Category Archives: Events

LET’S GO:  ‘SUGIMOTO BUNRAKU SONEZAKI SHINJU’ (OCTOBER 19–22, 2019 AT LINCOLN CENTER’S FREDERICK P. ROSE HALL) ·

The Love Suicides at Sonezaki

U.S. production premiere

October 19–22, 2019 Rose Theater, Jazz at Lincoln Center’s Frederick P. Rose Hall

At the turn of 18th-century Japan, a clerk and a courtesan committed suicide in the forest of Tenjin. The Love Suicides at Sonezaki, a tragic play based upon these events, was banned after its 1703 premiere for more than two centuries. For this U.S. production premiere, renowned artist Hiroshi Sugimoto presents a bold, contemporary interpretation of the classic drama using bunraku puppet theater with music by Living National Treasure Seiji Tsurusawa and video by Tabaimo and Sugimoto. The puppets, imbued with life, captivate audiences with their lively movements rivaling the eloquence of actual human beings.

“Sugimoto breathed souls into the lifeless wooden puppets.”

– Le Monde

 

 

 

“TONYA PINKINS’ TRUTH AND RECONCILIATION: WOMYN WORKING IT OUT!” AND “THE GLASS MENAGERIE” (REVIEWS FROM NEW YORK) ·


By Bob Shuman

Director Tonya Pinkins asked six American women of multi-cultural backgrounds to compose one-acts on the theme of women oppressing women—her seven actors are all women, too—a counterintuitive assignment given the age of #MeToo and #TimesUpNow, as contraindicated as hearing Meryl Streep observe, in May, that “women can be pretty fucking toxic.” While the unexpected results appeared as Tonya Pinkins’ Truth and Reconciliation: Womyn Working It Out! for three days, at The Tank in early October, concurrently, The Glass Menagerie, directed by Austin Pendleton and Peter Bloch, opened at the Wild Project–which some might conclude is a play about a woman oppressing her daughter (especially if the work is considered biographically). Both open a larger discussion about how men and women dramatists think about domination, even if each would recoil from the issue itself: for the women, the subject is considered in a social and political light, a topic which can—and should—be placed under authority and governance; noticeably, none of their plays take place in homes. For Tennessee Williams (and Ibsen, in Hedda Gabler, or Ingmar Bergman, in a film like Autumn Sonata, to name three—white men of different nationalities and sexualities) the issue is familial, taking place in the homestead; any oppressor, whether one has been exchanged for another, is too many, even if goals are esteemed necessary for the common good. The distinctions do not end there, though, because of the importance of political issues to the Arts today, where many have come to believe that theatre is politics—an idea which would have been anathema to the still highly relevant acting theorist Constantin Stanislavki (1863-1938), who in My Life in Art writes, “Everyday cares, politics, economics, the larger part of general social interests—these make the kitchen of life. Art lives higher, observing from the height of its birdlike flights all that takes place beneath it.” The idea is still alive in his Russia today, expressed by Evgeny Mironov, one of that country’s acclaimed contemporary actors, who agreed with the thought that art is above politics, while talking about his portrayal of Ivanov, in June 2018. Even at the time of the 1900 massacre in Kazansky Square, when he was playing Dr. Stockman in An Enemy of the People in St. Petersburg, Stanislavski felt, “We who knew the true nature of the theatre, understood that the boards of our stage could never become a platform for the spread of propaganda, for the simple reason that the very least utilitarian purpose or tendency, brought into the realm of pure art, kills art instantly.” If he is right, most of today’s Off-Off Broadway theatre is a parade of ghosts.

