Option #3: Personal Manifesto
The Sam Houston State University Theatre Center is an amazing starting point for many young theatre professionals. Our department has high expectations across the board for every student, but what makes this school such a great educational foundation for young theater professionals is the highly trained and highly experienced team of faculty. During my time at SHSU these professionals have instructed me in building my own philosophy of educational theatre.
My Philosophy on Educational Theatre (thus far)
( In the following I use the terms 'young professionals' and 'students' interchangeably... they mean the same thing)
My purpose, value, and teaching methods are included in the following statements.
1. The Instructor
2. The Material
The Golden Keys: a)Self motivation b)Resilience c)Smarts
(for the purposes of this assignment, my definition of smart is 'well read.')
1. I believe that educational theatre is in the hands of the instructor, they are how the students "learn to be." The instructors of theatre are the power houses that the students use to charge themselves for life.
I believe a great instructor of theatre makes a student crave. Crave to find what aspects they (the students) love most in theatre. Crave to get up and work harder every day. Crave to be their best. Crave to want to impress themselves. We all know that theatre is easy to love, but it takes a great instructor to teach the student no to turn their back on theatre when they feel theatre has turned its back on them.
I believe a great theatre instructor can keep their students motivated. When a student is discouraged by not making a show, a great instructor of theatre can (distract) motivate the student to try something else in the mean time that will also allow them grow. This in turn will show the student that they must be resilient.
If one desires to be a theatre professional, one has to be self motivated, resilient and smart; not all young professionals are aware of this yet. A great instructor of theatre will not treat their student as if they are of no value if they fail; a great instructor will explain to the student what they did well and tell them what would have made it better, and what they could do right, then, and there to lead them in the positive direction. So, in a nut shell my philosophy of a great theatre educator is someone who is powerfully motivated. So powerfully motivated that if they wanted to they could motivate a turtle to run a mile in a minute.
2. In the theatre profession it is so important to be well read. There is just not enough emphasis put on this. In this category, knowledge is definitely power. I believe a great instructor of theatre can inspire their students... over and over again. The material that a student is presented will lead them into becoming more creative, it will lead them into finding a place that's all their own, but most importantly it will trap them in becoming smart (sneaky, huh).That is what leads me to believe that an array of master pieces and non-masterpieces, commonly known and commonly unknown should be presented to the student, so they know that the world is filled with glorious and not so glorious works.
In believing this, I have concocted a season of shows that I would like to see done at the Sam Houston State University Theatre Center.
Fall Semester:
1. Main Stage- Non Musical
The Crucible by Arther Miller
Reason: At our university, I believe this script will be important in every facet of our department. I think the actors would be able to make this a very mature production that our students and audiences both would appreciate.
2. Raven Rep 1
The Tragical History of Dr. Faustus by Christopher Marlowe
Reason: This is a fantastic master piece and I feel is important on an educational basis. I think students and audiences alike would love to see something from this era. It has a little of everything and would make a great production.
3. Raven Rep 2
Ms. Julie by August Strindberg/ Student Directed
Reason: This is a beautifully frank and dramatic piece that students will really be able to work with. It would give good opportunity to really exercise students' talents.
4. Main Stage Musical
O! What a Lovely War by by Joan Littlewood and Workshop
Music and Lyrics by Steven Sondheim
Reason: This is a historical and comical musical that would be enjoyed by those viewing and those working on this piece. I feel it would allow actors and students to ramble up very own 'bag of tricks' as they work on and view this piece.
Spring Semester:
1. Main Stage Non Musical
Our Town by Thornton Wilder
Reason: This piece, academically should if not produced, definitely be taught. It will teach actors that creativity is always their best friend.
2. Raven Rep 1
Uncommon Women and Others by Wendy Wassterstein
Reason: Wendy is an intelligent and insightful author. This piece about women reminiscing of their college years will sure to be great work for students at the college level.
3. Raven Rep 2
A Lie of the Mind by Sam Shepard
Reason: Another piece that will allow actors to really work.
4. Main Stage Musical
Assassins by
I'd also like the children's show Holes to be produced.
"Theatre is a Science Theatre is Mathematical* Theatre is a Foreign Language Theatre is History Theatre is Physical Education Theatre is Business Theatre is Technology Theatre is Economics Theatre is taught in schools Not because you are expected to major in theatre, Not because you are expected to perform all through life, Not so you can relax, Not so you can have fun, But So you will recognize Beauty So you will be Sensitive So you will be closer to an Infinite beyond this world So you will have more Love, More Compassion More Gentleness, More Good, In short, More Life. Of What value will it be to make a prosperous living Unless you know how to live? That is why theatre is taught in our Schools."
http://www.controlbooth.com/forums/education/9726-why-teach-theatre-our-schools.html
Tuesday, May 12, 2009
Tuesday, May 5, 2009
Project 5: After SHSU
Secondary Education:
You must have a bachelor's degree from an accredited college or university. Texas institutions do not offer a degree in education. Every teacher must have an academic major, as well as teacher training courses. The only exemption from the degree requirement is for individuals seeking Career and Technology certification to teach certain courses, such as welding or computer-aided drafting.You must complete teacher training through an approved program. These programs are offered through colleges and universities, school districts, regional service centers, community colleges, and other entities.You must successfully complete the appropriate teacher certification tests for the subject and grade level you wish to teach.A teacher who holds an appropriate Texas classroom teaching certificate and a bachelor's degree may add classroom certification areas by successfully completing the appropriate certification examination(s) for the area(s) sought. Certification by examination is not available for: initial certification;career and technology certification based on skill and work experience;a class of certificate other than classroom teacher (e.g. School Counselor, Principal, Superintendent, Learning Resources/School Librarian, Educational Diagnostician);a certificate for which no certification examination has been developed.
So, what this means to me, is that after I receive my B.F.A. in theatre, I will have to obtain a certificate to teach, if I cannot receive certification through our teacher education department. I will do this by taking an additional examination that will allow me to obtain my certificate.
Community College:
Brevard Community College
Location:
Cocoa, FL
Category:
Faculty - Fine and Applied Arts - Theatre and Dance
Type:
Full Time
Salary:
$40,000 USD Per Year
Brevard Community College is currently seeking applications for the full-time position of Theatre Instructor on the Cocoa Campus in Cocoa, Florida. The starting date for this position is August 2009.The minimum qualifications for the position include:* Master's degree in Theatre from a regionally-accredited institution* OR Master's degree from a regionally-accredited institution with 18 graduate semester hours in Theatre* Educational and professional acting and directing experience is required* Experienced directing musical theatre* Knowledge of stagecraft, technical theatre, and appropriate technology is desired* Demonstrated commitment to diversity* Official transcripts of all collegiate work will be required to be considered beyond the application phase**Official transcripts of all collegiate work must be sent directly from the attended institution to the Human Resources Office prior to the first day of employment. All foreign degrees must have a course-by-course official evaluation and translation sent to the Human Resources Office directly from an evaluation company affiliated with the National Association of Credential Evaluation Services, Inc. (NACES).The annual salary starts at $40,000 and considers degree level and full-time college-level teaching experience. Full-time employees of Brevard Community College receive fringe benefits including health insurance and a retirement plan. Applications will be accepted from March 24, 2009; until filled; however, the College reserves the right to extend or conclude searches without notice. Applications must be submitted prior to 5:00 p.m. on the closing day.
