DOCSLIB.ORG

Taglines the Newsletter of the Theatre Arts Guild, Inc

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Taglines the Newsletter of the Theatre Arts Guild, Inc TAGLines The Newsletter of the Theatre Arts Guild, Inc. – May 2006 Mary Carrick, President Daena Schweiger, Chair/Editor www.theatreartsguild.com What an exciting next few months for theatre in Omaha. Aside from companies mounting their final and near final shows of their seasons, the Great Plains Theatre Conference is coming to our city starting at the end of this month. Many area theatres are participating in the Conference’s Play Labs, providing directors and actors to perform readings of chosen original scripts. A number TAG of other theatres are participating in the conference’s evening programs during the week long event. TAG will also be featured on Sunday evening, May 28th, with a 5-7 minute presentation. N IGHT O UT To all those participating, “break a leg”! What a great opportunity this is for our theatre community to shine! To register for the Conference, visit www.mccneb.edu/theatreconference Best Little Whorehouse in Texas A few other notes… Thursday, May 4th 7:30 PM Chanticleer Community Theater PROGRAMS: We’re excited about the progress we’ve made this year on our workshop programs and Crossing Delancey partnerships with other local arts organizations in terms of reduced admission fees. We look Thursday, May 19th forward to offering more educational opportunities during the course of the year. 8:00 PM Bellevue Little Theatre PUBLICITY: TAG will once again be featured in the Dex Yellow Pages with a ½ page advertisement – this time __________________________ in full color! Thank you to all theatres who have offered advertising trades in order to make this possible. Be looking for a banner on the Dex website as well as some exciting publicity through WOWT. More on that in a future issue! HIS SSUE T I BOARD ELECTIONS: On Stage News TAG is seeking enthusiastic members to run for the Board of Directors. Candidates should be The Green Room / Auditions proactive in bringing new ideas to the table, able to follow through on responsibilities, and available to attend regularly monthly meetings. Those interested should contact Fred Goodhew at Other Good Stuff [email protected]. Terms are three years in length and candidates are elected by the membership. Ballots will be included in Awards Gala invitations along with candidate bios. Election results will TAG Award Info be announced at the Gala. Theatre Planning Calendar TAG AWARDS: __________________________ You know, the TAG Awards isn’t just for our members, it’s open to anyone who loves theatre (and th even if they don’t!). When you begin making your plans to attend the Gala on August 6 think about those you know who may be interested in also attending. Consider forming a table if you N EW haven’t done so in the past. Of, if you’ve never attended or haven’t in the last several years, consider joining us again! Plans are already underway to make this year’s event, Something’s MEMBERS Coming, the grandest ever. I wish I had some witty words for this month’s issue. As it stands, I’m writing a few sentences at a time in between trips to my daughter’s nursery. Losing her pacifier seems to be a traumatic event. No new members for May Which makes me think…there are many similarities to theatre and babies. They are born, evolve, are fulfilling, challenging, and not one day is the same as the last. For some, theatre is also a 24- hour job, or so it often seems! Bottom line, I can’t wait to take her to her first musical. Until next time… Page 1 On Stage News * Opera Omaha Presents * The Urban Prairie Puppet Company Presents Abduction from the Seraglio Puppet Factory May 3 – May 7, 2006 May 13, 2006 As a hilarious conclusion to a successful season, Opera Omaha will The last puppet show of the 2006 season at the Grande Olde Players present an original new production of Mozart’s Abduction from the theatre, 2339 N. 90th Street, will take place on Saturday, May 13. Seraglio May 3- 7, 2006. This charming and popular opera, which "Puppet Factory" will feature puppets of all styles, shapes and sizes Opera Omaha touts as “the I Love Lucy of the 18th century,” offers a doing solo numbers and bits. Audience members will then have a satirical and timely twist on cultural differences between Europeans chance after the show to make their own pop-up puppet! and Middle Easterners. Performances are May 3 and 5 at 7:30 pm, and May 7 at 2:00 pm at the Orpheum Theater, Slosburg Hall. Tickets are $11 to $91 and are available through Opera Omaha at * The Shelterbelt Theatre Presents 402-34-OPERA or online at www.operaomaha.org. Additionally Defending Marriage tickets are available through Ticket Omaha