Stanislavki considered the subject of politics further when he was evaluating Gorky’s The Lower Depths, in 1902. He believed that the spectator could make his own conclusions . . . from what he receives in the theatre”—yet today’s world of clear, automatic, correct answers, from behind the proscenium arch and on social media, are didactic, even for those who have a tendency to agree with them. An example of this is apparent in, but not limited to, Jaisey Bates’s “To History,” in the Pinkins’ project, a presentational piece on the personal damage wrought by misappropriation of mascots, emblems usually based on power symbols. Even though female participants would probably wear a pink pussyhat to a reading of this play, if requested, the presentation of the work is timely given the response of St. Louis Cardinals rookie Ryan Helsley, who is part Cherokee, and needed to pitch after hearing the Atlanta Braves’ “Tomahawk Chop,” a chant he found to be “a disappointment” and “disrespectful,” as did the Georgia native tribes.  Subsequently, when it was announced that he would be playing again, plastic tomahawks were not placed on seats for fans.  Another example is Lucy Thurber’s retro and injured writing in “Bank,” about a teller, a Georgian, from the country, who never met a lesbian before. Pieces like these are faits accomplis, which do not allow contemplation within the safe confines of theatrical experience and seem strident to those who are not part of the communities involved—and who would be excluded from voicing opinions about them, in any event. There is something of the Living Newspaper, from the Depression’s WPA Theatre, in at least three of the evening’s plays, as well, perhaps acting as substitutes for disappearing History classes in colleges and schools. “Tierra De Las Flores,” by G. Kadigan, describes a hidden, vengeful solution for wife beating in St. Augustine, Florida, during the early 1800s; “Law 136,” by Carmen Rivera, chronicles forced sterilization of women in Puerto Rico, during the twentieth century, in a dramatic situation that is reminiscent of sickening moments in a Tennessee Williams play, and “The Grandmothers,” by Kristine M. Reyes, which confronts the legacy of comfort women in Korea during World War II–a subject this reviewer included in a 2009 scene book, in writing by Lavonne Mueller, because the horror of the subject had been going virtually uncovered. Two more one-acts make up Truth and Reconciliation—one, “The Proposal,” by Nandita Shenoy, about the legacy of sexual abuse re-emerging on a school campus after many years and a two-part piece by Jasmine McLeish, “Other,” on the dubious nature of racial characterization. Pinkins incorporates dance (Briana Reed is the choreographer), song (by Amanda Green and Shaina Taub), and whimsy into the show, which allows moments of lightness, but the point that emerges is that when women oppress other women, there is a man, institution, or government entity behind it, which a feminist like Camille Paglia would find unacceptable (“stop blaming men”). Males can be fired, devastated, and brutalized, too, and their careers shattered, but in dramatic terms, at least, they may respond differently than women, even if they have become universal scapegoats.

Amanda Wingfield is not afraid to say that she knows “all about the tyranny of women” in The Glass Menagerie, a drama that Pendleton and Bloch have not chosen to embalm, in their current production, which plays until October 20. Their Tom, Matt de Rogatis, is not playing a great artist-in-the-making, as some would perceive the role to be. Instead, he seems like someone who can actually work at a warehouse, even if he isn’t a very good employee—he may not even be able to write that well, either. Jobs, however, can dumb a person down, and they can be boring—and one would go to the movies, or drink, or find illicit sex, or yearn for adventure or the Merchant Marines. This is the only production of the play in memory where one might actually think, “I hope he sends money back to the family when he leaves.” Ginger Grace’s Amanda may be providing the least gothic interpretation, too—and, for once, you can actually believe that she was really a popular debutante. An interesting parallel, a kind of family resemblance emerged, by noting that just as Amanda does not go to her DAR meeting, Laura has not been going to Rubicam’s Business College. But the constructions, in this RuthStage production, want to be contemporary–Sean Hagerty‘s music refers to Mike Oldfield‘s score for The Exorcist. You can not believe that Amanda has never talked to Laura about finding a man to marry before, maybe in any production–and one wonders if history, the Depression, of older ways of being parents and children need to be informing the text more and causing rifts. If you want to see Stanislavski in motion, though, go. There is the restraint, there is the natural pace. Alexandra Rose makes a lovely, oversensitive Laura—and the directors’ concept of keeping her onstage while other actors are playing is arresting. Spencer Scott, as the Gentleman Caller stays in tune with the production’s naturalism.

Of course, Tom leaves St. Louis, and does not send money home, and it is naive of me to imagine that it could be any other way. Looking at the male dramatists, escape from oppression must be total.

(c) 2019 by Bob Shuman. All rights reserved.

 

Visit “The Glass Menagerie”: http://www.theglassmenagerieplay.com/

Visit The Tank: https://thetanknyc.org/

Photo Credits–Pinkins: (From top) ShowShowdown; SkinthePlay; The Tank; Menagerie: Chris Loupos; Wild Project 10/5/19, Shuman

 

Truth and Reconciliation: Womyn Working It Out! is a collective piece of theatre that includes multiple 10-minute plays and songs by and about womyn. Each play contains different ways womyn oppress each other and how we find ways to heal.
The performance will run approximately 90 minutes, with no intermission.
Directed by
Tonya Pinkins

Written by
Jaisey Bates
Glory Kadigan
Jasmine McLeish
Tonya Pinkins
Kristine M. Reyes
Carmen Rivera
Nandita Shenoy
Lucy Thurber
Choreography
Briana Reed

Featuring
Mary Teresa Archbold
Siho Ellsmore
Akiko Hiroshima
Tonya Pinkins
Lina Sarrello
Lili Stiefel
June Ballinger

The Glass Menagerie

The cast, led by Ginger Grace as the iconic Amanda Wingfield, consists of Matt de Rogatis as her son Tom Wingfield, Alexandra Rose as Laura Wingfield, and Spencer Scott as The Gentlemen Caller. Set designer Jessie Bonaventure, who was the assistant Set designer on the Broadway musical Hadestown, which garnered four Tony Awards, including Best Scenic Design, collaborates with lighting designer Steven Wolf to create a version of Tennessee Williams’ masterpiece that borders on horror.

