A Streetcar Named Desire Synopsis

Total Page:16

File Type:pdf, Size:1020Kb

A Streetcar Named Desire Synopsis A Streetcar Named Desire Synopsis Set in 1947 in the poor French quarter of New Orleans. It is steamy hot with an underscore of black, blues piano. A two-room apartment in a two-storey white frame building is the home of Stanley and the pregnant Stella Kowalski. Stella and her older sister Blanche DuBois were born in the family plantation home, “Belle Reve” in Laurel, Mississippi to a family of some social standing. Stella and Stanley’s impoverished life is disrupted by the unexpected arrival of Blanche who explains that she has taken leave of absence from her teaching job, due to nerves and will be staying with Stella and Stanley for a few days. But Blanche’s surreptitious heavy drinking is the cause of her nervous condition. Blanche doesn’t hide her disappointment with Stella for marrying beneath her to Stanley, a poker playing gambler, of Polish descent. Blanche admits to Stella that the family home “Bell Reve” is lost. When Stella asks “How?”, Blanche launches into a long tirade of protest about how the family money had been spent on countless expensive funerals of family members. Her protests seem oddly excessive. When Stella tells Stanley of the loss of Belle Reve, he is not fooled, he realises that Blanche’s extravagant lifestyle, drinking, jewellery and fancy clothes led to the loss of “Belle Reve”. While drunk at one of his poker parties Stanley hits Stella in the presence of Blanche and his pals Mitch, Steve and Pancho. They manhandle Stanley into the shower to sober him up. Meanwhile Blanche bundles Stella into her upstairs neighbour’s apartment for safety. Blanche settles down on the porch and Mitch comes along. This is the start of a relationship between a young man and an older woman. Blanche tries to persuade Stella to leave Stanley. She tells Stella that she has renewed an acquaintance with Shep Huntleigh, an old boyfriend, now a Texas oil millionaire and she is certain that he will set them up in business. Stella loyally defends Stanley and refuses to leave, while Blanche launches into a withering tirade about Stanley’s low breeding, apelike manners, violent outbursts and his “ape parties” as she calls his poker nights. Stanley overhears this. Next day, Blanche is composing a letter to Shep Huntleigh and we realise that Blanche lives in a pretend world of social whirls, holidays on the gulf, cocktail parties and tea dances. Stanley returns from bowling one evening and casually asks Blanche if she knows somebody called Shaw back in Laurel. Does she remember the Hotel Flamingo? This catches Blanche off guard. Blanche breaks down and in an outpouring to Stella admits that life has been hard, her looks are fading, she has no money, she needs a drink, she won’t stay longer than necessary, she won’t hang around until Stanley throws her out. She almost drops her drink and screams hysterically. Her life and lies are about to unravel. She explains away her nervousness to Stella as due to Mitch coming round. But she explains that “she hasn’t given him more than a kiss, she hasn’t “put out”, although men lose interest quickly, especially if the girl is over thirty”. She is desperate for things to work out with Mitch so she can leave Stella’s house. While waiting for Mitch, Blanche invites in and tries to seduce a nervous young money collector. She kisses him passionately just as Mitch is arriving with a bunch of roses. The young man escapes and Blanche greets Mitch as if nothing had happened. After their night out, Mitch and Blanche return to the Kowalski home. The house is empty. Mitch tries a clumsy attempt at seduction, but Blanche declines. The romance goes out of the evening and Blanche confesses to Mitch that she had been married when she was sixteen, but her husband Allan had committed suicide and she was the cause. Blanche had caught him in flagrante with another Page 1 of 4 A Streetcar Named Desire man. On a night out Blanche told Allan that she knew what he was and he disgusted her. He went outside and shot himself. A few weeks later it is Blanche’s birthday. Mitch is expected. Stanley has done some digging and has some revelations for Stella about Blanche. Far from being the demure woman of breeding, Blanche had gained a reputation in Laurel for entertaining men for money at the Flamingo Hotel where she had been living since the loss of Belle Reve. She had been kicked out of her teaching position for having a relationship with a seventeen-year old student and had finally been kicked out of the Hotel Flamingo. Stanley has told all this to Mitch by way