at 402-345-0606. May 4 – May 14, 2006 The Shelterbelt Theatre proudly presents the new drama Defending * Dana College Theater Presents Marriage, by Joe Basque. Defending Marriage is a story of the clash between sincere faith and true love. Fr. Delaney and Gene Novotny Return to the Forbidden Planet have rationalized their relationship with their faith, until Delaney is May 5 – May 7, 2006 tapped to run a "defense of marriage" campaign. Carmen has turned Dana College Theater presents Bob Carlton’s wonderful, zany to her faith after a divorce, until a new love challenges her jukebox musical, “Return to the Forbidden Planet.” This outrageous beliefs. Will they chose faith? Or love? And at what cost? Joe show combines real Shakespeare, fake Shakespeare, 1950’s B- Basque's last play, Ping Pong Diplomacy, won a Theatre Arts Guild movie science fiction and pop tunes from the late fifties and early award and a Nebraska Arts Council fellowship, and recently sixties into a musical theater romp that will have you laughing, premiered Off Broadway. Don't miss this new, thought provoking singing and dancing in the aisles. Directed by Paul Schneider and drama. Nick Zadina directs an outstanding cast, including Bernie Choreographed by Michelle Garrity, with Music Direction by Clare Clark, Jerry Evert, Barb Ross, Tyler Swain, and Tim Herrington. Cowing, this lighthearted show features twenty of the talented Dana Connie Jo Podendorf will stage manage, with lighting design by Tom College Theater students who have made our musical theater Reardon, sound design by Molly Welsh, set design by Michael program one of the finest in the state of Nebraska. Come to the Taylor-Stewart, properties by JoAnn Goodhew, sound operation by opening weekend so that you will have the opportunity to experience Andy Niess and lightboard operation by Sam McGahan. The this delightful musical more than once. The show runs May 5th and production runs through May 14. Show times are Thursday through 6th at 7:30 and May 7th at 2:00 in the Lauritzen Theater on the Dana Saturday at 8 pm and Sundays at 6 pm, with a final matinee on College campus in Blair, Nebraska (just a country mile north, etc.) Sunday, May 14 at 2 pm. Ticket prices are $15 for adults, $12 for Tickets are only $7.50, and you can reserve them by call Sandy TAG members, students and seniors. Reservations can be made by Sonderup at 402-426-7255. calling the reservation line at 341-2757 or online at www.shelterbelt.org. Unfortunately, credit card purchases will not be * The Blue Barn’s Witching Hour Presents available for this show. The Shelterbelt Theatre is located at 3225 Curio & Valentine are Pissed California Street. Defending Marriage is being produced with the May 5 – May 13, 2006 generous support of the Nebraska Arts Council. BLUEBARN'S Witching Hour presents Curio & Valentine are Pissed, an original play by Vincent Carlson, May 5 – May 13. Join us * The Blue Barn Theatre Presents as Witching Hour breaks its own rules in this all-new theatrical event Thom Pain (based on nothing) complete with real characters and (gasp!) a plot. In Curio and May 4 – May 14, 2006 Valentine are Pissed, Vincent Carlson takes two very minor What would happen if Samuel Beckett and John Stewart produced characters from Shakespeare's Twelfth Night and brings them center an offspring? The answer is THOM PAIN, an audacious and brilliant stage in a beguiling tale of maiden wooing and dragon slicker- riff on life’s unfulfilled promises, how experiences never live up to wacking. Journey with us to Illyria, where a fearsome beast ravages expectation and how we finally realize the wonder of being alive. the land and one man must find the courage to face his heart in a Though described as a monologue, the play really has two time when love and loyalty meant more than accomplishments and fundamental characters – Thom Pain and the audience, who serve possessions. Directed by Brandon Rohe. Stage Managed by Joy as a foil for Thom as he becomes one of the most compelling, Marshall. Starring Kevin Bensley, Sarah Brown, Vincent Carlson, poignant and disquieting characters ever to grace a stage. Barry Carman, Austin Uhlmer, and Molly Welsh. Friday and Winner of the Edinburgh Fringe Theater Festival and a Pulitzer Prize Saturday nights at 11:00 pm, following the mainstage show, Thom finalist, THOM PAIN offers up a familiar dose of existential angst Pain. coated with easy-to-swallow cleverness that reflects on the beauty and terror of life. This one-man show took New York City by storm Page 2 On Stage News last year extending its scheduled one-month run to over a year. The Desperate to get out of the Lincoln, Nebraska where everyone had BLUEBARN Theatre will produce the regional premiere of this figured him for a loser.