Dimly lit and surrealistic, the set itself will consist of props made of glass and the actors will live in a chilling, dreamlike world. Taking inspiration from The Exorcist soundtrack, Sean Hagerty writes the score for this “Wes Craven meets Tennessee Williams” production. Allison Hohman designs the sound for the Wingfield house of horrors.

Press, “Womyn”: Emily Owens; “Glass Menagerie”: Karen Greco

WHITE LIGHT FESTIVAL THEATER ADVISORY: TENTH ANNIVERSARY OF FESTIVAL INCLUDES TWO U.S. THEATER PRODUCTION PREMIERES ·

White Light Festival

Theater Advisory

 

Tenth Anniversary of Festival

Includes Two U.S. Theater Production Premieres

 

The premiere of Sugimoto Bunraku Sonezaki Shinju: The Love Suicides at Sonezaki

from celebrated artist Hiroshi Sugimoto in a bold, contemporary reinterpretation of the classic Japanese play incorporating bunraku puppet theater, original music, and video

The premiere of DruidShakespeare: Richard III from Ireland’s Druid theater company and Tony Award-winning director Garry Hynes, starring Aaron Monaghan

 

For its tenth anniversary season, the 2019 White Light Festival will feature events presented in eight venues across the city, including U.S. and New York premieres and the return of festival favorites, from October 19 through November 24.

 

“The resonance of the White Light Festival has only deepened during its first decade, as we have moved into far more challenging times here and around the world,” said Jane Moss, Ehrenkranz Artistic Director of Lincoln Center. “The Festival’s central theme, namely the singular capacity of artistic expression to illuminate what is inside ourselves and connect us to others, is more relevant than ever. This 10th anniversary edition spanning disparate countries, cultures, disciplines, and genres emphasizes that the elevation of the spirit the arts inspires uniquely unites us and expands who we are.”

 

The 2019 White Light Festival opens on Saturday, October 19 with Sugimoto Bunraku Sonezaki Shinju: The Love Suicides at Sonezaki told through Japanese bunraku puppet theater in a contemporary interpretation directed by renowned artist Hiroshi Sugimoto. Incorporating music by Seiji Tsurusawa (designated by Japan as a Living National Treasure) and video by Tabaimo and Sugimoto, this U.S. production premiere is a bold staging of Chikamatsu Monzaemon’s classic 18th-century drama. Based upon actual events, the piece is a rare opportunity to experience bunraku in New York City.

 

The darker side of human nature is on display in DruidShakespeare: Richard III, a chilling story of power and ambition in a wickedly comic production from Ireland’s Druid theater company and director Garry Hynes, opening on November 9. The production stars Aaron Monaghan, who appeared as Estragon in Druid’s acclaimed Waiting for Godot in the 2018 White Light Festival.

 

As in prior years, the 2019 White Light Festival will offer opportunities for audiences to delve further into the themes of the festival with pre- and post-performance artist talks, as well as a special panel discussion moderated by John Schaefer. White Light Lounges follow many performances: these receptions are exclusive to White Light Festival ticketholders and provide opportunities to mingle with artists and fellow audience members while enjoying a complimentary glass of wine or sparkling water.

 

Tickets for the 2019 White Light Festival are available online at WhiteLightFestival.org, by calling CenterCharge at 212.721.6500, or at the David Geffen or Alice Tully Hall Box Office (Broadway and 65th Street).

 

The White Light Festival is one of many programs offered by Lincoln Center that annually activates the campus’s indoor and outdoor spaces across a wide range of the performing arts. Additional presentations include the Mostly Mozart Festival, Great Performers, American Songbook, Midsummer Night Swing, Lincoln Center Out of Doors, ongoing free performances at the David Rubenstein Atrium, and Live From Lincoln Center broadcasts that reach beyond the iconic campus. Lincoln Center also presents a myriad of education programs and presentations for families throughout the year.

 

Please click here to download high-resolution images and artist biographies.

Please click here for the 2019 White Light Festival press release.