of a warning. Mitch would not be coming to Blanche’s birthday party. Later that evening, Blanche, alone, is huddled in a chair, drinking heavily, she hears in her remorseful and troubled mind The Varsouviana a polka tune she shared with her dead young husband. Mitch calls round in a very dark mood. The Varsouviana and a revolver shot keep popping into Blanche’s troubled head. She admits her promiscuity with young soldiers on the lawn at Belle Reve and that she has had intimate relations with many men. Mitch tells her that it is all over. Later that night, Blanche, drunk, she dresses herself roughly in a soiled evening gown and tiara. Stanley returns. Blanche is now incoherent with stories of saviour millionaires and grand living. Stanley taunts her and finally carries her unwillingly and drunk to the bedroom to have sex with her. Some weeks later. A poker game is being played. Stella is nervous. Blanche now totally deluded believes that Shep Huntleigh is coming to take her away. She is haunted by the sound of The Varsouviana in her head. She is on edge. She hallucinates. A doctor and a nurse appear. Stella has committed her sister to a mental hospital. Stella is riven with remorse as Stanley, now rid of Blanche, advances on her with just one thought in his head. Characters Playing ages are for guidance and does not rule out older actors who could credibly play a part. Playing Character Character notes Age “Her delicate beauty must avoid a strong light – moth like”. “She dresses daintily in white as if arriving at a summer tea-party”. She speaks with the refined southern drawl of a woman of breeding. She has a slim elegance. Married young, but her young husband killed himself. She is complex. A drinker in denial, attractive, although she fears her looks are Blanche Mid 30’s fading. She is flirtatious, vain. She assumes a demure and superior air but DuBois this hides a promiscuous past. A commanding presence. She strips down to her underwear while a poker game is in play, using the light to project her silhouette on to the dividing curtain. She knows she is being provocative. She is mentally disturbed and this becomes progressively more apparent. Page 2 of 4 A Streetcar Named Desire Playing Character Character notes Age Blanche’s younger sister. Gentle. In early pregnancy which progresses from May to October with the play. She speaks with the refined southern drawl of a woman of breeding, contrasting sharply with Stanley. She is Mid 20’s overwhelmed in Blanche’s presence. Blanche dominates their Stella to early conversations with her opinionated language. Blanche treats her like a Kowalski 30’s house servant. Stella’s refined hobbies of movies and bridge contrast sharply with Stanley’s beer and poker. She defends Stanley against Blanche’s criticism of his boorishness and lack of breeding. But we are left wondering why she married him other than physical attraction. Coarse southern accent. Strong and well built, he has a sensual presence. He is quite used to women admiring him. He is confident in his own skin. He is content with his role as master of his house. He has a short fuse Stanley 30’s when drunk, that can erupt into violence against Stella and destruction of Kowalski things (crockery for example) to enforce his point. He plays poker and bowls at the local alley with his pals. He is streetwise, not sophisticated. He is at times menacing. Coarse southern accent. Tall (6 feet) with a large athletic frame. He works out with weights at the gym. Works in the spares department of the Harold Late 20’s same company as Stanley. Mild, shy and courteous, in contrast to the Mitchell other poker playing pals. He is unmarried and sensitive and lives with and “Mitch” cares for his sick mother. He is attracted to the older Blanche until Stanley reveals details of her past. Late 20’s, Coarse southern accent. The Kowalski’s upstairs neighbour. Poker playing Steve Early to friend of Stanley. Coarse. Not PC, tells off-colour jokes (using language Hubbel mid 30’s acceptable at the time the play was written). He is a bit of a philanderer. Working class. Late 20’s, Coarse southern accent. Married to Steve. They row frequently and Eunice Early to Eunice throws pans and things at Steve. She is good-hearted working Hubbel mid 30’s class. Very sensitive when Blanche is being taken away. Pablo Any Latino accent. Mexican. Poker playing pal of Stanley’s. Working class. Gonzales Man Any Coarse southern accent. Walk-on small speaking part. Page 2 only. Refined southern drawl. Appears at the end of the play to commit Doctor Any Blanche to a mental institiution. Small part. Tamale (Doubled) Latino accent.
