2019 Fall Catalogue
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Dear Evan Hansen Will Go on Sale Friday, December 6, 2019 at 10Am
Tweet it! .@DearEvanHansen – we’re ready for you! The City of Brotherly Love welcomes the #DEHtour for a month-long engagement from 4/7-5/3 at the #ForrestTheatre. For more info visit kimmelcenter.org. #YouWillBeFound Press Contacts: Lauren Woodard Lisa Jefferson 215-790-5835 570-855-8817 [email protected] [email protected] Friday, December 6, 2019 “ONE OF THE MOST REMARKABLE SHOWS IN MUSICAL THEATER HISTORY.” -The Washington Post TICKETS FOR THE PHILADELPHIA PREMIERE OF DEAR EVAN HANSEN WILL GO ON SALE FRIDAY, DECEMBER 6, 2019 AT 10AM THE FORREST THEATRE ENGAGEMENT RUNS TUESDAY, APRIL 7- SUNDAY, MAY 3, 2020 The Kimmel Center Cultural Campus and The Shubert Organization announced today that individual tickets for the Philadelphia premiere of DEAR EVAN HANSEN will go on sale Friday, December 6, 2019 at 10:00AM EST. Tickets are available at The Forrest Theatre box office (1114 Walnut Street Philadelphia, PA 19107), calling Telecharge at 1-800-447-7400, or by visiting www.telecharge.com. The winner of six 2017 Tony Awards, including Best Musical, Dear Evan Hansen features a book by Tony Award-winner Steven Levenson, a score by Grammy®, Tony® and Academy Award® winners Benj Pasek and Justin Paul (La La Land, The Greatest Showman), and direction by four-time Tony Award nominee Michael Greif (Rent, Next to Normal). Declared “One of the most remarkable shows in musical theater history” by the Washington Post’s Peter Marks, Dear Evan Hansen opened at the Music Box Theatre to rave reviews on December 4, 2016. There, it has broken all box office records and struck a chord with audiences and critics alike, including New York Times critic Jesse Green, who, in his May 2019 re-review of the show, declared it “more and more ingenious with each viewing. -
The Bird Brain Study Guide
Message from the Artistic Director Page 2 Cast & Creative Team Page 3 Synopsis Page 4 Playwright and Director Page 5 Cast Biographies Page 6 Interview with the Playwright Page 7 Themes of the Play & Director’s Notes Page 8 Characters Page 9 Classroom Activities – Based on the Play Page 10 Thousand Islands Playhouse / Young Company Page 17 This Season at the Playhouse / Sponsor Page Page 18 Welcome to the Thousand Islands Playhouse’s production of Bird Brain! We are very excited share this heart-warming tale by award-winning playwright Vern Thiessen with you and your students. We programmed this play for our 2014 Young Company school tour because of the way it promotes critical thinking and kindness, and for its capacity to delight and teach. Since 1997, The Thousand Islands Playhouse Young Company has been bringing professional theatre to thousands of young people across Eastern Ontario. It provides a wonderful introduction to the magic of live theatre and promotes the wonders of reading, singing, dance and storytelling. We hope that this guide gives you the tools you need to make arts education both accessible and fun for your students. Thank you so much for your interest and support of the Thousand Islands Playhouse and I look forward to seeing you again at one of our seven main stage productions at the Playhouse this summer! Yours, Ashlie Corcoran Artistic Director, Thousand Islands Playhouse 2 Bird Brain Playwright - Vern Thiessen Adapted from the story Vogelkopf by Albert Wendt Director - Charlotte Gowdy Set & Props Design - Brian Frommer Costume Design - Jayne Christopher Sound Design - Sean McCabe Study Guide - Charlotte Gowdy Assistant Director - Bridget Gilhooly Bookings Co-ordinator - Andrew Geekie Cast – Luke Brown Nan Chen Alexandra Montagnese Dylan On From, L to R: Nan Chen, Luke Brown, Alex Montagnese, Bridget Gilhooly, Dylan On 3 A woodcutter comes across a nest of freezing baby birds crying out for help. -
Dear Evan Hansen - a Global Phenomenon and How Broadway Celebrates Its Millennial Audience