 

Theater Programs listed in chronological order

Sugimoto Bunraku Sonezaki Shinju: The Love Suicides at Sonezaki

(U.S. production premiere)

Saturday, October 19, 2019 at 7:30 pm                                                                                                

Sunday, October 20, 2019 at 3:00 pm

Monday, October 21, 2019 at 7:30 pm

Tuesday, October 22, 2019 at 7:30 pm

Rose Theater, Jazz at Lincoln Center’s Frederick P. Rose Hall

 

Original text by Chikamatsu Monzaemon
Hiroshi Sugimoto, artistic director
Seiji Tsurusawa, composer and director

Tomogoro Yamamura, choreography
Tabaimo and Hiroshi Sugimoto, video

Cast: Rodayu Toyotake, Seiji Tsurusawa, Tamasuke Yoshida, and others

Performed in Japanese with English supertitles

 

Performance length: Two hours and 30 minutes, including intermission

 

At the turn of 18th-century Japan, a clerk and a courtesan committed suicide in the forest of Tenjin. The Love Suicides at Sonezaki, a tragic play based upon these actual events, was banned after its 1703 premiere for more than two centuries. For this U.S. production premiere, renowned artist Hiroshi Sugimoto presents a bold, contemporary interpretation of the classic drama using bunraku puppet theater with music by Seiji Tsurusawa, who has been designated by Japan as a Living National Treasure, and video by Tabaimo and Sugimoto. The puppets, imbued with life, captivate audiences with their lively movements rivaling the eloquence of actual human beings.

 

Presented in association with The Japan Foundation and Odawara Art Foundation. Sugimoto Bunraku Sonezaki Shinju: The Love Suicides at Sonezaki is part of Japan 2019, a series of events highlighting Japanese arts and culture in the United States throughout 2019.

 

In cooperation with National Bunraku Theatre, BUNRAKU KYOKAI and Setagaya Arts Foundation/Setagaya Public Theatre.

 

Corporate support is provided by Mitsubishi Corporation (Americas), Mitsui & Co. (U.S.A.), Inc., Sumitomo Corporation of Americas, J.C.C. Fund, Japanese Chamber of Commerce and Industry of New York, and Nippon Steel & Sumitomo Metal U.S.A., Inc.

Additional support is made possible in part by The Jim Henson Foundation.

DruidShakespeare: Richard III (U.S. production premiere)

Thursday, November 7, 2019 at 7:00 pm (preview performance)

Friday, November 8, 2019 at 7:00 pm (preview performance)

Saturday, November 9, 2019 at 7:00 pm

Sunday, November 10, 2019 at 3:00 pm

Tuesday, November 12, 2019 at 7:00 pm

Wednesday, November 13, 2019 at 7:00 pm

Thursday, November 14, 2019 at 7:00 pm

Friday, November 15, 2019 at 7:00 pm

Saturday, November 16, 2019 at 2:00 and 7:00 pm

Sunday, November 17, 2019 at 3:00 pm

Tuesday, November 19, 2019 at 7:00 pm

Wednesday, November 20, 2019 at 7:00 pm

Thursday, November 21, 2019 at 7:00 pm

Friday, November 22, 2019 at 7:00 pm

Saturday, November 23, 2019 at 2:00 pm

Gerald W. Lynch Theater at John Jay College

 

Directed by Garry Hynes

Produced by Druid

Starring Aaron Monaghan as Richard III

Francis O’Connor, set and costume design

James F. Ingalls, lighting design

Gregory Clarke, sound design

Conor Linehan, music             

David Bolger, movement and fight choreography

Doreen McKenna, co-costume design

 

Performance length: Three hours, including intermission

 

Shakespeare depicts one of the world’s greatest villains in Richard III, a chilling and darkly comic story of power and ambition. Richard, Duke of Gloucester, portrayed by Aaron Monaghan, sets about bending the world to his own desires, vanquishing his better angels in pursuit of the crown. The Bard’s ruthless monarch resonates through the ages in this award-winning production from Ireland’s Druid theater company and Tony Award-winning director Garry Hynes. A continuation of the company’s exploration of Shakespeare’s kings, the production reunites the creative team and members of the Druid ensemble behind the celebrated DruidShakespeare: Richard II, Henry IV (Pts. 1 & 2) and Henry V, which played Lincoln Center in 2015. Druid’s acclaimed run of Waiting for Godot, also directed by Hynes and starring Monaghan as Estragon, was featured in the 2018 White Light Festival.

 

There will be a pre-performance discussion with Garry Hynes and Robert Marx on Sunday, November 10 at 1:45 pm in the John Jay College Lecture Hall.