Application Information
Contact:
Human Resources DepartmentBrevard Community College
Online App. Form:
http://www.brevardcc.edu/hr
Senior College and University:
ASSISTANT PROFESSOR OF THEATRE - Tahlequah, OK
Northeastern State University invites applications for the full-time tenure track position of Assistant Professor of Theatre. Master's degree required, MFA preferred. NSU theatre faculty members are responsible for directing, teaching a minimum of 12 hours each semester, recruitment, academic advisement of theatre majors, supervision of students in production shops, and occasional production design. Courses include Theatre Appreciation, Film Appreciation, and other theatre courses appropriate to credentials. Salary commensurate with qualifications and experience. Applications reviewed as received, starting date August 2009. Submit Faculty Employment Application Form (available at www.nusok.edu/humanresources) along with: Cover letter, current resume/curriculum vitae, copies of college transcripts and contact information for at least three references. Send all documentation to: Human Resources, NORTHEASTERN STATE UNIVERSITY, 601 N. Grand, Tahlequah, OK 74464-2399.
With campuses located in Tahlequah, Broken Arrow, and Muskogee, Northeastern State University provides undergraduate and graduate learning for bachelors and masters degree programs. NSU in Tahlequah is a blend of the old and the new, where rich history meets modern technology. Tahlequah was rated as one of America's top small cities and is the historic capital of the Cherokee Nation of Oklahoma.
You must have a bachelor's degree from an accredited college or university. Texas institutions do not offer a degree in education. Every teacher must have an academic major, as well as teacher training courses. The only exemption from the degree requirement is for individuals seeking Career and Technology certification to teach certain courses, such as welding or computer-aided drafting.You must complete teacher training through an approved program. These programs are offered through colleges and universities, school districts, regional service centers, community colleges, and other entities.You must successfully complete the appropriate teacher certification tests for the subject and grade level you wish to teach.A teacher who holds an appropriate Texas classroom teaching certificate and a bachelor's degree may add classroom certification areas by successfully completing the appropriate certification examination(s) for the area(s) sought. Certification by examination is not available for: initial certification;career and technology certification based on skill and work experience;a class of certificate other than classroom teacher (e.g. School Counselor, Principal, Superintendent, Learning Resources/School Librarian, Educational Diagnostician);a certificate for which no certification examination has been developed.
So, what this means to me, is that after I receive my B.F.A. in theatre, I will have to obtain a certificate to teach, if I cannot receive certification through our teacher education department. I will do this by taking an additional examination that will allow me to obtain my certificate.
Community College:
Brevard Community College
Location:
Cocoa, FL
Category:
Faculty - Fine and Applied Arts - Theatre and Dance
Type:
Full Time
Salary:
$40,000 USD Per Year
Brevard Community College is currently seeking applications for the full-time position of Theatre Instructor on the Cocoa Campus in Cocoa, Florida. The starting date for this position is August 2009.The minimum qualifications for the position include:* Master's degree in Theatre from a regionally-accredited institution* OR Master's degree from a regionally-accredited institution with 18 graduate semester hours in Theatre* Educational and professional acting and directing experience is required* Experienced directing musical theatre* Knowledge of stagecraft, technical theatre, and appropriate technology is desired* Demonstrated commitment to diversity* Official transcripts of all collegiate work will be required to be considered beyond the application phase**Official transcripts of all collegiate work must be sent directly from the attended institution to the Human Resources Office prior to the first day of employment. All foreign degrees must have a course-by-course official evaluation and translation sent to the Human Resources Office directly from an evaluation company affiliated with the National Association of Credential Evaluation Services, Inc. (NACES).The annual salary starts at $40,000 and considers degree level and full-time college-level teaching experience. Full-time employees of Brevard Community College receive fringe benefits including health insurance and a retirement plan. Applications will be accepted from March 24, 2009; until filled; however, the College reserves the right to extend or conclude searches without notice. Applications must be submitted prior to 5:00 p.m. on the closing day.
Application Information
Contact:
Human Resources DepartmentBrevard Community College
Online App. Form:
http://www.brevardcc.edu/hr
Senior College and University:
ASSISTANT PROFESSOR OF THEATRE - Tahlequah, OK
Northeastern State University invites applications for the full-time tenure track position of Assistant Professor of Theatre. Master's degree required, MFA preferred. NSU theatre faculty members are responsible for directing, teaching a minimum of 12 hours each semester, recruitment, academic advisement of theatre majors, supervision of students in production shops, and occasional production design. Courses include Theatre Appreciation, Film Appreciation, and other theatre courses appropriate to credentials. Salary commensurate with qualifications and experience. Applications reviewed as received, starting date August 2009. Submit Faculty Employment Application Form (available at www.nusok.edu/humanresources) along with: Cover letter, current resume/curriculum vitae, copies of college transcripts and contact information for at least three references. Send all documentation to: Human Resources, NORTHEASTERN STATE UNIVERSITY, 601 N. Grand, Tahlequah, OK 74464-2399.
With campuses located in Tahlequah, Broken Arrow, and Muskogee, Northeastern State University provides undergraduate and graduate learning for bachelors and masters degree programs. NSU in Tahlequah is a blend of the old and the new, where rich history meets modern technology. Tahlequah was rated as one of America's top small cities and is the historic capital of the Cherokee Nation of Oklahoma.
Monday, May 4, 2009
After SHSU: Grad School #1
1. University of Houston
Description:
Our two-year Professional Theatre Training Program with the Alley Theatre puts students to work immediately. Students across all tracks of study work through the progression of classes as a cohort and collaborate on projects within class and in our productions. The combination of rigorous studio training, diverse production experience, professional networking, and mentoring by the artists of the Alley Theatre will provide a launch for a career like no other program in the country.
Imagination, Agility, Precision, Passion, Speed
The artists coming out of this program will be notable for combining five inter-locking qualities:
Imagination—broadened in studio training, honed in productions; our creative fuel.
Agility—the facility to adapt to new visions, new collaborators, new materials, new techniques across a variety of environments.
Precision—the ability to talk about the work and through the work clearly, concisely, and completely.
Passion—our graduates thrive in this field because they have a great fire within for the art and craft of the theatre.
Speed—the range to shift sensibilities to match the tempo needed for each particular project, whether it’s fast, medium or slow.
Description:
Our two-year Professional Theatre Training Program with the Alley Theatre puts students to work immediately. Students across all tracks of study work through the progression of classes as a cohort and collaborate on projects within class and in our productions. The combination of rigorous studio training, diverse production experience, professional networking, and mentoring by the artists of the Alley Theatre will provide a launch for a career like no other program in the country.
Imagination, Agility, Precision, Passion, Speed
The artists coming out of this program will be notable for combining five inter-locking qualities:
Imagination—broadened in studio training, honed in productions; our creative fuel.
Agility—the facility to adapt to new visions, new collaborators, new materials, new techniques across a variety of environments.
Precision—the ability to talk about the work and through the work clearly, concisely, and completely.
Passion—our graduates thrive in this field because they have a great fire within for the art and craft of the theatre.
Speed—the range to shift sensibilities to match the tempo needed for each particular project, whether it’s fast, medium or slow.
