Theater

CURRENT GREELEY THEATER SEASON

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LOVE THE ART IN YOURSELF - NOT YOURSELF IN THE ART

IT GIVES ME GREAT PLEASURE TO ANNOUNCE 

The Greeley Theater Proposed 2018-2019 Season *

*All titles are subject to change based on the availability of rights) 

Fall Musical

 

THE PIRATES OF PENZANCE BY GILBERT AND SULLIVAN

NOVEMBER 15, 16, 17

Image result for the pirates of penzance

 

 Repertory Theater Class First Semester Project - An original Viewpoints composition inspired by 

IPHIGENIA IN AULIS BY EURPIDES

January 10,11

Image result for iphigenia at aulis

 

Winter Comedy 

NOISES OFF BY MICHAEL FRAYN

February 7,8,9

Image result for noises off

 

 

SENIOR MUSICAL  

March 21,22,23

T.B.A !!!!!!!

 

 

Spring Play

April 10,11,12

OUR TOWN BY THORNTON WILDER

Image result for our town

 

SPRINGFEST (ORIGINAL STUDENT WRITTEN AND DIRECTED PLAY FESTIVAL) 2019

June 3,4,5

REPERTORY THEATER CLASS FINAL PERFORMANCE  - A FORUM THEATER PLAY INSPIRED BY AUGUSTO BOAL AND THE THEATER OF THE OPPRESSED 

June 6

Image result for Augusto Boal

 

AUDITION INFORMATION FOR UPCOMING PRODUCTIONS

AUDITIONS FOR OUR FALL MUSICAL THE PIRATES OF PENZANCE WILL BE HELD DURING THE FIRST TWO WEEKS OF SCHOOL IN SEPTEMBER

"PIRATES" is an incredibly fun show. I played the Pirate King when I was 12 and it was very popular then due to a tremendously successful production that some of your parents might remember. It was a HUGE hit. 

This production was directed by Joe Papp (If you don't know who is/was LOOK HIM UP!) . This production began as part of the Shakespeare in the Park summer series - then was transferred  to Broadway at the URIS - (NOW THE GERSHWIN where "Wicked" is playing) and finally a  film adaptation of the production.

Here is an excerpt from a review of that production by Frank Rich who was then chief critic of the New York Times.

"LAST night Joseph Papp's production of ''The Pirates of Penzance'' sailed into the Uris, and, yes, it is every bit as wonderful on Broadway in January as it was in Central Park in July. It may even be more wonderful. The chorus leaps higher; the band plays brighter; the powerhouse stars are now so self-assured that you may think they own the town. And, don't worry, they haven't forgotten about the moon that rose over the park in Act II. Thanks to the lighting designer Jennifer Tipton, there's a lovely full moon indoors at the Uris, too. The best things in life don't have to be free.

Perhaps it seems irrational to be thrown into ecstasy by a century old Gilbert and Sullivan operetta. After all, ''Pirates'' isn't about anything except a crew of benign pirates, a bevy of marriageable maidens and a platoon of cowardly bobbies. W.S. Gilbert's Dickensian plot - which often revolves around mistaken word identities (''pirate'' for ''pilot,'' ''often'' for ''orphan'') - is the quintessence of silly, and his satirical jests limn Victorian manners that mean little to contemporary American audiences.

Yet, as Gilbert might say, it really doesn't matter."

 

YOU CAN AND SHOULD VIEW THIS AT THE FOLLOWING YOU TUBE LINK OF THE FILM

https://www.youtube.com/watch?v=3KSxW5tGzsc&t=2448s

The libretto is also available online - (we will be using a slightly different version taken from the Joe Papp production but those materials won't be in until August - so use this to follow/sing along.

http://www.gsarchive.net/pirates/pirates_lib.pdf

AUDITION MATERIALS WILL BE MADE AVAILABLE THROUGH A LINK TO A GOOGLE FOLDER THAT CAN BE ACCESSED FROM THIS WEBSITE

PLEASE KEEP CHECKING BACK FOR THAT INFORMATION

VOCAL AUDITIONS WILL BE HELD ON

THURSDAY SEPTEMBER 6 AFTER MADRIGALS AND STAGECRAFT BEGINNING AT 3:35 

and FRIDAY SEPTEMBER 7th at 2:35 

A SIGN UP SHEET FOR TIMES WILL BE POSTED ON THE THEATER MESSAGE BOARD 

DANCE AUDITION WILL BE ON WEDNESDAY SEPTEMBER 12th at 2:45 IN THE AUDITORIUM (ALL MUST ATTEND)