Recommended publications
  • The Films of Raoul Walsh, Part 1
    Contents Screen Valentines: Great Movie Romances Screen Valentines: Great Movie Romances .......... 2 February 7–March 20 Vivien Leigh 100th ......................................... 4 30th Anniversary! 60th Anniversary! Burt Lancaster, Part 1 ...................................... 5 In time for Valentine's Day, and continuing into March, 70mm Print! JOURNEY TO ITALY [Viaggio In Italia] Play Ball! Hollywood and the AFI Silver offers a selection of great movie romances from STARMAN Fri, Feb 21, 7:15; Sat, Feb 22, 1:00; Wed, Feb 26, 9:15 across the decades, from 1930s screwball comedy to Fri, Mar 7, 9:45; Wed, Mar 12, 9:15 British couple Ingrid Bergman and George Sanders see their American Pastime ........................................... 8 the quirky rom-coms of today. This year’s lineup is bigger Jeff Bridges earned a Best Actor Oscar nomination for his portrayal of an Courtesy of RKO Pictures strained marriage come undone on a trip to Naples to dispose Action! The Films of Raoul Walsh, Part 1 .......... 10 than ever, including a trio of screwball comedies from alien from outer space who adopts the human form of Karen Allen’s recently of Sanders’ deceased uncle’s estate. But after threatening each Courtesy of Hollywood Pictures the magical movie year of 1939, celebrating their 75th Raoul Peck Retrospective ............................... 12 deceased husband in this beguiling, romantic sci-fi from genre innovator John other with divorce and separating for most of the trip, the two anniversaries this year. Carpenter. His starship shot down by U.S. air defenses over Wisconsin, are surprised to find their union rekindled and their spirits moved Festival of New Spanish Cinema ....................
    [Show full text]
  • The First Critical Assessments of a Streetcar Named Desire: the Streetcar Tryouts and the Reviewers
    FALL 1991 45 The First Critical Assessments of A Streetcar Named Desire: The Streetcar Tryouts and the Reviewers Philip C. Kolin The first review of A Streetcar Named Desire in a New York City paper was not of the Broadway premiere of Williams's play on December 3, 1947, but of the world premiere in New Haven on October 30, 1947. Writing in Variety for November 5, 1947, Bone found Streetcar "a mixture of seduction, sordid revelations and incidental perversion which will be revolting to certain playgoers but devoured with avidity by others. Latter category will predomin­ ate." Continuing his predictions, he asserted that Streetcar was "important theatre" and that it would be one "trolley that should ring up plenty of fares on Broadway" ("Plays Out of Town"). Like Bone, almost everyone else interested in the history of Streetcar has looked forward to the play's reception on Broadway. Yet one of the most important chapters in Streetcar's stage history has been neglected, that is, the play's tryouts before that momentous Broadway debut. Oddly enough, bibliographies of Williams fail to include many of the Streetcar tryout reviews and surveys of the critical reception of the play commence with the pronouncements found in the New York Theatre Critics' Reviews for the week of December 3, 1947. Such neglect is unfortunate. Streetcar was performed more than a full month and in three different cities before it ever arrived on Broadway. Not only was the play new, so was its producer. Making her debut as a producer with Streetcar, Irene Selznick was one of the powerhouses behind the play.
    [Show full text]
  • The Monthly Magazine of the Atlanta Memorial Arts
    AtlantaTHE MONTHLY MAGAZINE OF THE ATLANTA MEMORIALArts ARTS CENTER FEBRUARY 1973 American comfort, European handling. They meet in Monte Carlo. Monte Carlo has always ment panel reflect Monte been a car unlike any other. Carlo's individuality. Yet, our 73 Monte Carlo S The new flow-through is even more unique. power ventilation system Chassis, frame and sus­ adds to its quietness. pension geometry were Power front disc brakes, extensively redesigned to power steering and a big V8 achieve special handling are standard of course. traits like those found in the A power-operated sky roof great road cars of Europe. can be added. Coach windows, molded Monte Carlo S. We think full foam seats, rich uphol­ you'll find it one of the best stery and a classic instru­ road cars you've ever driven. 1973 Chevrolet Buildingabetterway to seethe U5A 1 Chevrolet Art for everyone's sake More than a repository, The Atlanta Memorial Arts Center continues its forward thrust, its dedicated presentation of the arts as a force in today's life, an inspiration for tomorrow's. Rich's salutes the gifted men and women who have made this so. and now our second location 107 Peachtree Street. N.E.. Phone (404) 522-4786 Atlanta, Georgia 30303 Of Special interest AT THE CENTER ATLANTA SCHOOL OF ART Don’t go School Strides Toward National Recognition through The Atlanta School of Art has ac­ life cepted an invitation to entry-year mem­ without bership in the Union of Independent Colleges of Art (U.I.C.A.), beginning your own with the next academic year.