After SHSU: Grad School #2
2. Southern Methodist University
Description:
The Master of Fine Arts in Acting at SMU focuses on training the actor for
the professional world — giving the artist the tools needed to achieve creative excellence in a variety of dramatic literature and theatrical venues. Rather than asking you to master a way of working, the program helps you to master the ways by which you can meet the challenges of the work — which vary from text to text and production to production. We teach actors to discover their own organic approach to acting. So when you graduate, youʼll be armed with a rich array of techniques that will allow you to channel imagination and intelligence through the medium of body and voice.
Admissions:
Those applying for the M.F.A. in Acting must complete an interview and an audition. (Our graduate acting program admits a new class in the fall of odd-numbered years.) Applicants must audition with two contrasting, two-minute monologues, one from a contemporary play and one from a classical play.
Call-Back Auditions & Interviews for both the Design and Acting programs will be conducted February 20 - 21, 2009 on the SMU campus. Candidates will be notified following their initial audition and/or interview with additional information should they be selected to attend our call-back event.
Description:
The Master of Fine Arts in Acting at SMU focuses on training the actor for
the professional world — giving the artist the tools needed to achieve creative excellence in a variety of dramatic literature and theatrical venues. Rather than asking you to master a way of working, the program helps you to master the ways by which you can meet the challenges of the work — which vary from text to text and production to production. We teach actors to discover their own organic approach to acting. So when you graduate, youʼll be armed with a rich array of techniques that will allow you to channel imagination and intelligence through the medium of body and voice.
Admissions:
Those applying for the M.F.A. in Acting must complete an interview and an audition. (Our graduate acting program admits a new class in the fall of odd-numbered years.) Applicants must audition with two contrasting, two-minute monologues, one from a contemporary play and one from a classical play.
Call-Back Auditions & Interviews for both the Design and Acting programs will be conducted February 20 - 21, 2009 on the SMU campus. Candidates will be notified following their initial audition and/or interview with additional information should they be selected to attend our call-back event.
Sunday, May 3, 2009
After SHSU: Grad School #3
3. De Paul University MFA Acting
Description:
The Theatre School’s Master of Fine Arts (MFA) degree in Acting is a
highly truthful, yet expressive, physical acting programinformed by
our Chicago roots that prepares actors to work on stage and screen all
over the world. The first year experience is about expanding the size
and specificity of the actor’s skill, imagination, and drive. The next
year intensifies scenic study of a diverse spectrum of dramatic
literature, with a strong path of ensemble creation and studentgenerated
work. The final year puts the work in the context of the
profession, connects the student to artistic and industry leaders while
refining the actor’s entrepreneurial spirit through company created
works and independent cinema experience.
Students learn from a distinguished faculty of working professionals
who possess a wide variety of backgrounds and expertise. Our faculty
has spent many years developing successful, personal and powerful
curricula that mine a diversity of ideas from Stanislavski, Spolin,
Grotowski, Shurtleff, Lessac, Linklater, Yoga, Tai Chi, Feldenkrais®
Method, Laban, mask work and more. Students are inspired through
unique points-of-view within a comprehensive three-year progression
of acting, movement and voice and speech curricula.
Equally important to the training students receive in the classroom is
the opportunity they have to synthesize that learning in the production
process, with each student completing five production assignments
during their three years in the program.
Admissions:
Application along with Resume, GRE results, Photgraph.
Auditions and Interviews. An audition is required for all Acting Program applicants. An audition and interview is by invitation for Directing Program finalists. Applicants to the Arts Leadership Program will be invited to interview if selected as semi-finalists after the initial application review.
Admissions Decisions. Admissions decisions are made and communicated after all applicants have auditioned or interviewed. The Theatre School does not operate an early action, early acceptance or rolling admissions process. Decisions are communicated in writing and are mailed mid-March with a May 1 response deadline. Decisions cannot be communicated over the phone or by email. Only applicants who have completed all admissions requirements will be considered for admission.
Scholarships. Every applicant to The Theatre School, provide he or she has completed all admissions application requirements, is automatically considered for talent scholarships without an additional audition, interview or application.
Incoming graduate scholarships generally range from $14,000 to $16,000 annually and are one-year awards; scholarships may be renewed annually as part of each student’s annual evaluation. Incoming scholarships are awarded in the admissions decision letter.
Financial Aid. There are two types of need-based financial aid available to admitted graduate students –loans and work study. To be considered for a need-based financial aid package, applicants must submit a valid Free Application for Federal Student Aid (FAFSA).
Tuition. The Theatre School’s tuition is billed as a guaranteed package rate, meaning you pay one flat fee each year for all of your coursework and production work and you are billed the same rate each year you are in a program for up to three years. In other words, your tuition rate is locked in at the tuition rate you pay in your first year of the program. Tuition for graduate students entering in the fall of 2008 is $26,900. Tuition is billed in thirds and due at the beginning of each quarter.
This is my dream school. De Paul University also has a program that allows graduate acting students to work at their Chicago Shakespeare Theater (CST) on Navy Pier as ushers while completing their masters.
Description:
The Theatre School’s Master of Fine Arts (MFA) degree in Acting is a
highly truthful, yet expressive, physical acting programinformed by
our Chicago roots that prepares actors to work on stage and screen all
over the world. The first year experience is about expanding the size
and specificity of the actor’s skill, imagination, and drive. The next
year intensifies scenic study of a diverse spectrum of dramatic
literature, with a strong path of ensemble creation and studentgenerated
work. The final year puts the work in the context of the
profession, connects the student to artistic and industry leaders while
refining the actor’s entrepreneurial spirit through company created
works and independent cinema experience.
Students learn from a distinguished faculty of working professionals
who possess a wide variety of backgrounds and expertise. Our faculty
has spent many years developing successful, personal and powerful
curricula that mine a diversity of ideas from Stanislavski, Spolin,
Grotowski, Shurtleff, Lessac, Linklater, Yoga, Tai Chi, Feldenkrais®
Method, Laban, mask work and more. Students are inspired through
unique points-of-view within a comprehensive three-year progression
of acting, movement and voice and speech curricula.
Equally important to the training students receive in the classroom is
the opportunity they have to synthesize that learning in the production
process, with each student completing five production assignments
during their three years in the program.
Admissions:
Application along with Resume, GRE results, Photgraph.
Auditions and Interviews. An audition is required for all Acting Program applicants. An audition and interview is by invitation for Directing Program finalists. Applicants to the Arts Leadership Program will be invited to interview if selected as semi-finalists after the initial application review.
Admissions Decisions. Admissions decisions are made and communicated after all applicants have auditioned or interviewed. The Theatre School does not operate an early action, early acceptance or rolling admissions process. Decisions are communicated in writing and are mailed mid-March with a May 1 response deadline. Decisions cannot be communicated over the phone or by email. Only applicants who have completed all admissions requirements will be considered for admission.
Scholarships. Every applicant to The Theatre School, provide he or she has completed all admissions application requirements, is automatically considered for talent scholarships without an additional audition, interview or application.
Incoming graduate scholarships generally range from $14,000 to $16,000 annually and are one-year awards; scholarships may be renewed annually as part of each student’s annual evaluation. Incoming scholarships are awarded in the admissions decision letter.