 

 

***

 

Lincoln Center for the Performing Arts (LCPA)serves three primary roles: presenter of artistic programming, national leader in arts and education and community engagement, and manager of the Lincoln Center campus. A presenter of thousands of free and ticketed events, performances, tours, and educational activities annually, LCPA offers a variety of festivals and programs, including American Songbook, Avery Fisher Career Grants and Artist Program, David Rubenstein Atrium programming, Great Performers, Lincoln Center Emerging Artist Awards, Lincoln Center Out of Doors, Lincoln Center Vera List Art Project, LC Kids, Midsummer Night Swing, Mostly Mozart Festival, White Light Festival, the Emmy Award-winningLive From Lincoln Center, which airs nationally on PBS, and Lincoln Center Education, which is celebrating more than four decades enriching the lives of students, educators, and lifelong learners. As manager of the Lincoln Center campus, LCPA provides support and services for the Lincoln Center complex and the 11 resident organizations: The Chamber Music Society of Lincoln Center, Film at Lincoln Center, Jazz at Lincoln Center, The Juilliard School, Lincoln Center Theater, The Metropolitan Opera, New York City Ballet, New York Philharmonic, The New York Public Library for the Performing Arts, School of American Ballet, and Lincoln Center for the Performing Arts. 

 

Lincoln Center is committed to providing and improving accessibility for people with disabilities. For information, contact Accessibility at Lincoln Center at access@lincolncenter.org or 212.875.5375. 

 

***

 

The White Light Festival 2019 is made possible by The Shubert Foundation, The Katzenberger Foundation, Inc., Mitsui & Co. (U.S.A.), Inc., Mitsubishi Corporation (Americas), Laura Pels International Foundation for Theater, The Joelson Foundation, Sumitomo Corporation of Americas, The Harkness Foundation for Dance, J.C.C. Fund, Japanese Chamber of Commerce and Industry of New York, Great Performers Circle, Chairman’s Council and Friends of Lincoln Center.

 

Endowment support is provided by The Andrew W. Mellon Foundation and the Blavatnik Family Foundation Fund for Dance.

 

Public support is made possible by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature

 

NewYork-Presbyterian is the Official Hospital of Lincoln Center

Press: Michelle Tabnick

Photos–Love Suicides : Hajime Watanabe; Richard III: Robbie Jack

REVIEW: ‘CAESAR & CLEOPATRA,’ DRESSED DOWN YET WISED UP (SV PICK, NY) ·

(Laura Collins-Hughes’s article appeared in The New York Times, 10/3; via Pam Green.)

George Bernard Shaw gets sensitively streamlined in a briskly entertaining production with winning performers at its center.

At first glance, Cleopatra seems every inch an ordinary teenager. In a ponytail and sneakers, her white pants rolled up below her knees, she’s hiding from Caesar’s approaching army. A stranger appears, and she urges him to save himself.

“Climb up here,” she says, “or the Romans’ll come and eat you.”

She has no inkling that the mild man before her is Caesar himself. In George Bernard Shaw’s “Caesar & Cleopatra,” adapted and directed by David Staller in a briskly entertaining, winningly down-to-earth revival for Gingold Theatrical Group, the young queen of Egypt is charming in her naïveté.

Of course she is, right? Much like Eliza Doolittle in Shaw’s later play “Pygmalion,” she’s raw female material, ready for molding by an expert male hand. Shaw liked that dynamic. But he also genuinely liked women as human beings, intellectual sparring partners and actors. The parts he wrote for them have real substance.

Teresa Avia Lim digs into this role with a vengeance, delivering a smartly calibrated comic performance. A blustering, artless kid as the play begins, Cleopatra is amused by her new mystery acquaintance, who stays mum about his identity as she mulls how to get the upper hand with the Romans.

(Read more)

Photo credit: Carol Rosegg

HOMECOMING SERVICE FOR INTERNATIONAL OPERA STAR JESSYE NORMAN SET WITH 4-DAY WEEKLONG SERVICES AND CELEBRATIONS ·

(via Gwendolyn Quinn)

(New York, NY – October 7, 2019) – The family of international opera star Jessye Norman announces today through the family spokesperson, Gwendolyn Quinn, the Homegoing Service, and the weeklong services and celebrations. The funeral is set for Saturday, October 12, 2019, at the William B. Bell Auditorium712 Telfair Street, Augusta, GA, doors open and seating begins at 12:00 p.m. (there will be a private interment). The four-day, weeklong events start on Thursday, October 10, and runs through Sunday, October 13, 2019, in Augusta, GA. (see full schedule below). In November 2019, there will be a celebration of life event, scheduled in New York City.

The lineup of distinguished performers and speakers will include longtime friend and civil rights activist Vernon Jordan, Michael Eric Dyson, and Reverend Dr. James A. Forbes, and Mayor Hardie Davis, Jr., and Augusta’s natives Laurence Fishburne and Wycliffe Gordon, with musical tributes by six-time Tony Award winner Audra McDonaldHarolyn Blackwell, and Lawrence Brownlee, and other confirmations expected this week. Musical direction by Damien Sneed, a longtime friend and Augusta native.   

