Theatre script – Theatre UAF http://theatreuaf.org/ Fri, 18 Nov 2022 16:15:00 +0000 en-US hourly 1 https://wordpress.org/?v=5.9.3 https://theatreuaf.org/wp-content/uploads/2021/10/icon-18-120x120.png Theatre script – Theatre UAF http://theatreuaf.org/ 32 32 All My Sons: Stellar Cast Makes the Most of Miller’s Script https://theatreuaf.org/all-my-sons-stellar-cast-makes-the-most-of-millers-script/ Fri, 18 Nov 2022 16:15:00 +0000 https://theatreuaf.org/all-my-sons-stellar-cast-makes-the-most-of-millers-script/ Photo by Leah McLaine Post-war trauma, loss and court battles form the backdrop for this impassioned and deeply moving rendition of Arthur Millers’ 1947 play. With a scene to rival the ADC, dressing this ensemble has must have been a daunting task, but the set design is perfectly evocative of quaint post-war American farmhouse domestic […]]]>


Photo by Leah McLaine

Post-war trauma, loss and court battles form the backdrop for this impassioned and deeply moving rendition of Arthur Millers’ 1947 play. With a scene to rival the ADC, dressing this ensemble has must have been a daunting task, but the set design is perfectly evocative of quaint post-war American farmhouse domestic life. You can’t help but feel that behind the whimsical gingham tablecloth, kitschy patio furniture, and cheerfully draped American flag, a dirty secret lurks, waiting to be revealed.

The star of the show is undeniably the acting. Imogen Gray commands as Kate Keller, the bereaved mother and unstable family matriarch, delivering a nuanced and compelling portrayal as the audience emotionally realizes that the son she is expecting will never come home. Louella Lucas carries quiet confidence as the perfect ‘girl next door’ Ann Deever, holding dignity and tension in equal balance as her budding romance with Chris (Ollie Flowers) is soured by the weight of distrust. and tragedy.

You can’t help but feel that behind the whimsical gingham tablecloth…a dirty secret lurks

The young lovers’ flirtatious chemistry is overwhelmingly interrupted by the web of familial deception that surrounds them, but Chris’ initial declaration of love to Ann is particularly well handled: the fumbling intimacy and childlike shyness of a first kiss are portrayed. in a very realistic way, and well managed by the actors.

Cian Morey is pompous in all the right ways as Jim Bayliss, while sneering neighbor Sue Bayliss (Arianna Muñoz) carries a disturbingly accurate depiction of the oppression of small-town domesticity.

As in most of Miller’s plays, father-son relationships take center stage, and the increasingly fractured relationship between Joe Keller and his son were the standout performances, brought vividly to the stage by Maia von Malaise and Ollie Flowers.

This talented group of actors make the most of Millers’ script and masterfully control the growing cycles of tension and reprieve, effortlessly keeping the audience engaged in a deeply complex story. What it really means to be a man is put in the spotlight, with a cast of male characters who are never quite able to escape the ‘little man’ syndrome to become their best selves, painfully failing each time.

The only thing that slightly paled the play’s dramatic effectiveness was the ambitious Midwestern accents, which at times risked drifting into caricature. While the play’s tragic ending was devastatingly executed, the actors still found their dramatic footing in the opening scenes, and an initial lack of confidence meant there was a rushed delivery and stumbled lines to begin with. This however, was probably a unique nod to opening night.

This impressive and well performed piece is faithful to the original. The careful growth of the characters and their battles of trust and loyalty go hand in hand with devastating tragedies that spiral towards the climax. The skill of the actors and the caution of the direction ensured that the gravity of the feelings never turns into melodrama. And, although it felt a bit like you were inside a rustic Italian pizza oven, Robinson’s red-brick theater was warm, welcoming, and the perfect place for this classic play to come to life.

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MH17 verdict shows Putin has been working from the same ruthless scenario in Ukraine for years https://theatreuaf.org/mh17-verdict-shows-putin-has-been-working-from-the-same-ruthless-scenario-in-ukraine-for-years/ Thu, 17 Nov 2022 19:03:00 +0000 https://theatreuaf.org/mh17-verdict-shows-putin-has-been-working-from-the-same-ruthless-scenario-in-ukraine-for-years/ For many, Russian President Vladimir Putin’s assault on Ukraine began last February when he launched a full-scale invasion of its neighbour. But a Dutch court ruling on Thursday over the downing of Malaysia Airlines flight MH17 showed its ruthless attempts to wipe Ukraine off the map began eight years ago. The Hague District Court has […]]]>

For many, Russian President Vladimir Putin’s assault on Ukraine began last February when he launched a full-scale invasion of its neighbour. But a Dutch court ruling on Thursday over the downing of Malaysia Airlines flight MH17 showed its ruthless attempts to wipe Ukraine off the map began eight years ago.