Dear Evan Hansen - a global phenomenon and how Broadway celebrates its millennial audience Followed the world-renown Hamilton - the hip-hop-infused rap musical about the Founding Fathers of America, Dear Evan Hansen is the next star at the box office that tells the story of adolescent struggles in the age of social media. Before making its home in Toronto at the Royal Alexandra Theatre this March, Dear Evan Hansen has caused a stir as the Broadway production swept six out of its nine nominations at the Tony Awards. Grossing over $88 million, the show is in high demand, filling theaters every night with young audience members, who carry playbills, merchandise and wait eagerly for the show to start while softly singing Pasek and Paul’s widely-acclaimed score. Dusting off the classic look of Broadway musical theatre with jazz hands and extravagant dance numbers, Dear Evan Hansen is a breath of fresh air that joins in the new wave of popularity for contemporary musicals. The musical tells the universal story of a socially anxious teenager and the common struggles of growing up: isolation, loneliness, depression, and self-doubt. It also speaks to the pain of parental loss, as well as the grief parents feel when they fail to reach their children. With a simple set design and a small cast consisting of eight actors, the show’s story is told through catchy pop- and rock-infused tunes that take its audience on an emotional rollercoaster, making them laugh one moment and choke back tears seconds later. Its music is raw, real and as uplifting as it is heartbreaking, which effortlessly resonates with the audience. -
ST. GERMAIN STAGE AUGUST 1–SEPTEMBER 8, 2019 Steven
AND Roz and Charles Stuzin PRESENT BY Steven Levenson FEATURING J. Anthony Crane Mitch Greenberg Laura Jordan Isaac Josephthal Lena Kaminsky Kathleen Wise Robert Zukerman SCENIC DESIGNER COSTUME DESIGNER LIGHTING DESIGNER SOUND DESIGNER John McDermott Elivia Bovenzi Scott Pinkney Palmer Hefferan PRODUCTION STAGE MANAGER CASTING Leslie Sears Pat McCorkle, Katja Zarolinski, CSA PRESS REPRESENTATIVE DIGITAL ADVERTISING Charlie Siedenburg The Pekoe Group DIRECTED BY Jennifer Chambers SPONSORED IN PART BY Arnold Kotlen and Stephanie Fleckner & Art and Terry Wasser Originally Produced in New York City by Roundabout Theatre Company (Todd Haimes, Artistic Director; Harold Wolpert, Managing Director; Julia C. Levy, Executive Director; Sydney Beers, General Manager) at the Harold and Miriam Steinberg Center for Theatre / Laura Pels Theatre on February 22, 2017. If I Forget is presented by special arrangement with Dramatists Play Service, Inc., New York. ST. GERMAIN STAGE AUGUST 1–SEPTEMBER 8, 2019 TIME & PLACE Act One: July 29, 2000 Act Two: February 18, 2001 Tenleytown, Washington D.C. CAST IN ORDER OF APPEARANCE Michael Fischer .............................................................................. J. Anthony Crane* Ellen Manning .....................................................................................Kathleen Wise* Holly Fischer ........................................................................................ Laura Jordan* Howard Kilberg ............................................................................... -
MARLO HUNTER DIRECTOR & CHOREOGRAPHER Member of the SDC
MARLO HUNTER DIRECTOR & CHOREOGRAPHER Member of the SDC **2013 Callaway Award Winner for Choreography on UNLOCK’D** § Founder & Artistic Director of Eating Their Words, which pairs prominent playwrights and seasoned chefs for an unprecedented synthesis of the performing and culinary arts. www.eatingtheirwords.com EDUCATION, RECOGNITION & RESIDENCIES v Princeton University. B.A., Dramatic Literature (English); Minor, Theater and Dance v 2012-2013 Alec Baldwin Singers Forum Directing Fellow (1st Recipient) v Two-time Drama League Fall Directing Fellowship Finalist v SDC Observership on Susan Stroman’s The Music Man, Broadway v Directing Corp, Williamstown Theatre Festival v Director of Script Development for WET Productions, 2011-2013 BROADWAY PICNIC (Associate Choreographer; Chase Brock, Choreographer), Roundabout Theatre Company, directed by Sam Gold American Airlines Theater THE MUSIC MAN (SDC Observership/Assistantship; The Neil Simon Theatre Susan Stroman, Dir./Chor.) INTO THE WOODS (Pre-Production Asst. to John Carrafa) Broadhurst Theatre ONCE ON THIS ISLAND Original Cast Reunion Benefit The Winter Garden (Asst. to Gerry McIntyre) REGIONAL ISLAND SONG Music by Derek Gregor, Words by Sam Bloomington Playwrights Project, Carner (UPCOMING production) (Director) Bloomington, IN ISLAND SONG Music by Derek Gregor, Words by Sam The Balagan Theatre, Seattle Carner –Workshop Production (Director) HELEN OF TROY Music & Lyrics by Douglas Cohen, Book & NY Stage & Film (Lark residency); Lyrics by Zoe Samuel (Workshop) (Director) Coastal Carolina University TRAVESTIES (Gregory Boyd, Dir. With Sam Williamstown Theatre Festival, Waterston, Stephen Spinella, Michael Long Wharf Theatre Stuhlbarg) (Choreographer) DIVA DIARIES World Premiere; Music & Lyrics, John Tampa Bay PAC; The Broward Center; Mercurio (Choreographer) Chicago: The Lakeshore Theatre WITHOUT WALLS by Alfred Uhry (Choreographer, WTF, Nikos Stage and Asst. -