Financial Aid. There are two types of need-based financial aid available to admitted graduate students –loans and work study. To be considered for a need-based financial aid package, applicants must submit a valid Free Application for Federal Student Aid (FAFSA).
Tuition. The Theatre School’s tuition is billed as a guaranteed package rate, meaning you pay one flat fee each year for all of your coursework and production work and you are billed the same rate each year you are in a program for up to three years. In other words, your tuition rate is locked in at the tuition rate you pay in your first year of the program. Tuition for graduate students entering in the fall of 2008 is $26,900. Tuition is billed in thirds and due at the beginning of each quarter.
This is my dream school. De Paul University also has a program that allows graduate acting students to work at their Chicago Shakespeare Theater (CST) on Navy Pier as ushers while completing their masters.
Project 5: After SHSU
After SHSU: The Profession Required
1. WA, SEATTLE CHILDREN'S THEATRE
Seattle Children's Theatre (Seattle, WA) is casting its upcoming season. Season includes: Green Sheep (rehearsals begin Aug. 24; performance dates TBA in Feb./March & May/June 2010), If You Give a Mouse a Cookie (rehearsals begin Sept. 15; runs Oct. 16-Nov. 29), Peter Pan (rehearsals begin Oct. 13; runs Nov. 13, 2009-Jan. 10, 2010), Pero (rehearsals begin Dec. 15; runs Jan. 15-Feb. 14, 2010), Northern Lands (rehearsals begin Jan. 12, 2010; runs Feb. 12-March 14, 2010), Getting Near to Baby (rehearsals begin Feb. 9, 2010; runs March 12-April 18, 2010), and Brementown Musicians (rehearsals begin March 9, 2010; runs April 9-May 16, 2010). Season runs Sept. 2009-June 2010.
Seeking—Adult Actors.
2.HRC SHOWCASE THEATRE SEASON
HRC Showcase Theatre (Hudson, NY) is casting its 2009 season. HRC Showcase Theatre produces readings of new plays. Florence Flo Hayle, gen. mgr.; Babrara Waldinger, artistic dir.
Seeking—Actors.
Auditions will be held by appt. only May 30 & 31 at Nola Studios, 250 W. 54th St. (btwn. Broadway & Eighth Ave.), NYC. For consideration, send pix & résumés to HRC Showcase Theatre, Box 940, Hudson, NY 12534. Submission deadline is March 20. Prepare a 60- to 90-second monologue. For more info, visit www.hrc-showcasetheatre.org. Equity Staged Reading Guidelines.
Categories: Union Stage
Production Personnel: Florence Flo Hayle, gen. mgr.; Babrara Waldinger, artistic dir.
Pay: Some Pay
Male/female role: Male, Female
Age Range: Young Adult (ages 18-29), Thirties (ages 30-39), Forties (ages 40-49), Older (50-65)
Ethnicity: Caucasian/White, African-American/Black, Latin/Hispanic/South American, Asian, Native American, European, Middle Eastern, Indian/South Asian, Other
Nudity: No
1. WA, SEATTLE CHILDREN'S THEATRE
Seattle Children's Theatre (Seattle, WA) is casting its upcoming season. Season includes: Green Sheep (rehearsals begin Aug. 24; performance dates TBA in Feb./March & May/June 2010), If You Give a Mouse a Cookie (rehearsals begin Sept. 15; runs Oct. 16-Nov. 29), Peter Pan (rehearsals begin Oct. 13; runs Nov. 13, 2009-Jan. 10, 2010), Pero (rehearsals begin Dec. 15; runs Jan. 15-Feb. 14, 2010), Northern Lands (rehearsals begin Jan. 12, 2010; runs Feb. 12-March 14, 2010), Getting Near to Baby (rehearsals begin Feb. 9, 2010; runs March 12-April 18, 2010), and Brementown Musicians (rehearsals begin March 9, 2010; runs April 9-May 16, 2010). Season runs Sept. 2009-June 2010.
Seeking—Adult Actors.
2.HRC SHOWCASE THEATRE SEASON
HRC Showcase Theatre (Hudson, NY) is casting its 2009 season. HRC Showcase Theatre produces readings of new plays. Florence Flo Hayle, gen. mgr.; Babrara Waldinger, artistic dir.
Seeking—Actors.
Auditions will be held by appt. only May 30 & 31 at Nola Studios, 250 W. 54th St. (btwn. Broadway & Eighth Ave.), NYC. For consideration, send pix & résumés to HRC Showcase Theatre, Box 940, Hudson, NY 12534. Submission deadline is March 20. Prepare a 60- to 90-second monologue. For more info, visit www.hrc-showcasetheatre.org. Equity Staged Reading Guidelines.
Categories: Union Stage
Production Personnel: Florence Flo Hayle, gen. mgr.; Babrara Waldinger, artistic dir.
Pay: Some Pay
Male/female role: Male, Female
Age Range: Young Adult (ages 18-29), Thirties (ages 30-39), Forties (ages 40-49), Older (50-65)
Ethnicity: Caucasian/White, African-American/Black, Latin/Hispanic/South American, Asian, Native American, European, Middle Eastern, Indian/South Asian, Other
Nudity: No
Wednesday, April 8, 2009
Project #5: After SHSU
The Profession Non-Required
1. TX, ‘RECKLESS Company OnStage is casting Reckless, a comedy. Director TBD. Performance runs June 26-July 25 in Houston, TX. Seeking–All Roles. Auditions will be held April 5 & 6, 7 p.m. The Company OnStage, 536 Westbury Square, Houston, TX. Prepare to cold read from script. Bring pix & resume if available. For more info, call (713) 726-1219 or email auditions@companyonstage.org or visit www.companyonstage.org. No pay. Non-Union.
Company OnStage is casting Reckless, a comedy. Director TBD. Performance runs June 26-July 25 in Houston, TX.
Seeking–All Roles.
2. Title Box Office Staff
Category Administrative
Description Box Office Staff
The Hartford Symphony Orchestra, Connecticut's premier musical organization and one of America's leading regional orchestras, is seeking a Ticket Services Assistant Manager and Ticket Services Representatives for its 2009 Talcott Mountain Music Festival season May 26th through July 31st.
Concerts Include: Summer Grove!: Rhythm, Blues & Soul; Celebrate America: The Annual Red, White & Blue Tradition!; Abbamanina; Michael Cavanaugh: the music of Billy Joel; and Classical’s Greatest Hits.
Salary: $2000-$3000 for the summer. Housing is not provided.
Please email cover letter, resume and contact info for up to three references to kkolbe@hartfordsymphony.org.
1. TX, ‘RECKLESS Company OnStage is casting Reckless, a comedy. Director TBD. Performance runs June 26-July 25 in Houston, TX. Seeking–All Roles. Auditions will be held April 5 & 6, 7 p.m. The Company OnStage, 536 Westbury Square, Houston, TX. Prepare to cold read from script. Bring pix & resume if available. For more info, call (713) 726-1219 or email auditions@companyonstage.org or visit www.companyonstage.org. No pay. Non-Union.
Company OnStage is casting Reckless, a comedy. Director TBD. Performance runs June 26-July 25 in Houston, TX.
Seeking–All Roles.
2. Title Box Office Staff
Category Administrative
Description Box Office Staff
The Hartford Symphony Orchestra, Connecticut's premier musical organization and one of America's leading regional orchestras, is seeking a Ticket Services Assistant Manager and Ticket Services Representatives for its 2009 Talcott Mountain Music Festival season May 26th through July 31st.