The Hague District Court has convicted two Russians and a Ukrainian-born Russian separatist of shooting down MH17 as it flew over Ukraine, killing all 298 people on board.

The verdict was read at 3:45 p.m., the exact time the Boeing 777 jetliner was blasted out of the sky on July 17, 2014, as it traveled from Amsterdam to Kuala Lumpur.

The defendants Igor Girkin, a former Russian FSB colonel, and his subordinates Sergey Dubinskiy and Leonid Chartchenko, were sentenced to life imprisonment in absentia.

Russian Oleg Pulatov, the only suspect represented by defense lawyers at trial, was acquitted for lack of evidence.

The trial, held in a courtroom near the Amsterdam airport where MH17 departed from, put the Kremlin’s involvement in the separatist conflict in eastern Ukraine at the heart of the case.

People who lost loved ones in the downing of flight MH17 hug each other at a bus stop after the court verdict at Schiphol airport near Amsterdam, the Netherlands, Thursday, November 17, 2022. A Dutch court has found two Russians and a Ukrainian man guilty of murdering 298 people who died in the 2014 downing of Malaysia Airlines flight MH17 over Ukraine.  A Russian was acquitted for lack of evidence.  (AP Photo/Phil Nijhuis)
People who lost loved ones in the downing of MH17 after the Amsterdam court verdict (Photo: Phil Nijhuis/AP)

The trial provided evidence that the plane was shot down by a Russian-made Buk surface-to-air missile fired with a clear target from a field held by pro-Russian separatists at the time.

Evidence included photographs of a smoke trail, satellite data of the pasture with apparent traces of fire, transmission tower data and statements from an anonymous witness.

Ukrainian President Volodymyr Zelensky reacted to the verdict by demanding action in the Russian chain of command.

“It is also crucial to hold the masterminds to account, as the feeling of impunity leads to new crimes,” he said.

NATO Secretary General Jens Stoltenberg said it was an important day for justice and accountability, adding: “There can be no impunity for such crimes.”

The verdict will offer some closure to the families and friends of those who perished in the disaster. However, the three convicted suspects are unlikely to serve their sentences.

Russia denies any involvement and also does not recognize the authority of the tribunal, so there is little chance of apprehending them.

Safer Russia–Ukraine War

It’s also a reminder that Mr. Putin’s ruthless playbook goes back a long way. By the time MH17 fell from the clouds, it had already annexed Crimea.

The rocket that brought down the plane was fired from the Donetsk region in eastern Ukraine, where the Russian-backed militia had previously taken control.

Mr. Putin has effectively given the green light to local warlords to use any means necessary to undermine the Ukrainian authorities, provided they swear loyalty to him.

The events of 2014 should be enough to show the world Mr. Putin’s brazen atrocities in Ukraine.

However, this year’s invasion has multiplied the catalog of war crimes against him.

This week alone, Mr Zelensky said investigators had uncovered more than 400 war crimes in areas of Kherson abandoned by Russian forces as they retreated.

Safer Vladimir Poutine

The same was true elsewhere, as Ukrainian forces recaptured territory, with mass graves discovered in Bucha, Izyum and Mariupol, not to mention airstrikes on a theater in Mariupol used as a shelter for children, and on a Mariupol hospital.

Ukraine’s Prosecutor General Andriy Kostin said at least 34,000 possible war crimes have been committed by Russian forces since February.

Last month, a UN commission agreed, saying Russian forces were responsible for the “vast majority” of war crimes and human rights abuses at the start of the invasion.

But will Mr. Putin ever face justice? If this year, and indeed the last eight years have shown, he has no respect for the international rule of law or even for world opinion.

Nevertheless, the verdict in the Netherlands is important. Even if Mr. Putin ignores it, the rest of the world must remember the carnage he caused.

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Westport Country Playhouse Presents Script in Hand Playreading of Comedy RIPCORD https://theatreuaf.org/westport-country-playhouse-presents-script-in-hand-playreading-of-comedy-ripcord/ Sat, 12 Nov 2022 00:08:40 +0000 https://theatreuaf.org/westport-country-playhouse-presents-script-in-hand-playreading-of-comedy-ripcord/ Westport Country Playhouse will present a Script in Hand reading of the comedy “Ripcord,” written by David Lindsay-Abaire on Monday, November 14 at 7 p.m. Lindsay-Abaire is currently represented on Broadway with a book and lyrics for the musical “Kimberly Akimbo.” Directing “Ripcord” is Mark Shanahan, curator of Playhouse’s Script in Hand series and Playhouse […]]]>

Westport Country Playhouse will present a Script in Hand reading of the comedy “Ripcord,” written by David Lindsay-Abaire on Monday, November 14 at 7 p.m. Lindsay-Abaire is currently represented on Broadway with a book and lyrics for the musical “Kimberly Akimbo.” Directing “Ripcord” is Mark Shanahan, curator of Playhouse’s Script in Hand series and Playhouse Radio Theater. Script in Hand plays offer intimate storytelling as professional actors bring the words to life without sets or costumes.