Load more

Recommended publications
  • Community in August Wilson and Tony Kushner
    FROM THE INDIVIDUAL TO THE COLLECTIVE: COMMUNITY IN AUGUST WILSON AND TONY KUSHNER By Copyright 2007 Richard Noggle Ph.D., University of Kansas 2007 Submitted to the Department of English and the Faculty of the Graduate School of the University of Kansas In partial fulfillment of the requirements for the degree of Doctor of Philosophy ________________________ Chairperson, Maryemma Graham ________________________ Chairperson, Iris Smith Fischer ________________________ Paul Stephen Lim ________________________ William J. Harris ________________________ Henry Bial Date defended ________________ 2 The Dissertation Committee for Richard Noggle certifies that this is the approved version of the following dissertation: FROM THE INDIVIDUAL TO THE COLLECTIVE: COMMUNITY IN AUGUST WILSON AND TONY KUSHNER Committee: ________________________ Chairperson, Maryemma Graham ________________________ Chairperson, Iris Smith Fischer ________________________ Paul Stephen Lim ________________________ William J. Harris ________________________ Henry Bial Date approved _______________ 3 ABSTRACT My study examines the playwrights August Wilson and Tony Kushner as “political” artists whose work, while positing very different definitions of “community,” offers a similar critique of an American tendency toward a kind of misguided, dangerous individualism that precludes “interconnection.” I begin with a look at how “community” is defined by each author through interviews and personal statements. My approach to the plays which follow is thematic as opposed to chronological. The organization, in fact, mirrors a pattern often found in the plays themselves: I begin with individuals who are cut off from their respective communities, turn to individuals who “reconnect” through encounters with communal history and memory, and conclude by examining various “successful” visions of community and examples of communities in crisis and decay.
    [Show full text]
  • Program from the Production
    STC Board of Trustees Board of Trustees Stephen A. Hopkins Emeritus Trustees Michael R. Klein, Chair Lawrence A. Hough R. Robert Linowes*, Robert E. Falb, Vice Chair W. Mike House Founding Chairman John Hill, Treasurer Jerry J. Jasinowski James B. Adler Pauline Schneider, Secretary Norman D. Jemal Heidi L. Berry* Michael Kahn, Artistic Director Scott Kaufmann David A. Brody* Kevin Kolevar Melvin S. Cohen* Trustees Abbe D. Lowell Ralph P. Davidson Nicholas W. Allard Bernard F. McKay James F. Fitzpatrick Ashley M. Allen Eleanor Merrill Dr. Sidney Harman* Stephen E. Allis Melissa A. Moss Lady Manning Anita M. Antenucci Robert S. Osborne Kathleen Matthews Jeffrey D. Bauman Stephen M. Ryan William F. McSweeny Afsaneh Beschloss K. Stuart Shea V. Sue Molina William C. Bodie George P. Stamas Walter Pincus Landon Butler Lady Westmacott Eden Rafshoon Dr. Paul Carter Rob Wilder Emily Malino Scheuer* Chelsea Clinton Suzanne S. Youngkin Lady Sheinwald Dr. Mark Epstein Mrs. Louis Sullivan Andrew C. Florance Ex-Officio Daniel W. Toohey Dr. Natwar Gandhi Chris Jennings, Sarah Valente Miles Gilburne Managing Director Lady Wright Barbara Harman John R. Hauge * Deceased 3 Dear Friend, Table of Contents I am often asked to choose my favorite Shakespeare play, and Henry IV, Parts 1 and 2 Title Page 5 it is very easy for me to answer immediately Henry IV, Parts 1 The Play of History and 2. In my opinion, there is by Drew Lichtenberg 6 no other play in the English Synopsis: Henry IV, Part 1 9 language which so completely captures the complexity and Synopsis: Henry IV, Part 2 10 diversity of an entire world.