Edition 9 | 2018-2019
Stacey Mindich Mickey Liddell Hunter Arnold Caiola Productions Double Gemini Productions Fakston Productions Roy Furman Harris Karma Productions On Your Marks Group Darren Bagert Roger & William Berlind Bob Boyett Colin Callender Caitlin Clements Freddy DeMann Dante Di Loreto Bonnie & Kenneth Feld FickStern Productions Eric & Marsi Gardiner Robert Greenblatt Jere Harris and Darren DeVerna John Gore Organization Mike Kriak David Mirvish Eva Price Zeilinger Productions Adam Zotovich Ambassador Theatre Group Independent Presenters Network AND The Shubert Organization EXECUTIVE PRODUCERS Wendy Orshan and Jeffrey M. Wilson IN ASSOCIATION WITH Arena Stage Second Stage Theatre Molly Smith, Edgar Dobie Carole Rothman, Casey Reitz BOOK BY MUSIC AND LYRICS BY STEVEN LEVENSON BENJ PASEK & JUSTIN PAUL BEN LEVI ROSS MAGGIE MCKENNA JESSICA PHILLIPS CHRISTIANE NOLL MARRICK SMITH AARON LAZAR JARED GOLDSMITH PHOEBE KOYABE STEPHEN CHRISTOPHER ANTHONY SCENIC DESIGN BY PROJECTION DESIGN BY COSTUME DESIGN BY LIGHTING DESIGN BY SOUND DESIGN BY DAVID KORINS PETER NIGRINI EMILY REBHOLZ JAPHY WEIDEMAN NEVIN STEINBERG VOCAL ARRANGEMENTS & HAIR DESIGNER ASSOCIATE MUSIC SUPERVISOR MUSIC DIRECTOR MUSIC COORDINATORS ADDITIONAL ARRANGEMENTS BY DAVID BRIAN BEN COHN ALEX HARRINGTON MICHAEL KELLER JUSTIN PAUL BROWN MICHAEL AARONS MARKETING AND PUBLICITY DIRECTION TOUR BOOKING AGENCY ADVERTISING NATIONAL PRESS REPRESENTATIVES DIGITAL MARKETING BOND THEATRICAL THE BOOKING GROUP SERINO COYNE DKC/O&M SITUATION GROUP MEREDITH BLAIR GRAPEVINE PR INTERACTIVE KARA GEBHART CASTING -
Djanet Sears's Appropriations of Shakespeare in Harlem Duet
The Dramaturgy of Appropriation: How Canadian Playwrights Use and Abuse Shakespeare and Chekhov by James Stuart McKinnon A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Centre for the Study of Drama University of Toronto © Copyright by James McKinnon 2010 The Dramaturgy of Appropriation: How Canadian Playwrights Use and Abuse Shakespeare and Chekhov James Stuart McKinnon Doctor of Philosophy Graduate Centre for the Study of Drama University of Toronto 2010 Abstract Both theatre and drama were imported to Canada from European colonizing nations, and as such the canonical master-texts of European drama, particularly the works of Shakespeare, have always occupied a prominent place in Canadian theatre. This presents a challenge for living Canadian playwrights, whose most revered role model is also their most dangerous competition, and whose desire to represent the spectrum of contemporary Canadian experience on stage is often at odds with the preferences of many producers and spectators for the ―classics.‖ Since the 1990s, a number of Canadian playwrights have attempted to challenge the role of canonical plays and the values they represent by appropriating and critiquing them in plays of their own, creating a body of work which disturbs conventional distinctions between ―adaptations‖ and ―originals.‖ This study describes and analyzes the adaptive dramaturgies used by recent Canadian playwrights to appropriate canonical plays, question the privileged place they occupy in Canadian culture, expose the exclusionary hierarchies they legitimate, and claim centre stage for Canadian perspectives which have hitherto been waiting in the wings. It examines how playwrights challenge, usurp, or exploit the cultural capital of the canon by ―re-citing‖ old plays ii in new works, how they or their producers attempt to frame the reception of their plays in order to address cultural biases against adaptation, and how audiences respond. -
Lyrics by Benj Pasek and Justin Paul