In “Ripcord”, sparks begin to fly when the perpetually cantankerous Abby is forced to accept the ever-cheerful Marilyn as her new roommate at the Bristol Place Senior Assisted Living Community. A harmless bet for a bed by the window quickly escalates into an epic contest of wills involving Sudoku, skydiving, the complications of extended family, and a generous helping of peach cobbler. As the relationship between this incompatible couple grows, long-buried secrets resurface and the power of true friendship is revealed.

“In the great tradition of mismatched and odd couples in theater, Abby and Marilyn can proudly stand tall,” Shanahan said. “I am thrilled to present this clever, funny and deeply satisfying play for our Script in Hand audience. Of course, playwright David Lindsay-Abaire is an expert craftsman when it comes to bringing laughs. heart that beats under his humor.”

Shanahan added, “‘Ripcord’ never pulls its punches, even though Abby and Marilyn hilariously fight each other as two worthy adversaries. And yet the piece manages to dig surprisingly deep, revealing hidden truths about fears and the frustrations of growing old.Whether it’s visiting a haunted house for Halloween or braving a parachute jump from an airplane, Abby and Marilyn are sure to provide a wickedly funny and heartfelt night of laughter for all who join us. at The Playhouse.”

The cast includes Jan Neuberger as Abby and Tina Johnson as Marilyn. Jan Neuberger was part of the original Broadway cast of “Wicked,” “How the Grinch Stole Christmas,” “Big,” “A Change in the Heir,” and the 1974 production of “Gypsy,” starring Angela Lansbury. She has appeared in numerous Off-Broadway, regional and stock productions, national tours, a few films and concerts at the Royal Albert and Carnegie Halls. Neuberger was in Westport Country Playhouse’s “My One and Only” in 1988. www.boomergirl.net.

Tina Johnson was in Broadway’s “State Fair,” “Damn Yankees,” “She Loves Me,” “South Pacific,” “The Best Little Whorehouse in Texas”; “Anna Christie”, “Into the Woods”, “The Skin of Our Teeth” from Delacorte/Public Theater and other Off-Broadway shows; “Radio City Christmas Spectacular” as Mrs. Claus; national tours of “White Christmas”, “42nd Street” and “Footloose”; as well as film and television. She was in Westport Country Playhouse’s Script in Hand reading of “The Savanah Disputation” and Playhouse Radio Theater’s “Spirits and Spectres” in 2021.

Also in the cast are Bruce Warren as Benjamin (actor, director, and teacher whose theatrical creations have played scenes across North America); Stephen Mark Lukas as Scotty (current Broadway revival of “Funny Girl” -u/s Nick Arnstein, and “The Book of Mormon”; Westport Country Playhouse’s “Camelot” as Lancelot in 2017); Florencia Lozano as Colleen (played Tea Delgado on daytime TV series “One Life to Live”; several prime-time TV shows; Netflix’s “Narcos”); and Derrick Cobey as Derek (second Broadway revival of “Kiss Me Kate,” Kander and Ebb’s “The Scottsboro Boys”; “Ragtime”; Barrymore Award for “Parade”).

Megan Smith is a production manager (of numerous Westport Country Playhouse productions and Script in Hand and New Works play readings since 2005). Megan McDermott will read the stagings (actor/playwright who has performed with theaters in NY, NJ and PA).

Playwright David Lindsay-Abaire is a Pulitzer Prize-winning playwright, screenwriter, lyricist and librettist. His play, “Good People”, premiered on Broadway, received the New York Drama Critics’ Circle Award for Best Play, the Horton Foote Prize, the Edgerton Foundation New American Play Award and two Tony nominations. His previous play, “Rabbit Hole,” received the Pulitzer Prize for Drama, five Tony nominations, and the Spirit of America Award. He also wrote the book and lyrics for “Shrek The Musical” (Jeanine Tesori, composer), which was nominated for eight Tonys, four Olives, a Grammy, and won Lindsay-Abaire the Ed Kleban Award as America’s most promising musical theater lyricist. In addition to “Ripcord”, his tracks include “Kimberly Akimbo”, “Fuddy Meers”, “Wonder of the World”, and “A Devil Inside”, among others. In addition to her theater work, Lindsay-Abaire’s screen credits include her film adaptation of “Rabbit Hole,” Dreamworks’ “Rise of the Guardians,” and “The Family Fang,” starring Nicole Kidman, Christopher Walken, and Jason. Batman. He is also, along with Marsha Norman, co-chair of the playwriting program at the Juilliard School.