Concerts Include: Summer Grove!: Rhythm, Blues & Soul; Celebrate America: The Annual Red, White & Blue Tradition!; Abbamanina; Michael Cavanaugh: the music of Billy Joel; and Classical’s Greatest Hits.
Salary: $2000-$3000 for the summer. Housing is not provided.
Please email cover letter, resume and contact info for up to three references to kkolbe@hartfordsymphony.org.
Sunday, April 5, 2009
1.
Project #4: Unconventional Theatre
Lijana Wallenda performs ballet on a tightrope.
Lijana Wallenda
Title of Production: Hephaestus: A Greek Mythology Circus Tale
Producing Theatre Co.: Lookinglass Theatre
Performance Dates: 2005-2008
Producing Theatre Co.: Lookinglass Theatre
Performance Dates: 2005-2008
Key Artists Involved: "Veteran members of the Wallenda Family, Ringling Bros. and Cirque du Soleil," Lijana Wallenda Hernandez- a seventh-generation member of the famed wire-walking family, the Flying Wallendas, Tony Hernandez (Creator), Hernandez and Heidi Stillman (Directors). Kevin O'Donnell and Josh Horvath and Ray Nardelli's (Composers). Hephaestus -Tony Hernandez,Hera Lijana Wallenda,Hernandez Ares, Almas Meirmanov Aphrodite, Thetis Anya Stankus Iris Anna Vigel and Little Girl - Abigail Droeger (Cast).
http://www.theatreinchicago.com/playdetail.php?playID=1973#PhotoJumpicago.com/playdetail.php?playID=1973#PhotoJumptheatreinchicago.com/playdetail.php?playID=1973#PhotoJump
http://www.windycitytimes.com/gay/lesbian/news/ARTICLE.php?AID=17305om/gay/lesbian/news/ARTICLE.php?AID=17305
Quote: "Chicago's Water Tower Water Works for Hephaestus: A Greek Mythology Circus Tale. A world premiere hit for Lookingglass in 2005, Hephaestus is a must-see circus theatre event. Evocative storytelling, amazing athleticism and the very highest levels of circus artistry bring the ancient Greek myth story of Hephaestus to the high wire in this death-defying circus retelling."
http://www.windycitytimes.com/gay/lesbian/news/ARTICLE.php?AID=17305om/gay/lesbian/news/ARTICLE.php?AID=17305
Quote: "Chicago's Water Tower Water Works for Hephaestus: A Greek Mythology Circus Tale. A world premiere hit for Lookingglass in 2005, Hephaestus is a must-see circus theatre event. Evocative storytelling, amazing athleticism and the very highest levels of circus artistry bring the ancient Greek myth story of Hephaestus to the high wire in this death-defying circus retelling."
Me: This productions seems like a child's dream. It is a mythological story retold with circus acts, with all the naughty (real Greek Mythology) facts left out so that it can be family friendly. This is unconventional to me because I rarely see Greek stories changed (end of sentence). Not into exciting circus thrillers and certainly not into cleaned up versions.
Lijana Wallenda performs ballet on a tightrope.
"There is no net in sight – even as performers stack themselves two high on a tightrope and perform breath-taking aerial feats."
Lijana Wallenda
"Equally memorable – and exquisitely understated – is the final image of the piece. Hephaestus enters the little girl's room, and leaves a small chain with a hoop over the frame of her wrought-iron bed. It's a small replica of the throne that imprisoned Hera. It's an image that has such a multiplicity of meanings that theatergoers may find themselves discussing this small moment more than any of the dazzling feats that preceded it."
Anya Stankus and Tony Hernandez
2.
Title of Production: Potato - A Show that will Save the World
Producing Theatre Co.: Potato
Performance Dates: April 10-15, 2009
Key Artists Involved: Potatoes: Federico Nieto-El Gazi, Philip Burgers, Caroline Horton, Karin Maurer, Marcel Mohab, Salvador Puigmarti, Marta Zoboli, John Walton
Quote: "The group draws on its wealth of different cultures, languages and artistic backgrounds to create new and unconventional theatre that combines clown, bouffon, melodrama, music, mask and character-work."
Producing Theatre Co.: Potato
Performance Dates: April 10-15, 2009
Key Artists Involved: Potatoes: Federico Nieto-El Gazi, Philip Burgers, Caroline Horton, Karin Maurer, Marcel Mohab, Salvador Puigmarti, Marta Zoboli, John Walton
Quote: "The group draws on its wealth of different cultures, languages and artistic backgrounds to create new and unconventional theatre that combines clown, bouffon, melodrama, music, mask and character-work."
View their videos: http://www.potatotheatre.com/show.html
Me: This theatre group is based out of the school Ecole Philippe Gaulier, where their idea of "theatre is as serious as a child's game." http://www.ecolephilippegaulier.com/archives/. This is unconventional to me because the idea of this group is ... (at a loss for words!) To say the least the idea of this group really excites me. People from all over the world join together at a school in France and for nine months go through a series of 1)workshops 2)schooling in theatre. And at the end of their journey, they form a theatre company. This particular company is called "Potato," and with their latest (and I believe only) production is called, you guessed it, "Potato- A Show that will Save the World." I did no know that companies like this existed, and the school that they came from has been established for 25 years.
Me: This theatre group is based out of the school Ecole Philippe Gaulier, where their idea of "theatre is as serious as a child's game." http://www.ecolephilippegaulier.com/archives/. This is unconventional to me because the idea of this group is ... (at a loss for words!) To say the least the idea of this group really excites me. People from all over the world join together at a school in France and for nine months go through a series of 1)workshops 2)schooling in theatre. And at the end of their journey, they form a theatre company. This particular company is called "Potato," and with their latest (and I believe only) production is called, you guessed it, "Potato- A Show that will Save the World." I did no know that companies like this existed, and the school that they came from has been established for 25 years.
Cast of Potato
"Potato - A show That Will Save The World! A cheeky, comic spectacle that catapults the audience through sixty minutes of fast and furious fun: Satan discusses the future of architecture, a Californian beach bum discusses his political ideology and Hitler does the housework. Meanwhile the royal family bicker over fresh marital problems and Al- Qaeda reveal their latest advertising campaign."http://www.potatotheatre.com/show.html
3.
Title of Production: Elizabeth and Edward
Producing Theatre Co: The Gorilla Theatre
Performance Dates: April 2-19 2009
Key Artists Involved: Aubrey Hampton (Founder of Theatre and Playwright), Nancy Cole (Director), Giles Davies, Pat Fenda, Scott Isert, Alvin Jenkins, Steve Mountan, Magali Naas, Kyle Porter, Chris Perez, Soolaf Rasheid and Reggie Robinson (Actors).
Quote: "Based on documented details in the lives of Queen Elizabeth I and Lord Edward de Vere, the play speculates that de Vere was the real author of "Shakespeare"s masterpieces."
Me: I could not believe my eyes when I found this theatre. The Gorilla Theatre's founder and playwright of "Elizabeth and Edward," Aubrey Hampton is an Edward de Vere believer! I have to admit, I never tried to find other artists in our field who were followers of the de Vere theory, but it is just the most awsome thing to me that I did. This is unconventional to me because there are only so many people in the world who have come into contact with this information and there are so few who agree with the theory. I think that this new play will definantly open a lot of people's eyes and even pick up a few more believers.