begins not with music, have a single person to whom we can actually speak. We but with noise. As the house lights fade, the audience envisioned two families, each broken in its own way, and is immersed momentarily in the roar of the internet: a two sons, both of them lost, both of them desperate to cacophony of car insurance ads, cat videos, scattered be found. And at the heart of our story, in a world starving shards of emails and text messages and status updates. for connection, we began to imagine a character utterly And then, all at once: silence. On stage, in the white glow incapable of connecting. of a laptop, a boy sits in his bedroom, alone. Though many of the rudiments of the character were Like so many of us, Evan is a citizen of two different already in place by the end of 2011, Evan didn’t fully come worlds, two distinct realities separated by the thin veil of a to life for me until almost two years into the process, when laptop screen. On one side of the screen, the promise of Benj and Justin emailed me a homemade demo of a song instant connection. On the other, a lonely kid, staring at a they were tentatively calling “Waving Back At Me.” blinking cursor, as desperate to be noticed as he is to stay This was to become “Waving Through a Window,” hidden. Evan’s first sung moment in the musical, when we see, Benj Pasek, Justin Paul, and I first began to create with incredible vividness, how the world looks through the the character of Evan over several months in 2011. -
The Best Men's Stage Monologues
2014 THE BEST MEN’S STAGE MONOLOGUES 2014 THE BEST MEN’S STAGE MONOLOGUES Edited by Lawrence Harbison SMITH AND KRAUS PUBLISHERS 2014 CAUTION: Professionals and amateurs are hereby warned that the plays represented in this book are subject to a roy- alty. They are fully protected under the copyright laws of the United States of America and of all countries covered by the International Copyright Union (including the Dominion of Canada and the rest of the British Commonwealth) , The Berne Convention, the Pan-American Copyright Convention and the Universal Copyright Convention as well as all coun- tries with which the United States has reciprocal copyright relations. All rights, including professional/amateur stage rights, motion picture, recitation, lecturing, public reading, radio broadcasting, television, video or sound recording, all other forms of mechanical or electronic reproduction, such as CD-ROM, CD-I, DVD, information storage and retrieval systems and photocopying, and the rights of translation into foreign languages, are strictly reserved. All rights reserved. ISBN: 1-57525-887-0 ISBN: 978-1-57525-887-4 ISSN: 2329-2695 Typesetting and layout by Elizabeth Monteleone Cover Design: Borderlands Press A Smith and Kraus book 177 Lyme Road, Hanover, NH 03755 Editorial 603.643.6431 To Order 1.877.668.8680 www.smithandkraus.com Printed in the United States of America TABLE OF CONTENTS FOREWORD 11 Lawrence Harbison A COMMON MARTYR 13 Michael Weems A DELICATE SHIP (2) 15 Anna Ziegler A KID LIKE JAKE 17 Daniel Pearle A SEAGULL IN THE HAMPTONS (2) 19 Emily Mann AND AWAY WE GO 23 Terrence McNally BASILICA (2) 25 Mando Alvarado BIRD IN THE HAND (2) 28 Jorge Ignacio Cortiñas BODEGA BAY 30 Elisabeth Karlin BROKEN FENCES (2) 31 Steven Simoncic BRONX BOMBERS 33 Eric Simonson BUZZER 35 Tracey Scott Wilson CATCH THE FISH 36 Jonathan Caren DETAILS 38 David L. -
Group Ticket Sales 208 E Houston St San Antonio, Tx 78205 (210) 226-5967 [email protected]
Group Ticket Sales 208 E Houston St San Antonio, Tx 78205 (210) 226-5967 [email protected] Million Dollar Quartet October 6, 2019 Majestic Theatre Based on a real-life jam session of rock ’n’ roll gods Elvis Presley, Jerry Lee Lewis, Johnny Cash and Carl Perkins, Million Dollar Quartet reveals what happened at that historic meeting on December 4, 1956. With the holidays just around the corner, chart-topper Presley, a then unknown Lewis, rising star Cash and stalled up-and-comer Perkins find themselves assembled at Sun Records in Memphis, Tennessee, where their producer and manager Sam Phillips has business on his mind. In the rocking hour that follows, Phillips’ roster of extraordinary musical talent shows why and how they became four of the biggest names in music history. What Is Million Dollar Quartet Like? While the show doles