Script in Hand curator and director Mark Shanahan has appeared at the Westport Country Playhouse in ‘Around the World in 80 Days’, ‘Tryst’, ‘Sedition’, ‘David Copperfield’, ‘Journey’s End’ over 20 readings from Script in Hand and has done readings from “Butterflies Are Free”, with Blythe Danner and Jonathan Groff, and playwright Weston David Wiltse’s “The Greatest Gift”. He is the creator and curator of the Westport Country Playhouse Radio Theater and writer/director of the Playhouse radio adaptation ‘A Merry Little Christmas Carol’. New York’s acting credit includes “The 39 Steps”, “Small World”, “Checkers”, “Tryst”, “The Shaughraun”, “As Bees in Honey Drown”, and “The Internationalist”. His directorial work has been seen at the Alley Theatre, George Street Playhouse, Virginia Stage, Arkansas Rep, White Heron, Fulton Opera House, Weston Playhouse, Florida Rep, Penguin Rep, Merrimack Rep, The Cape Playhouse and many more. He has written numerous radio plays for White Heron’s Ghost Light series (starring Christopher Plummer and Judith Ivey, among others), and is the playwright/adaptor of the hit Off-Broadway and regional comedy, “The Dingdong”; as well as “A Merry Little Christmas Carol”; “The Murder of Roger Ackroyd”; “See the monsters of the depths”; and “A Sherlock Carol,” which was nominated as Best Play 2022 by the Off-Broadway Alliance Awards and is playing this holiday season at New World Stages Off-Broadway and Marylebone Theater in London. www.mark-shanahan.net

Tickets to attend the reading in person are $20. The duration is approximately one hour and fifty minutes, with an intermission.

Before the reading, members of the Drop Party band will play music in the lobby starting at 6 p.m. Drinks and snacks will be available for purchase.

Upcoming Script in Hand readings will be the comedy “Bad Jews” by Joshua Harmon, directed by Jen Waldman, on Monday, December 12; and on February 13, March 13 and June 12, the titles will be announced.

The Script in Hand Playreading series is supported by Stephen Corman and the Lucille Lortel Foundation’s White Barn program.

For details on playing the in-hand script of “Ripcord”, visit https://cloud.broadwayworld.com/rec/ticketclick.cfm?fromlink=2209028®id=60&articlelink=https%3A%2F%2Fwww.westportplayhouse .org %2Fshow%2Fripcord%2F?utm_source=BWW2022&utm_medium=referral&utm_campaign=article&utm_content=bottombuybutton1

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Theater Critic: Terrific Cast, World Premiere Script of Forever Young https://theatreuaf.org/theater-critic-terrific-cast-world-premiere-script-of-forever-young/ Fri, 11 Nov 2022 21:14:29 +0000 https://theatreuaf.org/theater-critic-terrific-cast-world-premiere-script-of-forever-young/ Breadcrumb Links local arts Entertainment It’s heavy subject matter, to be sure, but playwright Darrah Teital balances the dark outlook with a welcome dash of humor, most evident in the relationships between the characters.]]>

It’s heavy subject matter, to be sure, but playwright Darrah Teital balances the dark outlook with a welcome dash of humor, most evident in the relationships between the characters.

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Forever Young: A Ghetto Story

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Written by Darrah Teitel; directed by Sarah Kitz

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Until November 20, Great Canadian Theater Company, 1233 Wellington Ave. W.

Tickets and schedules: gctc.ca

A new play by Toronto playwright Darrah Teitel provides valuable insight into life in the infamous Warsaw Ghetto, the few square miles in the Polish capital where the Nazis forced hundreds of thousands of Jews to live during World War II in as part of the “Final Solution”. ”

Forever Young: A Ghetto Story is set in 1943 in the heart of this ghetto, a community where food is scarce, disease is rampant and curfews are enforced by authorities prone to shooting random people in the streets when they do not actively bring them together. and send them by train to gas chambers.

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In the midst of these horrors, a group of young revolutionaries whose families have been killed try to organize a resistance. The team’s leader is the brash 19-year-old Izzy (played by Ori Black), while his companions include young Joshua (Billie Nell), who is a stickler for minutes and upholding pacifist principles, the passionate Eden (Brittany Kay) and her Polish lover, Christian (Drew Moore), and a wealthy Jewish widow, Felicia (Aviva Armour-Ostroff), who wants to help with the organizing efforts, though our young heroes aren’t sure we can trust him.

Staged on a minimal set (designed by Brian Smith) containing little more than a table or two, a few chairs and a duplicating machine for printing brochures, the script rings authentically, capturing the mind more and more urgency of the youth resistance movement and incorporating factual details that are clearly the result of meticulous research. One example is their determination to document what happened by keeping records and burying them in milk cans for future historians to discover. The minutes are skilfully represented by writing on the blackboard.