    [Show full text]
  • Producing Tennessee Williams' a Streetcar Named Desire, a Process
    THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE SCHOOL OF THEATRE PRODUCING TENNESSEE WILLIAMS’ A STREETCAR NAMED DESIRE, A PROCESS FOR DIRECTING A PLAY WITH NO REFUND THEATRE J. SAMUEL HORVATH Spring, 2010 A thesis submitted in partial fulfillment of the requirements for a baccalaureate degree in Finance with honors in Theatre Reviewed and approved* by the following: Matthew Toronto Assistant Professor of Theatre Thesis Supervisor Annette McGregor Professor of Theatre Honors Adviser * Signatures are on file in the Schreyer Honors College. ABSTRACT This document chronicles the No Refund Theatre production of Tennessee Williams’ A Streetcar Named Desire. A non-profit, student organization, No Refund Theatre produces a show nearly every weekend of the academic year. Streetcar was performed February 25th, 26th, and 27th, 2010 and met with positive feedback. This thesis is both a study of Streetcar as a play, and a guide for directing a play with No Refund. It is divided into three sections. First, there is an analysis Tennessee Williams’ play, including a performance history, textual analysis, and character analyses. Second, there is a detailed description of the process by which I created the show. And finally, the appendices include documentation and notes from all stages of the production, and are essentially my directorial promptbook for Streetcar. Most importantly, embedded in this document is a video recording of our production of Streetcar, divided into three “acts.” I hope that this document will serve as a road-map for
    [Show full text]
  • (Mitch) Mitchell's Role in the Demise of Blanche Dubois in a Streetcar
    Article Leviathan: Interdisciplinary Journal in English No. 2, 46-53 Harold (Mitch) © The Journal Editors 2018 Reprints and permissions: Mitchell’s role in the http://ojs.statsbiblioteket.dk/index.php/lev DOI: 10.7146/lev.v0i2.104695 demise of Blanche Recommendation: Arman Teymouri Niknam ([email protected]) Dubois in A Streetcar Literature in English 1: Form and Genre Named Desire Marie Lund ABSTRACT In Tennessee Williams’ play A Streetcar Named Desire, Stanley Kowalski has often been seen as the main reason why Blanche DuBois mentally falls apart at the end of the play. This is emphasized by the fact that he rapes her and that she subsequently is committed to a mental institution. However, I find that the role of Harold (Mitch) Mitchell thereby is downplayed and underestimated. This article argues that he in fact is the real cause of Blanche’s psychological downfall. Critics such as Judith J. Thompson refer to Mitch as elevated to the romanticized ideal of Allan Grey, Blanche’s late husband. Blanche sees a potential new husband in Mitch, and when she realizes that he knows about her troubled past, she mentally collapses. While Stanley’s final act certainly is cruel and devastating, Mitch’s rejection of Blanche is what essentially sets off her final madness. Keywords: Tennessee Williams; gender roles; mental decline; madness; homosexuality; marriage; Literature in English 1: Form and Genre Corresponding author: Marie Lund ([email protected]) Department of English, Aarhus University 47 Introduction Marlon Brando was a so-called method actor and played the role of Stanley Kowalski both on Broadway in 1947 and in the screen adaption of A Streetcar Named Desire in 1951 (Palmieri).