out plenty of rock ‘n’ roll history during its 90-minute running time, but info is served along with exuberant rock hits by each of the four artists, ensuring that Million Dollar Quartet is more musical spectacle than college course. The production is light on plot, breezing through career highlights to get to what matters most: the music, which is performed with reckless abandon live onstage by the cast. Audiences with an affinity for classic rockabilly will be hard- pressed not to be drawn in by the stars, who embody their respective characters down to the very last pelvic gyration or piano pounding. Groups of 10 or more: Main Floor $63, $45 Mezzanine $45 Balcony $36 Baby Shark Oct 16, 2019 Majestic -
Roundabout Theatre Company's Tony Award
NEWS RELEASE For immediate release: Thursday, August 18, 2016 Contact: Sarah Knab, 608.258.4438 / [email protected] PRODUCTION PHOTOS: Click here. "DIVINELY, DANGEROUSLY DECADENT." – Ben Brantley, The New York Times “One of musical theatre’s GREATEST TRIUMPHS!” -Houston Chronicle "Truly unmissable! Even if you saw it last time, you are strongly advised - no, URGED - to return." -USA Today ROUNDABOUT THEATRE COMPANY’S TONY AWARD® -WINNING PRODUCTION OF CABARET COMES TO MADISON AT OVERTURE CENTER Madison, Wis. – Overture Center announced that individual tickets for the Madison engagement of Roundabout Theatre Company’s CABARET will go on sale Saturday, August 27 at 9 a.m. in person at the Overture Center ticket office at 201 State Street (doors open at 8:30 a.m.), 11 a.m. online at overture.org or 11 a.m. by phone at 608.258.4141. Subscriptions available now. Tickets for groups of 10 or more available now by calling 608.258.4159. Direct from Broadway, the musical masterpiece comes to Madison! As part of their 50th Anniversary Season, the critically acclaimed and award-winning Roundabout Theatre Company is proud to present the national tour of Sam Mendes (Skyfall, American Beauty) and Rob Marshall’s (Into the Woods and Chicago, the films) Tony Award®-winning production of CABARET, playing Tuesday, March 21-Sunday, March 26, 2017, at Overture Center as part of the 2016/17 Broadway Series. John Kander, Fred Ebb, best known for their legendary musical, CHICAGO and Joe Masteroff’s Tony- winning musical features some of the most memorable songs in theatre history, including “Cabaret,” “Willkommen” and “Maybe This Time.” CABARET is set in the infamous Kit Kat Klub, where the Emcee, Sally Bowles and a raucous ensemble take the stage nightly to tantalize the crowd––and to leave their troubles outside. -
A-Christmas-Story-The-Musical.Pdf
® PHILADELPHIA, PENNSYLVANIA PLAYBILL.COM Dear Theatregoer, Welcome to an exciting holiday season at the Walnut! The level of activity in this theatre always amazes me during the most wonderful time of the year. The successes we have celebrated RYHU WKH SDVW \HDUV DV D QRWIRUSURÀW SURGXFLQJ WKHDWUH company would not be possible without the support of loyal theatregoers like you. We would like to say thank you. You help to make the Walnut the most popular theatre company in Philadelphia, and the most subscribed theatre company in the world! For me, the holidays are always a warm reminder of the importance of traditions honored with family and friends. In my home, as in many of your homes, watching A Christmas Story is part of our annual holiday celebration. The charming story of a child with a Christmas dream is one that many of us can relate to. Tonight on our stage, you’ll see many of our Walnut family who have come home for the holidays, as well as faces of new friends. I’m thrilled to share this hilarious, heart-warming Photo: Mark Garvin musical with you. Upstairs in our Independence Studio on 3, we have the triumphant story of Karola Siegel, Becoming Dr. Ruth 7KLVLVWKHIDVFLQDWLQJOLIHVWRU\RIDZRPDQZKRÁHGIURPWKH1D]LVLQ.LQGHUWUDQVSRUW joined the Haganah in Jerusalem as a scout and sniper, then traveled to the States and became America’s most famous sex therapist. Our intimate space is the perfect setting for this gripping tale. You don’t want to miss it. We are proud that our WST for Kids’ production of Charles Dickens’ A Christmas Carol remains DPXVWVHH3KLODGHOSKLDKROLGD\WUDGLWLRQ(EHQH]HU6FURRJHDQG7LQ\7LPZLOOÀOOWKHKHDUWVRI audiences with joy on this very stage.