Theatre History Commons^™

Dance 2011: Trip The Light Fantastic, Otterbein University Theatre And Dance Department

2010-2011 Season

No abstract provided.

Triumph Of Love Program [2011], University Of Southern Maine Department Of Theatre

Programs 2010-2011 Season

Book by James Magruder

Music by Jeffrey Stock

Lyrics by Susan Birkenhead

Based on the play by Marivaux

Directed by Assunta Kent

Musical Direction by Edward Reichert

This production was a Participating entry in the Kennedy Center American College Theater Festival (KC/ACTF).

A Doll's House, Otterbein University Theatre And Dance Department

2010-2011 Season

Ibsen's A Doll's House is a revolutionary classic. The play was integral in establishing realism as a theatrical form, and continues to be a provocative portrayal of a woman suffering in a man's world.

https://stageagent.com/shows/play/2344/a-dolls-house

Airswimming Program [2011], University Of Southern Maine Department Of Theatre

Programs 2010-2011 Season

Written by Charlotte Jones

Director Meghan Brodie

This production was a Participating entry in the Kennedy Center American College Theater Festival (KC/ACTF).

The Count Of Monte Cristo

Taylor Theatre Playbills

The playbill for Taylor University’s Spring 2011 performance of The Count of Monte Cristo, adapted by Charles Morey from the novel by Alexandre Dumas.

The Count of Monte Cristo is the story of Edmond Dantès, who is falsely accused of treason and is sent to prison. He and a fellow prisoner escape and discover a treasure, he returns as the Count of Monte Cristo to take revenge on the men who framed him.

The Angel And The Imp: The Duncan Sisters’ Performances Of Race And Gender, Jocelyn Buckner

Theatre Faculty Articles and Research

From 1923 to 1959 Vivian and Rosetta Duncan performed the show Topsy and Eva in front of thousands of audiences in the United States and abroad. This essay examines how the Duncan Sisters’ appropriation of blackness through a yin and yang performance of black and white womanhood, their sexualized but ultimately infantilizing routine as young girls, and their take on anarchistic comedy resulted in a particular spin on age, gender, race, and sexuality that reinforced their privilege as white women even while it pushed the boundaries of acceptable femininity in the swiftly shifting American culture of the first half of …

Acting Virtuous: Chastity, Theatricality, And The Tragedie Of Mariam, Kent Lehnhof

English Faculty Books and Book Chapters

Given the interrelation of female chastity and female theatricality in early modem discourses, it comes as no surprise that both figure importantly in what is believed to be the first original English drama to be written by a woman. As Elizabeth Cary explores a Jewish queen 's sexual purity in The Tragedie of Mariam, she does so by concentrating on questions of performance. Cary's title character explicitly abjures theatricality even as she embraces chastity, creating a fissure in Renaissance discourses on women that threatens to swallow up the antifeminist idea that female chastity is always an act.

A Penitent Prepares: Affect, Contrition, And Tears, Christopher B. Swift

Publications and Research

This essay draws upon a poetic and devotional texts from late medieval Spain to show how public displays of emotion (weeping, in particular) during penitential processions could be learned and prepared for in advance.

Universal Identities And Local Realities: Young Poland's (Mis)Readings Of Synge, John A. Merchant

Modern Languages and Literatures: Faculty Publications and Other Works

The problems Young Poland experienced in understanding the work of John Millington Synge were informed by precisely the same kind of behaviors that Daniel Corkery described in his argument for a truly native Irish national literature in the 1930s. Overcome by a strong sense of self, Poles were not fully able to appreciate the complexities and nuances of Synge's work and by extension, the Irish-Ireland movement. In the end, then, Young Poland was incapable of really understanding the Irish, and so the best they could do was to associate with them. As a result, Poles may have been able to …

Review Of Sidwell, Aristophanes The Democrat, In New England Classical Journal 38 (2011), 290-92., Kenneth S. Rothwell Jr.

Classics & Religious Studies Faculty Publication Series

No abstract provided.

The Salt Lake Theatre: Brigham's Playhouse, Kenneth L. Alford Ph.D., Robert C. Freeman Ph.D.