    [Show full text]
  • POETRY in the PLUMBING Stylistic Clash and Reconciliation in Recent American Stagings of a Streetcar Named Desire
    Cercles 10 (2004) POETRY IN THE PLUMBING Stylistic Clash and Reconciliation in Recent American Stagings of A Streetcar Named Desire FELICIA HARDISON LONDRÉ University of Missouri-Kansas City Perhaps nothing suggests gritty naturalism quite so graphically as plumbing problems. Broken pipes and overflowing toilets are unpleasant realities that never had a place on stage before Emile Zola and André Antoine began reconfiguring audiences’ perceptions and expanding the bounds of what could be tolerated in art—that is, exposing bourgeois playgoers to the lower- class or seamy side of life. While today’s Broadway has embraced a musical titled Urinetown, we must remember that early twentieth-century American theatre audiences were slow to accept naturalism. Rarely was a sordid milieu depicted on the Broadway stage, nor was profane language heard there before the 1920s when Eugene O’Neill gave his sailors realistically salty dialogue and when What Price Glory portrayed soldiers swearing like soldiers. It was not until 1947, when Tennessee Williams’s A Streetcar Named Desire opened, that Broadway saw a play in which the bathroom figured so prominently in the setting, in the plot, and in the dialogue (including vocabulary like Stanley’s crude reference to his “kidneys”). While the plumbing that undergirds A Streetcar Named Desire may well be viewed as naturalistic, the play at the same time epitomizes Jacques Copeau’s concept of a poésie de théâtre; that is, it deploys a visual poetry of scenic metaphor, alongside the verbal poésie au théâtre. For example, the clouds of steam that emanate from the bathroom whenever Blanche takes a refreshing bath are realistic, but the haze on stage also creates an atmospheric softening effect.
    [Show full text]
  • FIGHTING DUELS Stanley Vs. Blanche in the Trunk and Rape Sequences
    Cercles 10 (2004) FIGHTING DUELS Stanley vs. Blanche in the Trunk and Rape Sequences ANNE-MARIE PAQUET-DEYRIS Université de Rouen It’s almost cliché to say that Blanche is a living figure of division. The basic dichotomy between her lofty aspirations and debasing bodily drives finds its expression in heavily polarized spaces and bodily movements, as well as verbal sparring scenes and actual physical duels in both film and play. In Elia Kazan’s adaptation of Tennessee Williams’s 1947 play however, shots and camera angles seem to particularly frame Blanche’s character as a highly vulnerable creature. She’s often shown in high angle shots and close-ups revealing the wear and tear of the various masks she puts on. Blanche is also often filmed in two-shots, with someone else looking down on her, and these two-shots very much resemble disturbing pas de deux between an eager female and an unreliable male. As Tennessee Williams writes in his Cat on a Hot Tin Roof “Notes for the Designer,” The designer should take as many pains to give the actors room to move about freely (to show their restlessness, their passion for breaking out) as if it were a set for a ballet. [14] The most striking representation of such a ballet is probably the forceful duo played by Blanche and Stanley in A Streetcar Named Desire. And one should even say forced duo here, as this “ballet” is more akin to a forced march and even a dance of death than to any type of seductive tango or ritual rumba.
    [Show full text]
  • Four Traces of the Streetcar
    Cercles 10 (2004) FOUR TRACES OF THE STREETCAR DOMINIQUE SIPIÈRE Université du Littoral Four “physical traces” of A Streetcar Named Desire are currently available on tape or on DVD to enrich our reading of Kazan’s play of 1947. The 1984 remake is a little difficult to find, but Jessica Lange’s Blanche of 1995, or André Previn’s opera of 1998 are easily bought. I’ll start with the latter, premiered in San Francisco half a century after the first Broadway production, since it is both a radical example of a “filmed opera” and the most different reading to be compared with Kazan’s film. Extracts from the opera will suggest a few questions for further analysis. After the credits written on a staircase background and a short orchestral prelude based on a dissonant chord suggesting the tramway hoot and brutal desire itself, Blanche emerges from a mist, singing—apparently to the audience: They told me to take a streetcar named Desire; then transfer to the one called Cemeteries. Then to ride it for six blocks to Elysian Fields. This abrupt beginning and its minimal use of words is only possible because the San Francisco audience is already familiar with a play which has become an American landmark of theatrical culture. The setting itself is supposed to conjure up the “raffish” New Orleans atmosphere, but it is above all a reminder of most nineteenth-century operas such as Puccini’s La Bohème. Yet, as one goes on viewing the DVD, it becomes obvious that Blanche was not actually addressing the audience but Eunice, who was sitting on the staircase, on the left, but who remained invisible because of the limiting frame of the camera: this “filmed opera” is not—and cannot be—an “objective photograph” of the prestigious premiere performance given in 1998, as the spectators saw Eunice and they realized Blanche was addressing her.