Show Poster for Elizabeth and Edward.
I think this show is going to be huge,
I'm so glad that I had the chance to become
familiar with it.
http://www.gorilla-theatre.com/ydp_09.php
Producing Theatre Co: The Gorilla Theatre
Performance Dates: April 2-19 2009
Key Artists Involved: Aubrey Hampton (Founder of Theatre and Playwright), Nancy Cole (Director), Giles Davies, Pat Fenda, Scott Isert, Alvin Jenkins, Steve Mountan, Magali Naas, Kyle Porter, Chris Perez, Soolaf Rasheid and Reggie Robinson (Actors).
Quote: "Based on documented details in the lives of Queen Elizabeth I and Lord Edward de Vere, the play speculates that de Vere was the real author of "Shakespeare"s masterpieces."
Me: I could not believe my eyes when I found this theatre. The Gorilla Theatre's founder and playwright of "Elizabeth and Edward," Aubrey Hampton is an Edward de Vere believer! I have to admit, I never tried to find other artists in our field who were followers of the de Vere theory, but it is just the most awsome thing to me that I did. This is unconventional to me because there are only so many people in the world who have come into contact with this information and there are so few who agree with the theory. I think that this new play will definantly open a lot of people's eyes and even pick up a few more believers.
Show Poster for Elizabeth and Edward.
I think this show is going to be huge,
I'm so glad that I had the chance to become
familiar with it.
http://www.gorilla-theatre.com/ydp_09.php
Friday, April 3, 2009
4.
Title of Production: Hamlet
Producing Theatre Co: Theatre for a New Audience
Performance Dates: March 15-April 22 2009
Key Artists Involed: Arin Arbus (Director), Christian Camargo (known for his outstanding performance in Coriolanus), David Esbjornson (Artistic Director)
Quote: On the Production: "Hamlet is caught between avenging his father's murder and whether revenge is moral. It is easy to look to our own times to see another incarnation of Hamlet emerging out of a world more and more defined by extremism and marked by an acceleration of revenge thinking. Hamlet's uncertainty mirrors our own. There are more Hamlets than have ever existed on this planet. Fearful of being weak yet not certain of the "right" action even while the actions of the "righteous" seem to know no limits." - I love this quote because you can see very plainly that TFNA is fulfilling their mission in every facet of their work.
On the Company:
"Theatre for a New Audience aspires to a civic role, bonding the diverse community of New York to the language, pleasures and issues of classical drama. At a time when audiences are segmented by economics and diverse cultural backgrounds, TFANA is committed to enhanced education and public access."
"The Theatre sustains the largest program in New York City's Public Schools for introducing Shakespeare. TFANA provides teachers with professional development, places artists in-residence in the classroom and brings students to matinee performances of the same award-winning productions seen by TFANA's adult audiences. Several thousand students take part each year and over 100,000 have been served since the program began in 1984. TFANA also has a distinctive symposia series for general audiences and offers a wide range of ticket prices to minimize economic barriers for all its audiences. These endeavors are grounded in a firm belief that the language and scope of classic drama belong to everyone."
http://www.tfana.org/index.html
Me: When I stumbled upon this Theatre's web site, I had to choose it for one of my unconventional theatres. Reading the 'about us' section nearly brought me to tears. Where I from (deep in the heart of Texas), this sort of theatre is unheard of. Theatre for a New Audience is dedicated to sharing the magic of classical theatre with everyone under the sun; not just those who have studied and understand classical theatre. Their productions are contemporary, so that people who are not familiar with the language of classical theatre have a better chance of liking and understanding the text. This is also an amazing theatre because they take economic suffering into consideration by discounting tickets so that everyone is able to attend performances. This is a wonderful theatre with wonderful mission.
Hamlet Show Poster
"Theatre for a New Audience's drama programs are a direct path to literacy. They are an important addition to every student’s education.- Sharon Dunn, Senior Assistant for the Arts, NYC Board of Education"
TFNA's Logo. "Theatre for a New Audience is widely and deservedly admired for taking Shakespeare to the city's public schools.- The New York Times"
Producing Theatre Co: Theatre for a New Audience
Performance Dates: March 15-April 22 2009
Key Artists Involed: Arin Arbus (Director), Christian Camargo (known for his outstanding performance in Coriolanus), David Esbjornson (Artistic Director)
Quote: On the Production: "Hamlet is caught between avenging his father's murder and whether revenge is moral. It is easy to look to our own times to see another incarnation of Hamlet emerging out of a world more and more defined by extremism and marked by an acceleration of revenge thinking. Hamlet's uncertainty mirrors our own. There are more Hamlets than have ever existed on this planet. Fearful of being weak yet not certain of the "right" action even while the actions of the "righteous" seem to know no limits." - I love this quote because you can see very plainly that TFNA is fulfilling their mission in every facet of their work.
On the Company:
"Theatre for a New Audience aspires to a civic role, bonding the diverse community of New York to the language, pleasures and issues of classical drama. At a time when audiences are segmented by economics and diverse cultural backgrounds, TFANA is committed to enhanced education and public access."
"The Theatre sustains the largest program in New York City's Public Schools for introducing Shakespeare. TFANA provides teachers with professional development, places artists in-residence in the classroom and brings students to matinee performances of the same award-winning productions seen by TFANA's adult audiences. Several thousand students take part each year and over 100,000 have been served since the program began in 1984. TFANA also has a distinctive symposia series for general audiences and offers a wide range of ticket prices to minimize economic barriers for all its audiences. These endeavors are grounded in a firm belief that the language and scope of classic drama belong to everyone."
http://www.tfana.org/index.html
Me: When I stumbled upon this Theatre's web site, I had to choose it for one of my unconventional theatres. Reading the 'about us' section nearly brought me to tears. Where I from (deep in the heart of Texas), this sort of theatre is unheard of. Theatre for a New Audience is dedicated to sharing the magic of classical theatre with everyone under the sun; not just those who have studied and understand classical theatre. Their productions are contemporary, so that people who are not familiar with the language of classical theatre have a better chance of liking and understanding the text. This is also an amazing theatre because they take economic suffering into consideration by discounting tickets so that everyone is able to attend performances. This is a wonderful theatre with wonderful mission.
Hamlet Show Poster
"Theatre for a New Audience's drama programs are a direct path to literacy. They are an important addition to every student’s education.- Sharon Dunn, Senior Assistant for the Arts, NYC Board of Education"
TFNA's Logo. "Theatre for a New Audience is widely and deservedly admired for taking Shakespeare to the city's public schools.- The New York Times"
Friday, March 20, 2009
5.
Title of Production: Machines Machines Machines Machines Machines Machines Machines
Producing Theatre Co: Here Arts Center
Performance Dates: June 1-27, 2009
Key Artists Involved: Quinn Baureldel, Geoff Sobelle, and Trey Lyford are the playwrights, directors, and actors. No other names were listed.