Elder Raymond Sturkey will deliver the eulogy, and Reverend Dr. Clyde Hill, Sr. of Mt. Calvary Baptist Church will officiate the homegoing service, which will include family, friends, dignitaries and special guests, nd seating will be available to the public.

There are two public viewings scheduled for Norman on Thursday, October 10, from 10:00 a.m. to 7:00 p.m. and Friday, October 11, from 9:00 a.m. to 12:00 p.m. at Mt. Calvary Baptist Church, 1260 Wrightsboro Road, Augusta, GA 30901. 

On Friday, October 11, the City of Augusta will present the Honorary Street Naming Ceremony to Norman’s family, which is scheduled from 4:30 p.m. to 6:00 p.m. at the Jessye Norman School of the Arts, 739 Green Street, Augusta, GA 30901.

The weeklong celebration will conclude on Sunday, October 13. The Jessye Norman School of the Arts will present its Annual Benefit Concert: “An Evening with Audra McDonald” at the Miller Theater, 708 Broad Street, Augusta, GA, at 4:00 p.m.

Ms. Norman, 74, passed away Monday, September 30, 2019, at Mount Sinai St. Luke’s Hospital in New York, NY, surrounded by loved ones.

Jessye Norman’s Homecoming Service, Public Viewing and Celebration Services

Date:                                    

Thursday, October 10, 2019

Time:                          

10:00 a.m. – 7:00 p.m.

Event:                        

Jessye Norman’s Public Viewing

Location:                   

Mt. Calvary Baptist Church

1260 Wrightsboro Road

Augusta, GA 30901

***

Date:                                    

Friday, October 11, 2019

Time:                         

9:00 a.m. – 12:00 p.m.

Event:                        

Jessye Norman’s Public Viewing

Location:                   

Mt. Calvary Baptist Church

1260 Wrightsboro Road,

Augusta, GA 30901

***

Date:                                    

Friday, October 11, 2019

Time:                          

4:30 p.m. – 6:00 p.m.

Event:                        

Honorary Street Naming Ceremony to Jessye Norman Boulevard

Location:                   

Jessye Norman School of the Arts (JNSA)

739 Green Street

Augusta, GA 30901

*Followed by a reception in the Ann and Ellis Johnson Gallery of Art (at JNSA)

***

Date:                                    

Saturday, October 12, 2019

Time:                          

1:00 p.m.

Event:                        

Jessye Norman’s Homecoming Service

Location:                   

The William B. Bell Auditorium

712 Telfair Street

Augusta, GA 30901

*Doors open and seating will begin at 12:00 p.m.

***

Date:                                    

Sunday, October 13, 2019

Time:                          

4:00 p.m.

Event:                        

The Jessye Norman School of the Arts’ Annual Benefit Concert: “An Evening with Audra McDonald”

Location:                   

Miller Theater

708 Broad Street (Downtown Augusta)

Augusta, GA 30901

Flowers:

Norman Funeral Service

c/o Williams Funeral Home

2945 Old Tobacco Road

Hephzibah, GA 30815

*Please direct resolutions and/or proclamations, cards, and condolences to the Jessye Norman School of the Arts, 739 Green Street, Augusta, GA 30901 to be read at the service and/or provided to the family.

*In lieu of flowers, foundation endowment gifts in honor of Jessye Norman can be made at www.jessyenormanschool.org.

*Donations may be sent to the Jessye Norman School of the Arts, 739 Green Street, Augusta, GA 30901.

 

BRECHT/EISLER: ‘THE MOTHER’ (‘DRAMA ON 3’) ·

Listen 

The Mother by Bertolt Brecht with original musical score by Hanns Eisler.
Translated by Mark Ravenhill, from a literal translation by Marc Funda, with song lyrics translated by Steve Trafford.

When Pelagea Vlassova’s son Pavel becomes involved in political activity her radical action to protect him from imprisonment transforms her into the figurehead for a revolutionary movement. Brecht and Eisler’s iconic drama set in pre-revolutionary Russia.

Vlassova…..Maxine Peake
Pavel…..Andy Coxon
Anton and Sigorski…..Esh Alladi
Ivan…..Nico Mirallegro
Mascha…..Elen Rhys
Andrei and Luschin…..Rupert Hill
Nikolai and Inspector…..William Ash
Vassil and Smilgin…..Kevin Harvey
Karpov and the Landlady…..Christine Bottomley
The Niece…..Nadia Emam

All other parts were played by the company.

Songs by the Chorus of Revolutionary Workers were performed by Kantos Chamber Choir

Directed by Nadia Molinari
Conducted by HK Gruber

A Radio Drama North Production in association with BBC Philharmonic.

Recorded in front of an audience at Middleton Hall in Hull as part of BBC Contains Strong Language Festival.