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It’s heavy subject matter, to be sure, but Teital balances dark outlook with a welcome dash of humor, most evident in the relationships between the characters. His technique is also effective in allowing characters to move in and out of their roles to give a modern context to the proceedings. Incidentally, the cast is terrific, with standout performances on opening night from Nell as the socially awkward Josh and green-haired Kay as the feisty Eden.

Brittany Kay and Ori Black play two of the young revolutionaries in Forever Young: A Ghetto Story, currently at The Great Canadian Theater Company.
Brittany Kay and Ori Black play two of the young revolutionaries in Forever Young: A Ghetto Story, currently at The Great Canadian Theater Company. Photo by Curtis Perry /Handout

Not to be overlooked is the work of director Sarah Kitz, recently appointed artistic director of the GCTC. With two one-hour acts, there’s plenty to do, but Kitz ties it all together with a graceful touch and a clear understanding of the difficult subject matter, including the various political factions.

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Overall, it’s a piece that accomplishes the difficult task of bringing to light a dark chapter in Holocaust history in a way that not only illustrates the humanity of the oppressed and, let’s not forget , the extraordinary capacity for evil of the Nazis, but also connects with contemporary audiences. There’s also a subliminal effect in the sense that I’m not sure I can hear the earworm of a theme song, Forever Young, again without thinking about the Warsaw Uprising and the senseless loss of thousands of lives, young and old.

This month’s series marks the play’s world premiere.

lsaxberg@postmedia.com

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Robbie Williams | Robbie Williams forced to cut parts of Better Man script due to legal threats https://theatreuaf.org/robbie-williams-robbie-williams-forced-to-cut-parts-of-better-man-script-due-to-legal-threats/ Tue, 08 Nov 2022 09:00:50 +0000 https://theatreuaf.org/robbie-williams-robbie-williams-forced-to-cut-parts-of-better-man-script-due-to-legal-threats/ Robbie Williams was forced to cut parts of his biopic due to legal threats. The ‘Let Me Entertain You’ hitmaker plays himself in ‘Better Man’ – which is helmed by filmmaker Michael Gracey – and he admitted he finds the process difficult. As The Sun newspaper’s Bizarre column reports, Robbie told fans during a performance […]]]>

Robbie Williams was forced to cut parts of his biopic due to legal threats.

The ‘Let Me Entertain You’ hitmaker plays himself in ‘Better Man’ – which is helmed by filmmaker Michael Gracey – and he admitted he finds the process difficult.

As The Sun newspaper’s Bizarre column reports, Robbie told fans during a performance at London’s Royal Albert Hall: “It’s ab **** to put together a film.

“You tell all these stories and then legally you have to pass them on to see if a lot of people will sue you.

“So I sent the script to a lot of people to see if they would sue me – and it turns out they are in the world.”

The 48-year-old pop star joked that the edits made the script mean he was the film’s only real villain.

He laughed, “At the start of this movie, there were at least five villains. There were at least five a*******s in the script.

“And now, for legal reasons, there’s only one a ***** in the movie and you watch it.”

Robbie also told fans what he thought when he first met director Michael, he thought the ‘Greatest Showman’ filmmaker was going to offer him the lead role in the hit musical, which instead went to Hugh Jackman.

He said: “Once he came to my house and said, ‘I want to offer you something.’

“He said, ‘Listen, I have this movie and it’s about an artist. It’s about PT Barnum, the greatest artist of all time.”

“He showed me the script for the movie and he talked about it all the way. I was like, ‘I know what’s going to happen,’ and he played me the songs. They’re amazing, aren’t they?”

However, it wasn’t to be because Michael instead wanted Robbie to help him land Hugh for the part.

He added: “At the end he said, ‘I need you to do me a favor? Would you phone Hugh Jackman and ask him to do that, please? It’s a fucking true story. Just think of what could have been.”

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5 & ​​JULIET Songs That Are Flipping the Script of Pop Music https://theatreuaf.org/5-juliet-songs-that-are-flipping-the-script-of-pop-music/ Thu, 03 Nov 2022 14:24:58 +0000 https://theatreuaf.org/5-juliet-songs-that-are-flipping-the-script-of-pop-music/ There’s a new sound on Broadway, though millennials might know all the words. That’s right, the new musical & Julietfeaturing pop songs made famous by the Backstreet Boys, Britney Spears, Kesha and more, is now premiering at the Stephen Sondheim Theatre. Luckily, there’s already an original Broadway cast recording. With a score by Max Martin […]]]>

There’s a new sound on Broadway, though millennials might know all the words. That’s right, the new musical & Julietfeaturing pop songs made famous by the Backstreet Boys, Britney Spears, Kesha and more, is now premiering at the Stephen Sondheim Theatre.

Luckily, there’s already an original Broadway cast recording. With a score by Max Martin (who wrote hits like ‘Oops…I Did It Again’, ‘Teenage Dream’ and ‘It’s Gonna Be Me’), pop music fans are in for a treat.