Quote: “Machines machines machines machines machines machines machines by Quinn Bauriedel, Geoff Sobelle and Trey Lyford explodes the world of garage tinkers and backyard engineers in a ridiculous theatre piece featuring the world's most complicated machines set to perform the simplest tasks”
http://www.here.org/see/now/
Me: Machines x7 is a comedy about three paranoid packrats who use the 'treasures' they have collected to destroy their enemy; although their enemy is unseen. This is so entertaining because it is a view at three grown up fellows playing a childrens's game. The unconventional theme behind this production is that the set drives the story along. The set is sort of an art exibit. Quinn Bauriedel, Geoff Sobelle and Trey Lyford build imaginary weapons and traps on stage to defend their fort from the evil enemies who are never actually seen. This is an original play performed by the artists who wrote it.
"Bunker wired with mass amounts of debris"
http://www.here.org/see/now/
"Living in constant fear of an unseen enemy"
http://www.here.org/see/now/
"May or may not be set in post apocalyptic world"
http://www.here.org/see/now/
Producing Theatre Co: Here Arts Center
Performance Dates: June 1-27, 2009
Key Artists Involved: Quinn Baureldel, Geoff Sobelle, and Trey Lyford are the playwrights, directors, and actors. No other names were listed.
Quote: “Machines machines machines machines machines machines machines by Quinn Bauriedel, Geoff Sobelle and Trey Lyford explodes the world of garage tinkers and backyard engineers in a ridiculous theatre piece featuring the world's most complicated machines set to perform the simplest tasks”
http://www.here.org/see/now/
Me: Machines x7 is a comedy about three paranoid packrats who use the 'treasures' they have collected to destroy their enemy; although their enemy is unseen. This is so entertaining because it is a view at three grown up fellows playing a childrens's game. The unconventional theme behind this production is that the set drives the story along. The set is sort of an art exibit. Quinn Bauriedel, Geoff Sobelle and Trey Lyford build imaginary weapons and traps on stage to defend their fort from the evil enemies who are never actually seen. This is an original play performed by the artists who wrote it.
"Bunker wired with mass amounts of debris"
http://www.here.org/see/now/
"Living in constant fear of an unseen enemy"
http://www.here.org/see/now/
"May or may not be set in post apocalyptic world"
http://www.here.org/see/now/
Tuesday, February 10, 2009
Project 2 Option 2 Angels in America
1. The stage production before it moved to Bway (Pre-93 Review)
http://www.lexisnexis.com/us/lnacademic/results/docview/docview.do?docLinkInd=true&risb=21_T5780468533&format=GNBFI&sort=RELEVANCE&startDocNo=1&resultsUrlKey=29_T5780468536&cisb=22_T5780468535&treeMax=true&treeWidth=0&csi=8213&docNo=1
"As weird as it all sounds, the play flows together in a fantastic panorama that melds social satire, melodrama, soap opera, high camp and medieval mystery plays. But it also handles sensitive, intangible issues with great precision, clarity and courage."
In this article, David Patrick Stearns speaks for Angels in America from San Francisco California in July of 1991 in his article "Playwright scales to dramatic height." He says that Tony Kushner’s scripts shake theatres more intensely than the seismic earth quakes they often experience. Although he starts his article off with a slightly negative tone, as he begins to describe the story line, his tone eases and his true feelings about the production are revealed. He is very in sync with the ideas Kushner is trying to convey. He understands the script in it entirety and best of all, he lets his readers know that he appreciates the text and the play very deeply. This is a great article because it is the beginning of a long stretch of good things to come for Kushner and his play Angels in America.
2. Original Bway Production (Original Broadway Review)
http://www.lexisnexis.com.unx1.shsu.edu:2048/us/lnacademic/results/docview/docview.do?docLinkInd=true&risb=21_T5789064906&format=GNBFI&sort=RELEVANCE&startDocNo=1&resultsUrlKey=29_T5789064909&cisb=22_T5789064908&treeMax=true&treeWidth=0&csi=8213&docNo=2
"Though spectacular, the puzzling finale, which portends the spiritual revolution of Part 2, is the only drawback in an evening of theater supremely inspired on all levels, from writing to acting to Robin Wagner's elegant set design."
After reading David Patrick Stearns article about Angels pre Broadway review, I wanted to read more of what he had to say. After searching his work, I think he has enough articles on Angels to complete this entire assignment. In this article his main goal is to keep readers informed of what exactly is going on with this epic producction. He remains excited about the play's future. He even says that it is a "spiritual survival kit for the 21st century."
3. Non NYC based professional production (Non NYC Review)
http://www.lexisnexis.com.unx1.shsu.edu:2048/us/lnacademic/results/docview/docview.do?docLinkInd=true&risb=21_T5774264379&format=GNBFI&sort=RELEVANCE&startDocNo=1&resultsUrlKey=29_T5774264383&cisb=22_T5774264382&treeMax=true&treeWidth=0&csi=172807&docNo=24
"This Pulitzer Prize-winner, which explores survival, faith and what makes us human... Hilarious and profound, it is a vivid dissection of relationships, gay and straight, and has been hailed as one of the defining works of 20th century drama."
This article written in Glasgow informs people of a spectacular new (new to its region) play that they must see this week. The reporter is obviously stricken by Angels in America and its future runs. The best part of this article is that he educates his readers on exactly what the play's substance entails.
4. College Production (University Review)
http://www.lexisnexis.com/us/lnacademic/results/docview/docview.do?docLinkInd=true&risb=21_T5780403753&format=GNBFI&sort=RELEVANCE&startDocNo=1&resultsUrlKey=29_T5780403759&cisb=22_T5780403758&treeMax=true&treeWidth=0&csi=247189&docNo=2
"Angels in America is a well-written, often lyrical work of sharply etched scenes of personal revelation and conflict, intertwined with humorous yet pertinent dreams and hallucinations."
In this article, Douglas J. Keating the Theatre Critic for the Philadelphia Post reviews a production of Angels in America done at Villanova University. He did not have very much faith in the actors who were grad students at the university, nor did he grasp the ideas Kushner gave for the set design in the script. Although he had these views, I have to say that this may be the best and most informative review I have found for this assignment. He says that the play gives a 'dark view of the Reagan era,' but it also has qualities that everyone can enjoy.
5. 2003 Fim Version (HBO Mini-Series Review)
http://www.lexisnexis.com/us/lnacademic/results/docview/docview.do?docLinkInd=true&risb=21_T5780149324&format=GNBFI&sort=RELEVANCE&startDocNo=26&resultsUrlKey=29_T5780149327&cisb=22_T5780149326&treeMax=true&treeWidth=0&csi=8176&docNo=45
"Mr. Kushner is concerned with love, dying from AIDS, hypocrisy and power. The latter three components are all concentrated in the persona of a highly imaginative and prejudiced view of the late Roy M. Cohn, Sen. Joseph R. McCarthy's loyal committee counsel, excoriated as perhaps the most evil, wicked man perhaps in history. Lenin? Hitler? Stalin? Mr. Kushner knows whom he wants to hate."
Action packed and to the point, this article is dripping with caddy jabs. Ms. Cynthia Grenier of the Washington Times says that the Angels mini- series is almost worth seeing. She is very positive about the actor's performances but at the beginning of the article and again at the end she affirms an almost distaste for Kushner and his work.
http://www.lexisnexis.com/us/lnacademic/results/docview/docview.do?docLinkInd=true&risb=21_T5780468533&format=GNBFI&sort=RELEVANCE&startDocNo=1&resultsUrlKey=29_T5780468536&cisb=22_T5780468535&treeMax=true&treeWidth=0&csi=8213&docNo=1
"As weird as it all sounds, the play flows together in a fantastic panorama that melds social satire, melodrama, soap opera, high camp and medieval mystery plays. But it also handles sensitive, intangible issues with great precision, clarity and courage."
