women’s Clubs.185 Dramatic Work Suitable for Chil¬ dren .187 4 TABLE OF CONTENTS PAGE II. Play-Writing Contests . 188 1. Little Theatre Groups . 189 2. Universities and Colleges . I9I 3. Miscellaneous Groups . • 194 PART FOUR Selected Bibliography for Amateur Workers IN THE Drama.196 General.196 Production.197 Stagecraft: Settings, Lighting, and so forth . 199 Costuming.201 Make-up.203 Acting.204 Playwriting.205 Puppetry and Pantomime.205 School Dramatics. 207 Religious Dramatics.208 Addresses OF Publishers.210 Index OF Authors.214 5 LIST OF TABLES PAGE 1. Distribution of 789 Little Theatre Groups Listed in the Billboard of the Drama Magazine from October, 1925 through May, 1929, by Type of Organization . 22 2. Distribution by States of 1,000 Little Theatre Groups Listed in the Billboard from October, 1925 through June, 1931.25 3. -
South Coast Repertory Is a Professional Resident Theatre Founded in 1964 by David Emmes and Martin Benson
IN BRIEF FOUNDING South Coast Repertory is a professional resident theatre founded in 1964 by David Emmes and Martin Benson. VISION Creating the finest theatre in America. LEADERSHIP SCR is led by Artistic Director David Ivers and Managing Director Paula Tomei. Its 33-member Board of Trustees is made up of community leaders from business, civic and arts backgrounds. In addition, hundreds of volunteers assist the theatre in reaching its goals, and about 2,000 individuals and businesses contribute each year to SCR’s annual and endowment funds. MISSION South Coast Repertory was founded in the belief that theatre is an art form with a unique power to illuminate the human experience. We commit ourselves to exploring urgent human and social issues of our time, and to merging literature, design, and performance in ways that test the bounds of theatre’s artistic possibilities. We undertake to advance the art of theatre in the service of our community, and aim to extend that service through educational, intercultural, and community engagement programs that harmonize with our artistic mission. FACILITY/ The David Emmes/Martin Benson Theatre Center is a three-theatre complex. Prior to the pandemic, there were six SEASON annual productions on the 507-seat Segerstrom Stage, four on the 336-seat Julianne Argyros Stage, with numerous workshops and theatre conservatory performances held in the 94-seat Nicholas Studio. In addition, the three-play family series, “Theatre for Young Audiences,” produced on the Julianne Argyros Stage. The 20-21 season includes two virtual offerings and a new outdoors initiative, OUTSIDE SCR, which will feature two productions in rotating rep at the Mission San Juan Capistrano in July 2021.