CALLBACKS WILL BE HELD ON THURSDAY SEPTEMBER 13th at 2:45 - THE CALLBACK LIST AND MATERIALS TO PREPARE FOR CALLBACKS WILL BE POSTED BY MONDAY SEPTEMBER 10th 

REHEARSAL SCHEDULE FOR CURRENT PRODUCTION

 

                   There is no Greeley Theater production in rehearsal right now ! *

*HOWEVER - An outline of The Pirates of Penzance Schedule is posted below 

PLEASE CLICK ON THE THEATER OFFICE LIBRARY PAGE AND READ PLAYS OVER THE SUMMER !!!!!

I WILL BE COMING TO CHAPPAQUA AT VARIOUS POINTS IN JULY AND EARLY AUGUST

(AUGUST 4th - 25th I go to FRENCH WOODS  CAMP TO DIRECT LEGALLY BLOND)

IF YOU E-MAIL ME AT Jogellert@ccsd.ws we can meet and you can sign out plays and books. PLEASE DO SO !!!!!

REHEARSAL SCHEDULE FOR “THE PIRATES OF PENZANCE”

 

Please note that this rehearsal schedule is a wish list and absolutely will need to adjust based upon

  • How much material is covered  on a particular day

  • The need to reschedule rehearsals based upon stuedent/faculty absence

  • Weather (less of a problem for the Fall musical generally)

 

I will update the schedule DAILY as needed. It is your responsibility as a cast member to check the schedule both here and on the of the stage right door (Theater bulletin board).

 

However this serves as an overview and outline and we will ALL  MAKE EVERY POSSIBLE EFFORT to adhere to this schedule as much as is possible.



 

Day

Date

Time

What

Who

Where

Wednesday

9/5

6:15

IMPORTANT GREELEY THEATER BEGINNING OF THE YEAR ORIENTATION

FOR ALL STUDENTS (AND THEIR PARENTS) WHO ARE  PLANNING TO AUDITION FOR PIRATES AND ANY OTHER GREELEY THEATER PRODUCTION THROUGHOUT THE YEAR

Auditorium

Thursday

9/6

2:45 - 6:00 (sign up for slot)

Initial Vocal auditions​

sign up sheet is posted on back of Theater dept bulletin board by the theater office

​chorus room - Meet outside of Theater office to wait your turn and fill out audition form

Friday

9/7

2:45 - 6:00 (sign up for slot)

Initial Vocal auditions​

sign up sheet is posted on back of Theater dept bulletin board by the theater office

​chorus room - Meet outside of Theater office to wait your turn and fill out audition form

​Wednesday

9/12​

​2:45 - 5:00 (you will be taken in groups and not everyone will need to stay the entire time)

​Dance Audition

​ALL WHO AUDITION

​Auditorium

Friday

9/14

2:45

Read-Through

Full Company

 

Monday

9/17

3:30-5

Music Rehearsal: POOR WANDERING ONE - FINALE, OH MEN OF DARK AND DISMAL FATE

Full Company

 

Thursday

9/20

3:30-

4:30

Music Rehearsal: POOR WANDERING ONE - FINALE, OH MEN OF DARK AND DISMAL FATE

STAY WE MUST NOT LOSE OUR SENSES, HOLD MONSTERS, I AM THE VERY MODEL OF A MODERN MAJOR GENERAL @ 4:30 Ruth, Pirate King and Frederic stay and work of “My Eyes Are Fully Open” until 5pm

Full Company

 

Friday

9/21

2:45 -4:30

Music Rehearsal Review: STAY WE MUST NOT LOSE OUR SENSES, HOLD MONSTERS, I AM THE VERY MODEL OF A MODERN MAJOR GENERAL, OH MEN OF DARK AND DISMAL FATE, POOR WANDERING ONE - FINALE

Full Company

 

Monday

9/24

3:30-5

 

STOP LADIES PRAY, OH IS THERE NOT ONE MAIDEN BREAST (Maiden Chorus), HOW BEAUTIFULLY BLUE THE SKY

ALL Daughters, Edith, Kate Isabel, Mabel

 

Tuesday

9/25

3:30-5

Music POUR OH POUR THE

PIRATE SHERRY, OH BETTER FAR TO LIVE AND

DIE

ALL Daughters, Edith, Kate Isabel, Mabel, Frederic

 