    [Show full text]
  • Hello Stanley, Good-Bye Blanche: the Brutal Asymmetries Of
    Cercles 10 (2004) HELLO STANLEY, GOOD-BYE BLANCHE The Brutal Asymmetries of Desire in Production ROBERT F. GROSS Hobart and William Smith Colleges Staging A Streetcar Named Desire. Staging in the theater. Staging in film. Staging in theatrical histories, literary histories, memoirs. Staged by reviewers, literary critics, teachers and students, publishers and readers. Each one of us has personally staged Streetcar in the past, and will no doubt do so again. Our various stagings will merge, collide, fragment and metamorphose. Our stagings will inevitably be partial and informed by personal experience. Let me begin with my staging, and then move on to others.’ When I received Professor Guilbert’s kind invitation by e-mail to present a paper at this conference, my first response was on a level of hysteria, that easily rivaled Blanche. “No!” I thought, my heart racing. “There must be some mistake! I can’t talk about that play! I’m the last person on earth who should talk about that play!” Yes, it seemed impossible to me, for, though I have published articles on plays by Tennessee Williams, edited a volume of essays on Williams, and directed productions of three of his plays, I have done my best to avoid any involvement with what is his most celebrated play, teaching it in the classroom only once, avoiding the Kazan film until I reached age 47, and never once having seen a live production of the play. While Philip C. Kolin has edited a fine volume of essays entitled, Confronting ‘A Streetcar Named Desire,’ I could write the book on avoiding it.
    [Show full text]
  • A Streetcar Named Desire by Tennessee Williams
    A Streetcar Named Desire by Tennessee Williams Copyright Notice ©1998-2002; ©2002 by Gale Cengage. Gale is a division of Cengage Learning. Gale and Gale Cengage are trademarks used herein under license. For complete copyright information on these eNotes please visit: http://www.enotes.com/streetcar/copyright eNotes: Table of Contents 1. A Streetcar Named Desire: Introduction 2. A Streetcar Named Desire: Summary ® Scenes 1 and 2 Summary ® Scenes 3, 4, 5, 6 Summary ® Scenes 7, 8, 9, 10, 11 Summary 3. A Streetcar Named Desire: Tennessee Williams Biography 4. A Streetcar Named Desire: Themes 5. A Streetcar Named Desire: Style 6. A Streetcar Named Desire: Historical Context 7. A Streetcar Named Desire: Critical Overview 8. A Streetcar Named Desire: Character Analysis ® Blanche du Bois ® Stanley Kowalski ® Stella Kowalski ® Other Characters 9. A Streetcar Named Desire: Essays and Criticism ® Sex and Violence in A Streetcar Named Desire ® The Structure of A Streetcar Named Desire ® Theater Review of A Streetcar Named Desire 10. A Streetcar Named Desire: Compare and Contrast 11. A Streetcar Named Desire: Topics for Further Study 12. A Streetcar Named Desire: Media Adaptations 13. A Streetcar Named Desire: What Do I Read Next? 14. A Streetcar Named Desire: Bibliography and Further Reading A Streetcar Named Desire: Introduction A Streetcar Named Desire is the story of an emotionally-charged confrontation between characters embodying the traditional values of the American South and the aggressive, rapidly-changing world of modern America. The play, begun in 1945, went through several changes before reaching its final form. Although the scenario initially concerned an Italian family, to which was later added an Irish brother-in-law, Tennessee Williams changed the characters to two Southern American belles and a Polish American man in order to emphasize the A Streetcar Named Desire 1 clash between cultures and classes in this story of alcoholism, madness and sexual violence.