The twist in & Juliet is that the songs are integrated into an all-new Romeo and Juliet story that asks “what if Juliet hadn’t killed herself at the end?” With this change in mind, Theaterly decided to pick the five songs that sound the least like their original versions. Check it out below.

“I want it this way”
When Anne Hathaway (not this a) reads William Shakespeare Romeo and Juliet, she is less than thrilled. Rather than making this tune about five men singing their feelings in a huge airplane hangar to an invisible woman, the Backstreet Boys song is now a duet (sung by Betsy Wolfe and Stark Sands, no less) highlighting a partnership creative – and a wedding – on the rocks.

“I am not a girl, not yet a woman”
This song might be the musical’s most prolific contemporization. When May (Justin David Sullivan) finds herself being abused in a bathroom, they burst into this number. By framing the song through non-binary interpretation, it shows what music can do with stories old and new.

“Overprotected”
Yes, there are two Britney Spears songs on this list but only one of them incorporates a harpsichord. Sung by François (Phillipe Arroyo) and Juliette (Lorna Courtney), the song doesn’t really change in its lyrical rendition like the other songs on this list, but it’s that instrumental shakeup that I can’t get my head out of.

“Teenage Dream / Break Free”
What happens when you take two major bops from the 2010s and turn them into a duo? You get double the fun, duh! Without giving too much away, the context behind this song is quite romantic, making the two songs less of a self-reflection and more of a direct address. It’s a fun twist that you don’t see coming.

“It’s like that”
Somehow, a stripped down version of this Celine Dion empowerment anthem makes it even more powerful. Sung by Anne Hathaway and Juliet near the end of the show, the song maintains its “you can do it!” attitude. Don’t worry, that amazing bridge is still there too.

& Juliet opens November 17. For more information and tickets, click here.

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Londoner’s award-winning screenplay hits the stage at the Palace Theater https://theatreuaf.org/londoners-award-winning-screenplay-hits-the-stage-at-the-palace-theater/ Mon, 17 Oct 2022 21:07:13 +0000 https://theatreuaf.org/londoners-award-winning-screenplay-hits-the-stage-at-the-palace-theater/ Reviews and recommendations are unbiased and products are independently selected. Postmedia may earn an affiliate commission on purchases made through links on this page. Content of the article The game: The world premiere of Finding Hyde by Londoner Sean Brennan, directed by Brian Speagle and presented by London Community Players Content of the article The […]]]>

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The game: The world premiere of Finding Hyde by Londoner Sean Brennan, directed by Brian Speagle and presented by London Community Players

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The show: Finding Hyde won the 2021 Brickenden Award for Best Original Screenplay. Finding Hyde blends fact and fiction to tell the story of a revival of Thomas Russell Sullivan’s 1887 play, Dr. Jekyll and Mr. Hyde, honoring actor Richard Mansfield, who originated the double role, a year after his death. American actor Frederick Douglas is brought in but has trouble finding Hyde’s character as he is haunted by a strange visitor. In her author’s note, Brennan writes that the show is “about duality – in theater philosophy, science, and interpersonal and romantic relationships.”

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The quote: “On July 29, 2018, I attended a staged reading of Sean Brennan’s play, Finding Hyde. Being a theater history buff, I immediately fell in love with the concept of Sean’s story, traveling through the West End of London (UK) in the early 20th century. Writing a play within a play can be a tricky task, but he crafted a wonderfully structured script full of mystery, romance, and chaos. – director Brian Speagle

jbelanger@postmedia.com

Twitter.com/JoeBatLFPress

IF YOU ARE GOING TO

What: World premiere of Finding Hyde by Londoner Sean Brennan, directed by Brian Speagle and presented by London Community Players

When: Thursday, Friday, Saturday and Oct. 27-29, 7:30 p.m.; Sunday and Oct. 30, 2 p.m.

Where: The Palace Theatre, 710 Dundas St.

Tickets: $20 (preview Thursday), $30 general, $28 students and seniors, $20 youth; available at palacetheatre.ca. Reception on Friday at 7 p.m. in the hall of the Palace.