Wednesday

9/26

3:30-5

Music Rehearsal: CLIMBING OVER ROCKY MOUNTAIN, POOR WANDERING ONE, WHAT OUGHT WE TO DO? OH DRY THE GLIST'NING

 

Dance Rehearsal: Pour Oh Pour The Pirate Sherry

ALL Daughters, Edith, Kate Isabel, Mabel,

 

All Pirates, Frederic, Ruth

 

Thursday

9/27

2:45-4:30

Music Rehearsal: A ROLLICKING BAND OF PIRATES WE, WITH CAT-LIKE TREAD, HUSH HUSH NOT A WORD, SIGHING SOFTLY TO THE RIVER

ALL Pirates, Sergeant, ALL Police, King, Frederic, Samuel, General

 

Friday

9/28

3:30-5

Music Rehearsal: WHEN THE FOEMAN BARES HIS STEEL, NO I AM BRAVE, WHEN A FELON'S NOT ENGAGED IN HIS EMPLOYMENT

 

Dance Rehearsal: I am a a Pirate King

Sergeant, ALL Police, Mabel, ALL Daughters, General

 

All Pirates, Frederic, Ruth

 

Monday

10/1

3:30-5

Music Rehearsal:

FINALE (Full), POUR OH POUR THE

PIRATE SHERRY, OH BETTER FAR TO LIVE AND

DIE

Full Company

 

Tuesday

10/2

3:30-5

Music Rehearsal:

WHEN FREDERIC WAS A LITTLE

LAD, OH FALSE ONE YOU HAVE DECEIVED ME,

NOW FOR THE PIRATES LAIR, WHEN YOU HAD

LEFT YOUR PIRATE FOLD, MY EYES ARE FULLY

OPEN, AWAY AWAY MY HEARTS ON FIRE

Frederic, Ruth, King, Sergeant, ALL Police

 

Wednesday

10/3

3:30-5

Music Rehearsal:

OH IS THERE NOT ONE MAIDEN

BREAST, POOR WANDERING ONE, HOW

BEAUTIFULLY BLUE THE SKY, ALL IS PREPARED,

STAY FREDERIC STAY

 

Dance Rehearsal: When the Foeman bears his steel

Frederic, Mabel, ALL Daughters, Edith, Kate, Isabel





 

Sergant. All Police

 

Thursday

10/4

3:30-5

Music Rehearsal:

Review Of ALL Songs For MABEL,

FREDERIC, RUTH & GENERAL

MABEL,

FREDERIC, RUTH & GENERAL

 

Friday

10/5

 

Dance Rehearsal: When a fellows not engaged in his employment

Sergant. All Police

 

Tuesday

10/9

       
 

Wednesday

10/10

 

Dance Rehearsal:/How Beautifully blue the sky,Climbing over Rocky Mountain

Mabel and All Daughters. All Daughters except Mabel

 

Thursday

10/11

       
 

Friday

10/12

 

Dance Rehearsal - Act 1 Finale

Full company

 

Saturday

10/13

 

Dance Rehearsal - Review/Stay we must not lose our senses

Full company

 

Monday

10/15

       

Tuesday

10/16

       

Wednesday

10/17

 

Dance rehearsal - With Cat Like Tread

Full Company

 

Thursday

10/18

       
 

Friday

10/19

 

Dance rehearsal - With Cat Like tread

Full Company

 

Saturday

10/20

 

Dance rehearsal - Act 2 Finale

Full company

 
 

Monday

10/22

       

Tuesday

10/23

       
 

Wednesday

10/24

 

Dance rehearsal - Review all dances

Full Company

 

Thursday

10/25

       
 

Friday

10/26

 

Dance rehearsal - Review all dances

Full Company

 

Monday

10/29

       
 

Tuesday

10/20

       

Wednesday

10/31

 

Dance rehearsal  - review all dances

Full company

 

Thursday

11/1

       

Friday

11/2

 

Dance rehearsal  - review all dances

Full company

 
 

Saturday

11/3

 

Stumble through

Full Company

 

Monday

11/5

 

Run/Work through Act 1

Full Company

 

Tuesday

11/6

 

Run/Work through Act 2

Full Company

 

Wednesday

11/7

 

Run through

Full company

 
 

Thursday

11/8

 

Run through

Full company

 

Friday

11/9

 

Run Through

Full company

 
 

Saturday

11/10

 

Tech day - Full company called

Full company

 

Sunday

11/11

 

Cue to cue

Full Company

 
 

Monday

11/12

 