    [Show full text]
  • A Play and Critical Analysis
    CORE Metadata, citation and similar papers at core.ac.uk Provided by University of Birmingham Research Archive, E-theses Repository ‘CURRENT REGIMES’ A PLAY & CRITICAL ANALYSIS by LUCY TYLER A thesis submitted to The University of Birmingham for the degree of MPHIL(B) PLAYWRITING STUDIES Department of Drama and Theatre Arts The University of Birmingham September 2010 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Acknowledgements I would like to express my gratitude to a number of people without whom this play would not have been the same. Kate North, Steve Waters, Steph Dale, Naomi Cooke and my cohort on the Playwriting course. I would also like to thank my parents. Contents: The Critical Analysis..................................................p.1 Bibliography...............................................................p.30 Appendices.................................................................p.36 Current Regimes- A Play............................................p.52 Fiona and Caroline are stressed. They’re adopting a child together and decide to take a relaxing, last minute holiday to Spain. But there’s a problem. The hotel’s a fascist hotbed, there’s a picture of the Dictator Franco above the twin beds (when they specifically booked a double), and the hotel’s situated right next to Franco’s grave at The Valley of the Fallen.
    [Show full text]
  • University of Birmingham Museum, Furniture
    University of Birmingham Museum, furniture, men McTighe, Trish DOI: 10.3138/MD.3053 License: None: All rights reserved Document Version Peer reviewed version Citation for published version (Harvard): McTighe, T 2017, 'Museum, furniture, men: the Queer ecology of I Am My Own Wife', Modern Drama, vol. 60, no. 2, pp. 150-168. https://doi.org/10.3138/MD.3053 Link to publication on Research at Birmingham portal Publisher Rights Statement: Checked 24/11/2016 General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain. Where a licence is displayed above, please note the terms and conditions of the licence govern your use of this document. When citing, please reference the published version. Take down policy While the University of Birmingham exercises care and attention in making items available there are rare occasions when an item has been uploaded in error or has been deemed to be commercially or otherwise sensitive.
    [Show full text]
  • Museum, Furniture, Men: the Queer Ecology of I Am My Own Wife Mctighe, Trish
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Birmingham Research Portal Museum, Furniture, Men: The Queer Ecology of I Am My Own Wife McTighe, Trish DOI: 10.3138/MD.3053 License: None: All rights reserved Document Version Peer reviewed version Citation for published version (Harvard): McTighe, T 2017, 'Museum, Furniture, Men: The Queer Ecology of I Am My Own Wife', Modern Drama, vol. 60, no. 2, pp. 150-168. https://doi.org/10.3138/MD.3053 Link to publication on Research at Birmingham portal Publisher Rights Statement: Checked 24/11/2016 General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain. Where a licence is displayed above, please note the terms and conditions of the licence govern your use of this document. When citing, please reference the published version.