 

LET’S GO: AUSTIN PENDLETON AND PETER BLOCH RETEAM FOR CHILLING NEW VERSION OF ‘THE GLASS MENAGERIE’ ·

AUSTIN PENDLETON AND PETER BLOCH RETEAM TO HELM CHILLING NEW VERSION OF THE GLASS MENAGERIE TO USHER IN THE HALLOWEEN SEASON AT THE WILD PROJECT

 New York, New York — Ruth Stage is thrilled to present a chilling new take on Tennessee Williams’ seminal play, THE GLASS MENAGERIE, directed by Austin Pendleton and Peter Bloch. THE GLASS MENAGERIE begins performances on Thursday, October 3 for a limited engagement through Sunday, October 20. Press Opening is Wednesday, October  9 at 7pm. The performance schedule is Monday, Wednesday & Thursday at 7pm; Friday at 8pm; Saturday and Sunday at 2pm & 8pm. Please note: there is no evening performance on Sun 10/20. Performances are at The Wild Project (195 East 3rd Street, between Avenues A & B). Tickets are $35. For tickets and more information, call Brown Paper Tickets at 1-800-838-3006 or visit www.theglassmenagerieplay.com.

After two critically acclaimed runs in 2018 of Wars of the Roses, directors Austin Pendleton and Peter Bloch reunite with actor Matt de Rogatis to take on the American classic, The Glass Menagerie. In this disquieting production, the tormented Tom (de Rogatis) relives the story of his time in the Wingfield’s St Louis apartment, circa 1939, as if he were remembering it through the lens of a spooky dream.

The cast, led by Ginger Grace as the iconic Amanda Wingfield, consists of Matt de Rogatis as her son Tom Wingfield, Alexandra Rose as Laura Wingfield, and Spencer Scott as The Gentlemen Caller.

Set designer Jessie Bonaventure, who was the assistant Set designer on the Broadway musical Hadestown, which garnered four Tony Awards, including Best Scenic Design, collaborates with lighting designer Steven Wolf to create a version of this Tennessee Williams masterpiece that orders on horror.

Dimly lit and surrealistic, the set itself will consist of props made of glass and the actors will live in a chilling, dreamlike world. Taking inspiration from the The Exorcist soundtrack, Sean Haggerty writes the score for this “Wes Craven meets Tennessee Williams” production. Jesse Meckl designs the sound for the Wingfield house of horrors.

BIOS

Austin Pendleton (co-director) is an actor, director, playwright, and, at HB Studio in New York, a teacher of acting. His Broadway appearances include Choir Boy (this past season), The Diary of Anne Frank (with Natalie Portman), Doubles, and the original production of Fiddler on the Roof, in which he was the first “Motel”, the Tailor and played opposite Zero Mostel. He has also appeared extensively off-Broadway (winning an Obie for The Last Sweet Days of Isaac, and currently appearing in Life Sucks) and off-off-Broadway, in which he has played roles like “Hamlet,” “Richard the Third,” “Shylock,” and originated roles in many new plays. He has appeared in about 300 movies, including What’s Up DocMy Cousin VinnyCatch-22, and Mr. and Mrs. Bridge, and had recurring roles on TV in Homicide and Oz. On Broadway he has directed The Little Foxes, with Elizabeth Taylor, for which he won a Tony nomination, Spoils of War, with Kate Nelligan (who won a Tony nomination for it), Shelter (a musical by Gretchen Cryer and Nancy Ford, which won several Tony nominations), and The Runner Stumbles. Off-Broadway he directed three Chekhov plays (Uncle Vanya, Three Sisters and Ivanov), in productions which included Peter Sarsgaard, Maggie Gylenhall and Ethan Hawke, and Hamlet, with Mr. Sarsgaard. The plays he has written are Orson’s Shadow (which ran off-Broadway for about a year, and has been produced since all over the country and in London) and Uncle Bob (which has been done off-Broadway twice and played around the country and in Paris, translated by Jean-Marie Besset), and Booth, which played in New York starring Frank Langella, and since been done in many productions in the United States. He also wrote the libretto for the musical A Minister’s Wife, which played at Lincoln Center in 2011 and has since been done around the United States. He is a member of the Ensemble at Chicago’s Steppenwolf Theatre. He has acted there, directed there, and his plays have been produced there. He trained (and subsequently worked for many years) at the Williamstown Theatre Festival, under the guidance of its founder, Nikos Psacharopoulos. He was born and raised in Warren, Ohio. 