In this article, David Patrick Stearns speaks for Angels in America from San Francisco California in July of 1991 in his article "Playwright scales to dramatic height." He says that Tony Kushner’s scripts shake theatres more intensely than the seismic earth quakes they often experience. Although he starts his article off with a slightly negative tone, as he begins to describe the story line, his tone eases and his true feelings about the production are revealed. He is very in sync with the ideas Kushner is trying to convey. He understands the script in it entirety and best of all, he lets his readers know that he appreciates the text and the play very deeply. This is a great article because it is the beginning of a long stretch of good things to come for Kushner and his play Angels in America.
2. Original Bway Production (Original Broadway Review)
http://www.lexisnexis.com.unx1.shsu.edu:2048/us/lnacademic/results/docview/docview.do?docLinkInd=true&risb=21_T5789064906&format=GNBFI&sort=RELEVANCE&startDocNo=1&resultsUrlKey=29_T5789064909&cisb=22_T5789064908&treeMax=true&treeWidth=0&csi=8213&docNo=2
"Though spectacular, the puzzling finale, which portends the spiritual revolution of Part 2, is the only drawback in an evening of theater supremely inspired on all levels, from writing to acting to Robin Wagner's elegant set design."
After reading David Patrick Stearns article about Angels pre Broadway review, I wanted to read more of what he had to say. After searching his work, I think he has enough articles on Angels to complete this entire assignment. In this article his main goal is to keep readers informed of what exactly is going on with this epic producction. He remains excited about the play's future. He even says that it is a "spiritual survival kit for the 21st century."
3. Non NYC based professional production (Non NYC Review)
http://www.lexisnexis.com.unx1.shsu.edu:2048/us/lnacademic/results/docview/docview.do?docLinkInd=true&risb=21_T5774264379&format=GNBFI&sort=RELEVANCE&startDocNo=1&resultsUrlKey=29_T5774264383&cisb=22_T5774264382&treeMax=true&treeWidth=0&csi=172807&docNo=24
"This Pulitzer Prize-winner, which explores survival, faith and what makes us human... Hilarious and profound, it is a vivid dissection of relationships, gay and straight, and has been hailed as one of the defining works of 20th century drama."
This article written in Glasgow informs people of a spectacular new (new to its region) play that they must see this week. The reporter is obviously stricken by Angels in America and its future runs. The best part of this article is that he educates his readers on exactly what the play's substance entails.
4. College Production (University Review)
http://www.lexisnexis.com/us/lnacademic/results/docview/docview.do?docLinkInd=true&risb=21_T5780403753&format=GNBFI&sort=RELEVANCE&startDocNo=1&resultsUrlKey=29_T5780403759&cisb=22_T5780403758&treeMax=true&treeWidth=0&csi=247189&docNo=2
"Angels in America is a well-written, often lyrical work of sharply etched scenes of personal revelation and conflict, intertwined with humorous yet pertinent dreams and hallucinations."
In this article, Douglas J. Keating the Theatre Critic for the Philadelphia Post reviews a production of Angels in America done at Villanova University. He did not have very much faith in the actors who were grad students at the university, nor did he grasp the ideas Kushner gave for the set design in the script. Although he had these views, I have to say that this may be the best and most informative review I have found for this assignment. He says that the play gives a 'dark view of the Reagan era,' but it also has qualities that everyone can enjoy.
5. 2003 Fim Version (HBO Mini-Series Review)
http://www.lexisnexis.com/us/lnacademic/results/docview/docview.do?docLinkInd=true&risb=21_T5780149324&format=GNBFI&sort=RELEVANCE&startDocNo=26&resultsUrlKey=29_T5780149327&cisb=22_T5780149326&treeMax=true&treeWidth=0&csi=8176&docNo=45
"Mr. Kushner is concerned with love, dying from AIDS, hypocrisy and power. The latter three components are all concentrated in the persona of a highly imaginative and prejudiced view of the late Roy M. Cohn, Sen. Joseph R. McCarthy's loyal committee counsel, excoriated as perhaps the most evil, wicked man perhaps in history. Lenin? Hitler? Stalin? Mr. Kushner knows whom he wants to hate."
Action packed and to the point, this article is dripping with caddy jabs. Ms. Cynthia Grenier of the Washington Times says that the Angels mini- series is almost worth seeing. She is very positive about the actor's performances but at the beginning of the article and again at the end she affirms an almost distaste for Kushner and his work.
Sunday, February 1, 2009
Project 1 Professional
Project #1: Professional: Alley Theatre
1. Cyrano de Bergerac, An Heroic Comedy
By Edmond Rostand
“Drama/Romance”
http://www.imdb.com/title/tt0042367/
“Historical”
http://www.tcm.com/tcmdb/title.jsp?stid=72069&category=Genre
2. Secret Order
By Bob Clyman
“Stimulating Drama”
http://www.nytheatre.com/nytheatre/secr5987.htm
“conflict between science and religion”
http://www.alleytheatre.org/Alley/Thoughts_on_Secret_Order_EN.asp?SnID=409096750
3. A Christmas Carol – A Ghost Story of Christmas
By Charles Dickens
4. The Santaland Diaries
By David Sedaris
"Christmas Humor"
http://odeo.com/episodes/568281
"One-man, One-act"
http://en.wikipedia.org/wiki/SantaLand_Diaries
5. Mrs. Warren’s Profession
By Bernard Shaw
6. Eurydice
yu-RID-eh-see
By Sarah Ruhl
7. The Man Who Came to Dinner
By Moss Hart and George S. Kaufman
8. Mauritius
By Theresa Rebeck
9. Rock ‛n’ Roll
By Tom Stoppard
10. The Farnsworth Invention
By Aaron Sorkin
1. Cyrano de Bergerac, An Heroic Comedy
By Edmond Rostand
“Drama/Romance”
http://www.imdb.com/title/tt0042367/
“Historical”
http://www.tcm.com/tcmdb/title.jsp?stid=72069&category=Genre
2. Secret Order
By Bob Clyman
“Stimulating Drama”
http://www.nytheatre.com/nytheatre/secr5987.htm
“conflict between science and religion”
http://www.alleytheatre.org/Alley/Thoughts_on_Secret_Order_EN.asp?SnID=409096750
3. A Christmas Carol – A Ghost Story of Christmas
By Charles Dickens
4. The Santaland Diaries
By David Sedaris
"Christmas Humor"
http://odeo.com/episodes/568281
"One-man, One-act"
http://en.wikipedia.org/wiki/SantaLand_Diaries
5. Mrs. Warren’s Profession
By Bernard Shaw
6. Eurydice
yu-RID-eh-see
By Sarah Ruhl
7. The Man Who Came to Dinner
By Moss Hart and George S. Kaufman
8. Mauritius
By Theresa Rebeck
9. Rock ‛n’ Roll
By Tom Stoppard
10. The Farnsworth Invention
By Aaron Sorkin
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