    [Show full text]
  • Beautiful Family! Broadway/ First National Tour: Beautiful; Betty/ Ensemble
    SARAH BOCKEL (Carole King) is thrilled to be back on the road with her Beautiful family! Broadway/ First National Tour: Beautiful; Betty/ Ensemble. Regional: Million Dollar Quartet (Chicago); u/s Dyanne. Rocky Mountain Repertory Theatre- Les Mis; Madame Thenardier. Shrek; Dragon. Select Chicago credits: Bohemian Theatre Ensemble; Parade, Lucille (Non-eq Jeff nomination) The Hypocrites; Into the Woods, Cinderella/ Rapunzel. Haven Theatre; The Wedding Singer, Holly. Paramount Theatre; Fiddler on the Roof, ensemble. Illinois Wesleyan University SoTA Alum. Proudly represented by Stewart Talent Chicago. Many thanks to the Beautiful creative team and her superhero agents Jim and Sam. As always, for Mom and Dad. ANDREW BREWER (Gerry Goffin) Broadway/Tour: Beautiful (Swing/Ensemble u/s Gerry/Don) Off-Broadway: Sex Tips for Straight Women from a Gay Man, Cougar the Musical, Nymph Errant. Love to my amazing family, The Mine, the entire Beautiful team! SARAH GOEKE (Cynthia Weil) is elated to be joining the touring cast of Beautiful - The Carole King Musical. Originally from Cape Girardeau, Missouri, she has a BM in vocal performance from the UMKC Conservatory and an MFA in Acting from Michigan State University. Favorite roles include, Sally in Cabaret, Judy/Ginger in Ruthless! the Musical, and Svetlana in Chess. Special thanks to her vital and inspiring family, friends, and soon-to-be husband who make her life Beautiful. www.sarahgoeke.com JACOB HEIMER (Barry Mann) Theater: Soul Doctor (Off Broadway), Milk and Honey (York/MUFTI), Twelfth Night (Elm Shakespeare), Seminar (W.H.A.T.), Paloma (Kitchen Theatre), Next to Normal (Music Theatre CT), and a reading of THE VISITOR (Daniel Sullivan/The Public).
    [Show full text]
  • Table of Contents
    GEVA THEATRE CENTER PRODUCTION HISTORY TH 2012-2013 SEASON – 40 ANNIVERSARY SEASON Mainstage: You Can't Take it With You (Moss Hart and George S. Kaufman) Freud's Last Session (Mark St. Germain) A Christmas Carol (Charles Dickens; Adapted/Directed by Mark Cuddy/Music/Lyrics by Gregg Coffin) Next to Normal (Music by Tom Kitt, Book/Lyrics by Brian Yorkey) The Book Club Play (Karen Zacarias) The Whipping Man (Matthew Lopez) A Midsummer Night's Dream (William Shakespeare) Nextstage: 44 Plays For 44 Presidents (The Neofuturists) Sister’s Christmas Catechism (Entertainment Events) The Agony And The Ecstasy Of Steve Jobs (Mike Daisey) No Child (Nilaja Sun) BOB (Peter Sinn Nachtrieb, an Aurora Theatre Production) Venus in Fur (David Ives, a Southern Repertory Theatre Production) Readings and Festivals: The Hornets’ Nest Festival of New Theatre Plays in Progress Regional Writers Showcase Young Writers Showcase 2011-2012 SEASON Mainstage: On Golden Pond (Ernest Thompson) Dracula (Steven Dietz; Adapted from the novel by Bram Stoker) A Christmas Carol (Charles Dickens; Adapted/Directed by Mark Cuddy/Music/Lyrics by Gregg Coffin) Perfect Wedding (Robin Hawdon) A Raisin in the Sun (Lorraine Hansberry) Superior Donuts (Tracy Letts) Company (Book by George Furth, Music, & Lyrics by Stephen Sondheim) Nextstage: Late Night Catechism (Entertainment Events) I Got Sick Then I Got Better (Written and performed by Jenny Allen) Angels in America, Part One: Millennium Approaches (Tony Kushner, Method Machine, Producer) Voices of the Spirits in my Soul (Written and performed by Nora Cole) Two Jews Walk into a War… (Seth Rozin) Readings and Festivals: The Hornets’ Nest Festival of New Theatre Plays in Progress Regional Writers Showcase Young Writers Showcase 2010-2011 SEASON Mainstage: Amadeus (Peter Schaffer) Carry it On (Phillip Himberg & M.