Peter Bloch (co-director) last co-directed Wars of the Roses with Austin Pendleton. Off Broadway: The Contrast for the Mirror Rep, H6R3 at the Promenade Theatre, Divine Fallacy by Tina Howe (World Premiere) for Hunter Playwrights. For the National Arts Club: Vieux CarreSuddenly Last SummerThe Lion In Winter, and The Potting Shed

Matt de Rogatis (Tom Wingfield) New York theater credits include “Ken” in Red (Jim Kempner Fine Art Gallery), “Frederick Clegg” in the United States premiere of The Collector (59E59 Theaters), “Roy” in Lone Star (Wild Project/The Triad/13th Street Rep) and “Richard III” in Austin Pendleton’s Shakespearean mashup, Wars of the Roses: Henry VI & Richard III, also directed by Pendleton and Peter Bloch (124 Bank Street Theater). Other favorite NYC and regional credits include the title role in Hamlet, “Stanley Kowalski” in A Streetcar Named Desire and “The Elephant Man” in The Exhibition.

Ginger Grace (Amanda Wingfield) National Tour: The Presidents (opposite Rich Little). Off-Broadway:  The Saintliness of Margery Kempe (Perry Street Theatricals); Miss Julie (The Pearl); Elektraand Faust (CSC). NY Theater: New Perspectives Theatre, Mother of Invention, Mississippi Mud. Regional: The First Ladies Coalition (written by Ms. Grace; directed by Austin Pendleton); Inside Emily Dickinson: Her Poetry & Her Life (written by Ms. Grace); The Belle of AmherstEleanor Roosevelt: Her Secret Journey, and The Color of Light (Schoolhouse Theater); Who’s Afraid of Virginia Woolf (Penobscot Theater); Doubt (WSCC).  New plays in New York: Jason Jung’s PANIC!, Jenny Lyn Bader’s In Flight, Fengar Gael’s Devil Dog Six, Deborah Savadge’s The Favor.  Film:  Wedding March (Winner: Hollywood International Moving Pictures Festival), 6-minute MomFrat Star, SHEER.   

Alexandra Rose (Laura Wingfield) makes her professional theater debut with this production of The Glass Menagerie. Previously, she has worked professionally as an actress in both film and commercials in New York and LA. She has trained in the drama department at Vassar College as well as the T. Schrieber School under Pamela Scott and HB Studios, in New York, under Austin Pendleton.

Spencer Scott (Jim O’Connor) is a proud member of The Greenhouse Ensemble. Recently he starred as “Romeo” in Romeo & Juliet. Some other credits include, “Anthony” in The House of Yes, “Demetrius” in A Midsummer Night’s Dream, and “Barry” in The Boys Next Door.

Visit: www.theglassmenagerieplay.com

Press: Karen Greco

DIAHANN CARROLL, ACTRESS WHO BROKE BARRIERS WITH ‘JULIA,’ DIES AT 84 ·

(Margalit Fox’s article appeared in The New York Times, 10/4; via Pam Green.)

Diahann Carroll, who more than half a century ago transcended racial barriers as the star of “Julia,” the first American television series to chronicle the life of a black professional woman, died on Friday at her home in West Hollywood, Calif. She was 84.

Her publicist, Jeffrey Lane, said the cause was complications of breast cancer. Ms. Carroll had survived the cancer in the 1990s and become a public advocate for screening and treatment.

A situation comedy broadcast on NBC from 1968 to 1971, “Julia” starred Ms. Carroll as Julia Baker, a widowed nurse with a young son. The show featured Marc Copage as Julia’s son, and Lloyd Nolan as the curmudgeonly but broad-minded doctor for whom she worked. (“Have you always been a Negro or are you just trying to be fashionable?” he asks Julia in an audacious, widely quoted line from the first episode.)

(Read more)

 

REVIEW: A SPELLBINDING ‘ANTIGONE,’ BOTH TIMELESS AND URGENT (SV PICK, NY) ·

(Laura Collins-Hughes’s article appeared in The New York Times, 9/26; via Pam Green.)

An easily legible production of the ancient Greek tragedy borrows from the tradition of Noh theater at the Park Avenue Armory.

They make the gentlest rippling sound, these candlelit figures gliding ever so slowly through the water, perambulating around a spare scattering of boulders. In a vast, shallow pool, beneath the high-arched ceiling of the Park Avenue Armory’s Wade Thompson Drill Hall, the hems of their filmy white kimonos trail along the surface.

The tableau is so tranquil that you might not even notice, as you take your seat, that you’re already being drawn into the ethereal, meditative otherworld where Satoshi Miyagi’s spellbinding “Antigone” will unfold.

An ancient Greek tragedy by way of Japan, it is visually and aurally splendrous — a large-cast spectacle, with hypnotically paced choreography borrowed from the tradition of Noh theater. Most of the principals here are played by two actors: one, kneeling in the water, to speak the dialogue; the other, on a nearby rock, to perform the movements.

(Read more)