    [Show full text]
  • Brief Chronicle
    THE OFFICIAL NEWSMAGAZINE OF WRITERS THEATRE ISSUE FIFTY-FOUR DEATH OF A STREETCAR NAMED VIRGINIA WOOLF: A PARODY APRIL 2016 PICTURED: MICHAEL PEREZ, KAREN JANES WODITSCH, JENNIFER ENGSTROM, JENNIFER ENGSTROM, KAREN JANES WODITSCH, PICTURED: MICHAEL PEREZ, TRUGLIA. PHOTO BY SAVERIO JOHN HOOGENAKKER AND MARC GRAPEY. Michael Halberstam ISSUE FIFTY-FOUR: APRIL 2016 Artistic Director Michael Halberstam Kathryn M. Lipuma Artistic Director Executive Director Kathryn M. Lipuma EDITOR Executive Director Chad Peterson Director of Marketing & Communications LEAD WRITER Bobby Kennedy LUX. BRAVE PHOTO BY JOE MAZZA, Literary Manager Dear friends, CONTRIBUTING WRITERS Jaron Bernstein Debra Pucé We seem to have been saying “Welcome” a lot lately. “Welcome to the Inaugural Season in our Director of Institutional Giving Director of Major Gifts & Planned Giving new building.” “Welcome to our new home.” Now it’s “Welcome to the first production in our Kayla Boye Daniel Reinglass intimate Gillian Theatre,” and soon it will be “Welcome to our 25th Anniversary Season!” It serves Marketing & Communications Assistant Advancement Manager as a constant reminder of the immense step that we’ve just taken, and how thrilling the journey Kelsey Chigas Collin Quinn Rice has been and continues to be. We’re delighted to have you with us throughout this experience, and Education Outreach Coordinator Design & Content Coordinator hope that you’re enjoying our new home as much as we are! Krista Damico Nicole Ripley Marketing Manager Director of Education In this edition of The Brief Chronicle, you’ll hear from the author of Death of a Streetcar Named Michael Halberstam Ryan Stanfield Virginia Woolf: A Parody and learn about his inspiration in creating this delicious piece of satire.
    [Show full text]
  • The East Lansing Food Co-Op and Allen Neighborhood Center Present
    FREE a newspaper for the rest of us www.lansingcitypulse.com 2 www.lansingcitypulse.com City Pulse • February 18, 2015 City Pulse • February 18, 2015 www.lansingcitypulse.com 3 4 www.lansingcitypulse.com City Pulse • February 18, 2015 VOL. 14 Feedback ISSUE 27 City Pulse should offer Vaccinations save lives (517) 371-5600 • Fax: (517) 999-6061 • 1905 E. Michigan Ave. • Lansing, MI 48912 • www.lansingcitypulse.com In the article on "Immunization conservative voice and viewpoints ADVERTISING INQUIRIES: (517) 999-6705 I cannot think of anything neater than Obligation," Ms. Skurnowicz stated: "Up PAGE CLASSIFIED AD INQUIRIES: (517) 999-5066 having your own business. It is your baby until 100 years ago, there were no vacci- or email [email protected] and you can do what you want as long as nations. How did civilization survive to 5 you don't break any laws. You do your best that point in time without having vaccina- PUBLISHER • Berl Schwartz [email protected] • (517) 999-5061 to keep your customers happy and hope- tions?" ASSOCIATE PUBLISHER • Mickey Hirten fully you will earn a good living. What hap- Sure, civilization survived, but with the Profile: Old-school barber Duane Stoolmaker [email protected] • (517) 999-5064 pens if this business is a publication? Do premature loss of many individual mem- EDITOR • Belinda Thurston you still have the opportunity to do what bers. Go to any early cemetery and look at [email protected] • (517) 999-5065 you want? Or should there be a balance if the gravestones from the 19th and early PAGE ARTS & CULTURE EDITOR • Ty Forquer business owner only has one point of view? 20th centuries, and you will see how many [email protected] • (517) 999-5068 Please hear me out.
    [Show full text]