    [Show full text]
  • Bibliography
    BIBLIOGRAPHY Achenbaum, W. Andrew. Old Age in the New Land: The American Experience since 1790 . Baltimore: Johns Hopkins UP, 1978. Albee, Edward. Three Tall Women . New York: Dutton, 1995. Adler, Thomas P. “Albee’s 3½.” The Cambridge Companion to Edward Albee . Ed. Stephen Bottoms. 1 st ed. Cambridge: Cambridge UP, 2005. 75-90. Allen, Brooke. “End of the Line.” New Criterion 27.9 (2009): 39-42. Artaud, Antonin. Selected Writings. Ed. Susan Sontag. Berkeley: U of California P, 1976. Atkinson, Brooks. “At the Theatre.” New York Times 11 Feb. 1949. Auslander, Philip. From Acting to Performance: Essays in Modernism and Postmodernism. New York: Routledge, 1997. Basting, Anne Davis. “Performance Studies and Age.” Handbook of the Humanities and Aging . Ed. Thomas R. Cole, Robert Kastenbaum, and Ruth E. Ray. 2nd ed. New York: Springer Publishing, 2000. 258-71. ——. The Stages of Age: Performing Age in Contemporary American Culture . Ann Arbor: U of Michigan P, 1998. ——. “When Art Is the Only Medicine.” TEDx Talk. 01 Dec. 2014. https:// www.youtube.com/watch?v=cPA6lklMQxM Beckett, Samuel. Krapp’s Last Tape . New York: Grove Press, 1960. Bennetts, Leslie. “Miss Daisy Gives Uhry Success at Long Last.” New York Times 23 Dec. 1987. Bent, Eliza. “The Age Advantage: Senior Theatre Is Forging Ahead in Unexpected and Adventurous Directions.” American Theatre Apr. 2014. http://www.tcg. org/publications/at/issue/featuredstory.cfm?story=3&indexID=43 Bentley, Eric. In Search of Theater . New York: Knopf, 1953. © The Editor(s) (if applicable) and The Author(s) 2016 183 V.B. Lipscomb, Performing Age in Modern Drama, DOI 10.1057/978-1-137-50169-1 184 BIBLIOGRAPHY Big Band Blowout of the ’30s and ’40s .
    [Show full text]
  • By Tony Taccone and Bennett S
    BY TONY TACCONE AND BENNETT S. COHEN, ADAPTED FROM THE NOVEL BY SINCLAIR LEWIS SOUND DESIGN AND MUSIC BY PAUL JAMES PRENDERGAST DIRECTED BY LISA PETERSON DEAR FRIENDS, Four years ago, in the lead-up to the 2016 election, Berkeley Rep produced Tony Taccone and Bennett Cohen’s adaptation of Sinclair Lewis’ frighteningly prescient novel. With a desire to see the story reach the widest possible audience, and celebrating the impulse that led the wpa in 1936 to share the original stage version of Lewis’ novel for free with 21 theatres across the country, Berkeley Rep offered the rights to Tony and Bennett’s adaptation to theatres, community centers, universities — anyone who wanted to put together their own production or reading. And now, in 2020, this story feels all the more vital, and the need to share it widely even more compelling. I am honored that more than 75 organizations from more than 20 states have partnered with us to share this production of It Can’t Happen Here for free with their audiences and communities. We are joined in this effort by long-time theatre colleagues, by universities from Howard in Wash- ington, DC to Saint Cloud State in Minnesota (near Lewis’ hometown), by libraries, community centers, and radio stations. I am deeply grateful to Tony and Bennett, director Lisa Peterson, sound designer Paul James Prendergast and his small but mighty team, and this extraordinary cast who have collaborated across miles and time zones, through wildfires and new technology, for their conviction that the- atre matters, that narrative helps us to see the world more clearly, and that together we have the capacity to effect change.