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Accomplished Script Supervisor Betty Bennett Launches Her Directing and Screenwriting Career at the 37th Fort Lauderdale International Film Festival (FLIFF) | Company https://theatreuaf.org/accomplished-script-supervisor-betty-bennett-launches-her-directing-and-screenwriting-career-at-the-37th-fort-lauderdale-international-film-festival-fliff-company/ Tue, 11 Oct 2022 23:17:48 +0000 https://theatreuaf.org/accomplished-script-supervisor-betty-bennett-launches-her-directing-and-screenwriting-career-at-the-37th-fort-lauderdale-international-film-festival-fliff-company/ FORT LAUDERDALE, Fla., Oct. 11, 2022 /PRNewswire/ — Betty Bennett, UnitedUs Group client and veteran screenwriter, will present one (1) feature film and two (2) short films at the 37th Fort Lauderdale International Film Festival (FLIFF) November 5, 2022, from 5:30 p.m. to 9 p.m. The cast and crew of her films will be in […]]]>

FORT LAUDERDALE, Fla., Oct. 11, 2022 /PRNewswire/ — Betty Bennett, UnitedUs Group client and veteran screenwriter, will present one (1) feature film and two (2) short films at the 37th Fort Lauderdale International Film Festival (FLIFF) November 5, 2022, from 5:30 p.m. to 9 p.m. The cast and crew of her films will be in attendance, as well as many industry film professionals with whom she has established a relationship of trust and connection over the years.

Betty Bennett brings a unique perspective to the field of filmmaking with her long career as a screenplay supervisor. In this role, she oversaw the continuity of numerous films and television series (including Miami Vice for four seasons). His attention to execution times, camera shots and detailed notes of what is needed and will be needed for the final cut has made many editors’ lives easier when in the editing room, and his ability to interpreting the needs of each department on the film set gave him a unique perspective of the collaboration involved in shooting and editing a film.

Now, with her move to writing and directing with her feature debut “Soils of Evil”, her many years as an accomplished script supervisor have allowed her to shoot the entire film in just 19 days and transparently wear the hats of writer, director, producer, and cinematographer.

“I’ve come a long way from being a little girl who couldn’t read because of dyslexia. I wasn’t going to let dyslexia and all the drama and trauma in my life be used as an excuse not to move on. So , enjoy the ride of ‘Soils of Evil’ because it might get rough… but how boring life would be without a few bumps,” says Betty Bennett, writer, director, producer and cinematographer of ‘Soils of Evil’ “.

With the screening of her first feature film, she will give her friends and colleagues a taste of what an experienced script supervisor, now a writer/director, can bring to a feature film with limited resources and a unique ability to tell a story. story.

You can read more about Betty Bennett and watch a trailer for her feature film “Soils of Evil” and two (2) short films “The Scarf”, “The Scarf 2” at bettythestoryteller.com.

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Unknown scenario but familiar outcome as Hokies fall to Pitt https://theatreuaf.org/unknown-scenario-but-familiar-outcome-as-hokies-fall-to-pitt/ Sun, 09 Oct 2022 01:00:00 +0000 https://theatreuaf.org/unknown-scenario-but-familiar-outcome-as-hokies-fall-to-pitt/ By David Teil In five games this season, Virginia Tech has scored five rushing touchdowns. Saturday in Pittsburgh, they allowed six to a player. There were many ways to look at the Hokies losing to the Panthers. Kedon Slovis shredding their exhausted secondary and Pitt stifling their lukewarm offense were chief among them. Neither happened. […]]]>

By David Teil

In five games this season, Virginia Tech has scored five rushing touchdowns. Saturday in Pittsburgh, they allowed six to a player.

There were many ways to look at the Hokies losing to the Panthers. Kedon Slovis shredding their exhausted secondary and Pitt stifling their lukewarm offense were chief among them.

Neither happened. Instead, Israel Abanikanda performed.

In a historic performance, Abanikanda abused Tech for 320 rushing yards and the aforementioned six scores in a 45-29 Panthers win.

“Obviously,” Hokies coach Brent Pry said, “it … bothers me a lot.”

First off, Pry is a defensive coach who has earned a solid reputation as a Penn State coordinator. Second, as a rookie head coach, he’s seen Tech (2-4, 1-2 ACC) lose in multiple ways this year.

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But just when the offense showed some life, and on an afternoon when the special teams scored a touchdown and the pass defense was serviceable, another XXL problem appeared.

The Hokies started the day 24th nationally in rushing defense, giving up 100.8 yards per game. They were 25th in average yards per carry from opponents at 3.1.

On Saturday, although against a quality fullback behind a seasoned offensive line, they were often helpless.

Certainly, the absence of winger TyJuan Garbutt, the team’s best defensive lineman, has been a problem. He played with a foot injury which eventually sidelined him.

But early on, Tech’s run defense was solid. Abanikanda’s first five runs scored minus 1 yard, and after the first three, on Pitt’s opening possession, many Panthers fans booed.

Not for long as Abanikanda scored on runs of 38, 17, 29, 5, 10 and, the knockout, 80 yards. His 320 yards are the most by a Hokies opponent and the most by an ACC player since Boston College’s Andre Williams set the conference record of 339 against NC State in 2013.

According to ESPN, Abanikanda is the first major conference player since Ricky Williams of Texas in 1998 to rush for more than 300 yards and six touchdowns in a game.

Abanikanda “played well,” said technical linebacker Keonta Jenkins, “but we just have to play better.”