Faculty Publications

A history of the Salt Lake Theatre (dedicated in 1862).

The Portia Project: The Heiress Of Belmont On Stage And Screen, Ann Mccauley Basso

USF Tampa Graduate Theses and Dissertations

Until now, there has not been a performance history of The Merchant of Venice that focuses on Portia, the main character of the play. Although she has the most lines, the most stage time, and represents the nexus of the action, Portia has often been hidden in Shylock's shadow, and this dissertation seeks to bring her into the spotlight. The Portia Project is a contribution to literary and theatrical history; its primary goal is to provide a tool for scholars and teachers. Moreover, because of Merchant's notoriously problematic nature, the play invites different perspectives. By presenting the diverse ways that …

Betrayal Program [2010], University Of Southern Maine Department Of Theatre

Programs 2010-2011 Season

Written by Harold Pinter

Directed by Thomas Power

This production was a Participating entry in the Kennedy Center American College Theater Festival (KC/ACTF).

A Streetcar Named Desire

Taylor Theatre Playbills

The playbill for Taylor University’s Fall 2010 performance of A Streetcar Named Desire by Tennessee Williams.

A Streetcar Named Desire follows the story of southern belle, Blanche DuBois, who has gone through a series of personal losses and moves in with her sister Stella and brother-in-law Stanley in a dilapidated New Orleans tenement.

Born Yesterday, Otterbein University Theatre And Dance Department

2010-2011 Season

In Garson Kanin’s pointed and hilarious Born Yesterday, personal and political oppression is exposed and outwitted in the intellectual rebirth of the iconic “dumb blonde”, Billie Dawn, who ultimately stands up to Harry Brock’s violent intimidation and shuts down his shady bid for governmental cooperation. https://stageagent.com/shows/play/4838/born-yesterday

We Will Not Be Silent

Taylor Theatre Playbills

The playbill for Taylor University’s October 2010 performance of We Will Not Be Silent. by William Gebby.

During the darkest days of WWII, a handful of German college students distributed thousands of anti-Nazi leaflets and worked toward unifying resistance across Germany. They called themselves the White Rose, and their faith drew them to engage in a fight that would cost them their lives. William Gebby’s brand new play celebrates the lives of these brave young people who would not and will not be silent.

Performed by the Taylor Touring Company.

Lend Me A Tenor Program [2010], University Of Southern Maine Department Of Theatre

Programs 2010-2011 Season

By Ken Ludwig

Directed by Wil Kilroy

This production was a Participating entry in the Kennedy Center American College Theater Festival (KC/ACTF).

The Bald Soprano

Taylor Theatre Playbills

The playbill for Taylor University’s Fall 2010 performance of The Bald Soprano by Eugène Ionesco.

The Bald Soprano: An Anti-Play follows the events of a traditional couple who invite over another couple, and are later joined by their maid and the maid’s lover. The characters engage in meaningless banter that becomes even more nonsensical as time goes on.

In this adaptation the actors play the actresses’ roles and the actresses play the actor’s roles.

Doubt

Taylor Theatre Playbills

The playbill for Taylor University’s Fall 2010 performance of Doubt by John Patrick Shanley.

Doubt: A Parable is the story of a fictional Catholic school in Bronx and the clash between the parish priest, Father Flynn, and school’s principal, Sister Aloysius, over the suspicion that Flynn molested an alter boy.

This play is performed by the faculty and staff of Taylor University.

Don't Dress For Dinner, Otterbein University Theatre And Dance Department

2010 Summer Theatre

Don’t Dress For Dinner centers around Bernard and Jacqueline, a not-so-happily married couple, both of whom are having extramarital affairs. As Jacqueline prepares to go out of town to visit her mother, Bernard invites his mistress and Robert, his best friend (and also Jacqueline’s lover, unbeknownst to Bernard), over for the weekend. He’s even hired a Cordon Bleu chef to cater the evening. Jacqueline discovers Robert is coming to town and cancels her trip, causing Bernard to panic. When Robert arrives, Bernard asks him to pretend Suzanne is Robert’s mistress. Robert mistakes the chef (Suzette), for Bernard’s mistress (Suzanne), producing …