    [Show full text]
  • Class Descriptions (2).Pdf
    APPRENTICE HOUR with the Olney Theatre Center Apprentices Thursdays from 3:00pm-4:00pm Zoom Link: https://zoom.us/j/508876583 ​ Join the Olney Theatre Center Apprentices for a discussion about their experience in the post grad theatre world, applying for jobs, and figuring out what to do with your life, followed by at Q&A. ACTING FUNDAMENTALS with National Players Saira Grewal and Emma Stern Mondays 2:00pm-2:55pm EDT Zoom Link: https://zoom.us/j/806167750 ​ Learn some tricks of the trade with the National Players to help you become a better actor. Practice taking risks and thinking on your feet through fun virtual theatre games and activities. AUDITION Q+A with Associate Artistic Director/Casting Director Jenna Duncan ​ FRIDAY 3:00pm-3:55pm EDT Zoom Link: https://zoom.us/j/664463084 ​ There is so much that goes into auditioning, and not all of it is the acting work. Often in audition panels and classes the longest part (and the one that gets cut off for time) is the Q+A. This class is a discussion space that will allow us to ask any questions you have about the audition process, choosing material, presenting yourself, etc. This will not be a lecture, so please come ready to ask and discuss! THE AMATEURS TALKBACK/DISCUSSION with Associate Artistic Director/Casting Director Jenna ​ Duncan TUESDAY 4:00pm-4:55pm EDT Zoom Link: https://zoom.us/j/606172426 ​ One of the best parts of our programming is being able to discuss it with our audiences in talkbacks on Saturday afternoons each week.
    [Show full text]
  • I Am My Own Wife by Doug Wright
    Playhouse on the Square Playhouse on the Square Presents presents I Am My Own Wife By Doug Wright Circuit Playhouse, Inc. Super Sponsor: Dr. Thomas Ratliff I AM MY Starring Michael Gravois The Production Staff Production Manager/Technical Director...........................................................Phillip Hughen OWN WIFE Stage Manager...................................................................................................Tessa Verner Scenic Designer...............................................................................................Phillip Hughen Lighting Designer..............................................................................................Justin Gibson Costume Designer....................................................................................Lindsay Schmeling Sound Designer...........................................................................................Jason Eschhofen By Doug Wright Properties Designer.................................................................................................Jinqiu He Videographer and Editor.................................................................................Pedro De Silva Directed by Dave Landis Assistant Directed and Dramaturgy by Robert E. Williams II February 19 - 28, 2021 Directed by Dave Landis I Am My Own Wife is presented by special arrangement with Dramatists Play Service, Inc., New York I Am My Own Wife was originally produced on Broadway by Delphi Productions and David Richenthal. Playwrights Horizon, Inc., New
    [Show full text]
  • COMMUNITY in AUGUST WILSON and TONY KUSHNER By
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by KU ScholarWorks FROM THE INDIVIDUAL TO THE COLLECTIVE: COMMUNITY IN AUGUST WILSON AND TONY KUSHNER By Copyright 2007 Richard Noggle Ph.D., University of Kansas 2007 Submitted to the Department of English and the Faculty of the Graduate School of the University of Kansas In partial fulfillment of the requirements for the degree of Doctor of Philosophy ________________________ Chairperson, Maryemma Graham ________________________ Chairperson, Iris Smith Fischer ________________________ Paul Stephen Lim ________________________ William J. Harris ________________________ Henry Bial Date defended ________________ 2 The Dissertation Committee for Richard Noggle certifies that this is the approved version of the following dissertation: FROM THE INDIVIDUAL TO THE COLLECTIVE: COMMUNITY IN AUGUST WILSON AND TONY KUSHNER Committee: ________________________ Chairperson, Maryemma Graham ________________________ Chairperson, Iris Smith Fischer ________________________ Paul Stephen Lim ________________________ William J. Harris ________________________ Henry Bial Date approved _______________ 3 ABSTRACT My study examines the playwrights August Wilson and Tony Kushner as “political” artists whose work, while positing very different definitions of “community,” offers a similar critique of an American tendency toward a kind of misguided, dangerous individualism that precludes “interconnection.” I begin with a look at how “community” is defined by each author through interviews and personal statements. My approach to the plays which follow is thematic as opposed to chronological. The organization, in fact, mirrors a pattern often found in the plays themselves: I begin with individuals who are cut off from their respective communities, turn to individuals who “reconnect” through encounters with communal history and memory, and conclude by examining various “successful” visions of community and examples of communities in crisis and decay.
    [Show full text]