Indeed, Tech didn’t tackle well, a lapse most evident on Abanikanda’s 17-yard touchdown. A host of defenders, primarily Cole Nelson, initially stopped Abanikanda with no gain on the play but was unable to finish.

Even more egregious were the Hokies’ failures to close the gaps, witness Abanikanda going untouched on at least three of his scores.

“There are fundamental things about running the defense that we didn’t do well today,” Pry said.

Still, despite all the missteps, Tech was well positioned to take a lead in the fourth quarter.

After the Panthers (4-2, 1-1) scored 24 straight points to take a 31-16 lead, the Hokies looked finished. But in Pry’s words, they “recovered,” a credit to their determination.

Grant Wells threw a 43-yard pass to Da’Wain Lofton and PJ Prioleau blocked a punt, which Nyke Johnson recovered for a touchdown. Suddenly Tech was within 31-29 and driving.

But after catching a pass for an apparent first down near midfield, Kaleb Smith (nine catches, 152 yards) lost a fumble. Moreover, he entered the tent of the wounded, not to return.

Abanikanda then buried Tech with his final two touchdowns.

“It’s the closest we’ve come to playing complementary ball,” Pry said.

Closest since a 27-10 win over Boston College in Week 2, but not that close even with Malachi Thomas restarting the running game with 84 yards and a touchdown on his season debut.

A false start from Jesse Hanson followed immediately by a late game penalty on the placement team doomed a drive. A senseless personal foul on offensive tackle Parker Clements derailed another scoring opportunity. All-ACC punter Peter Moore had his worst outing.

Last week, Tech was a 9½-point underdog in North Carolina, the biggest gap favoring the Tar Heels over the Hokies in at least 25 years, according to Odds Shark’s database.

On Saturday, Pitt was favored by 14½, the biggest gap favoring the Panthers against Tech in at least 25 years.

Notice the trend? People don’t trust the Hokies.

After three consecutive losses of at least 16 points, the question is whether they believe in themselves.

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Bulldogs looking to flip script after rocky start https://theatreuaf.org/bulldogs-looking-to-flip-script-after-rocky-start/ Thu, 06 Oct 2022 23:34:32 +0000 https://theatreuaf.org/bulldogs-looking-to-flip-script-after-rocky-start/ By Tyler HenryContributor Salina Post Bennington Football coverage is brought to you by Salina Ortho: Quality orthopedic care when you need it! Despite opening their 2022 campaign at 0-5, the Bennington Bulldogs remain optimistic about the progress they have seen and will look to put the pieces together in the final three games of the […]]]>

By Tyler Henry
Contributor Salina Post

Bennington Football coverage is brought to you by Salina Ortho: Quality orthopedic care when you need it!

Despite opening their 2022 campaign at 0-5, the Bennington Bulldogs remain optimistic about the progress they have seen and will look to put the pieces together in the final three games of the season.

“This team has consistently improved in key areas throughout the year, especially on that offensive line,” Bulldogs head coach Bryan Shamburg said. “Overall, as the season went on, we came together better as a team and the guys stayed coachable.”

Statistically, Bennington was far better than your average 0-5 8-Man team, falling to 4-1 Sylvan-Lucas by just four points and 4-1 Ell-Saline by just 14.

With such thin margins, the Bulldogs are not far from an elusive first victory, but will have to tighten up some issues to seal the deal and get there.

“The difference between narrow losses and narrow wins comes down to turnovers and stopping the big play,” Shamburg said. “If we can take better care of the ball and stop big plays, we can reverse this scenario.”

In terms of raw offense, Bennington has only been passed by 137 yards in five games, thanks in part to second-year caller Kian Wilson.

Wilson threw for over 700 yards in just five games with six touchdowns on the season but made a few underclass errors handing over eight picks in 2022.

As the season progressed and the young quarterback settled in, Bennington built his offense on a passing game that will be the unit’s strength down the stretch.

“We are getting better at passing the ball,” he said. Our receivers were better and it allowed us to use our speed.

While a long, narrow losing streak would be infuriating for most locker rooms, the Bulldogs have remained steadfast in their commitment to patching up their holes and moving forward.

“Since the games have been so close and since we were able to score quickly, the attitude of the guys has been great,” Shamburg said. “They’ve been very coachable and they understand what we need to fix to get to where we want to be.”

With two games up against 1-4 Rock Hills and 1-4 Lincoln, the Bulldogs will have a great opportunity to build momentum heading into a Week 8 clash against 4-1 Clifton-Clyde.

“We would like to win,” he said. “If we can fix a lot of the mistakes that we talked about, we think it’s possible, but we have to take it one game at a time. If our guys can get a big win, I think that would be a huge monkey on our backs.

Bennington will be back in action on Friday when they travel to Mankato for a battle with Rock Hills.

For continued coverage of Bulldog football, stay tuned to the Salina Post.

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