First Dress

Full Company

 

Tuesday

11/12

 

Second Dress

Full Company

 
 

Wednesday

11/13

 

Final Dress

Full Company

 

Thursday

11/14

 

Opening

   
 

Friday

11/15

 

Second performance

   

Satuday

11/16

 

Closing

   

Sunday

11/17

 

SET STRIKE

   

 

 

STUDENT LEADERSHIP POSITIONS IN GREELEY THEATER

 

 

If you wish to be considered for any of the open positions please e-mail me at Jogellert@ccsd.ws 

FRESHMAN WILL ABSOLUTELY BE CONSIDERED FOR APPRENTICE AND ASSISTANT POSITIONS !  

OPEN - A GRAPHIC ARTIST POSTER AND PROGRAM DESIGNER

Student Events Coordinators - Ellie Leibner and Jordan Burrows 

Playwriting and Directing/Springfest Student Producers - Jacob Kaufman-Shalett and David Katz 

Student Treasurer - Kyle McAfee

Student Costume designers/coordinators - Olivia Snow and Isabella Garcia 

OPEN ! - up to TWO apprentice student Costume designer/coordinators

Student Lighting designer/coordinator - Max Auerbacher 

OPEN ! - up to TWO apprentice student Lighting designer/coordinators

Student Sound designer/coordinator - Ben Hirshfield 

OPEN ! - up to TWO apprentice student Sound designer/coordinators

Student Playbill coordinator - Vivian Zymeck

OPEN ! - up to TWO apprentice student Playbill coordinators

 OPEN ! - up to TWO apprentice student SET DESIGN AND CONSTRUCTION coordinators

Associate Student Director for Pirates of Penzance  - Samantha Phillips 

OPEN ! - up to TWO assistant student directors for Pirates of Penzance (if you choose do take this on you will not be performing in musical)

OPEN ! - Student Advertising/Marketing coordinator  

OPEN ! - Up to two assistant Student Advertising/Marketing coordinators 

ADVERTISE WITH GREELEY THEATER COMPANY

Please support Greeley Theater by advertising in our program. 

A sample advertising form can be found below. 

Image may contain: text

Image may contain: text

GENERAL PROGRAM ANNOUNCEMENTS

THERE WILL BE A BEGINNING OF THE YEAR ORIENTATION FOR PARENTS OF THOSE STUDENTS WHO PLAN TO PARTICIPATE IN ANY GREELEY THEATER PRODUCTIONS OR CLASSES ON WEDNESDAY  SEPTEMBER 5, 2019 AT 7:00 PM

BOX OFFICE

 All tickets for Greeley Theater productions can be purchased by clicking on the following link 

http://greeleytheater.tix.com

ABOUT THE PIRATES OF PENZANCE

"PIRATES" is an incredibly fun show. I played the Pirate King when I was 12 and it was very popular then due to a tremendously successful production that some of your parents might remember. It was a HUGE hit. 

 

 

This production was directed by Joe Papp (If you don't know who is/was LOOK HIM UP!) . This production began as part of the Shakespeare in the Park summer series - then was transferred  to Broadway at the URIS - (NOW THE GERSHWIN where "Wicked" is playing) and finally a  film adaptation of the production.

Here is an excerpt from a review of that production by Frank Rich who was then chief critic of the New York Times.

"LAST night Joseph Papp's production of ''The Pirates of Penzance'' sailed into the Uris, and, yes, it is every bit as wonderful on Broadway in January as it was in Central Park in July. It may even be more wonderful. The chorus leaps higher; the band plays brighter; the powerhouse stars are now so self-assured that you may think they own the town. And, don't worry, they haven't forgotten about the moon that rose over the park in Act II. Thanks to the lighting designer Jennifer Tipton, there's a lovely full moon indoors at the Uris, too. The best things in life don't have to be free.

Perhaps it seems irrational to be thrown into ecstasy by a century old Gilbert and Sullivan operetta. After all, ''Pirates'' isn't about anything except a crew of benign pirates, a bevy of marriageable maidens and a platoon of cowardly bobbies. W.S. Gilbert's Dickensian plot - which often revolves around mistaken word identities (''pirate'' for ''pilot,'' ''often'' for ''orphan'') - is the quintessence of silly, and his satirical jests limn Victorian manners that mean little to contemporary American audiences.

Yet, as Gilbert might say, it really doesn't matter."

 In addition to a link to the You tube of the Joe Papp production I  also provided a link to a public domain libretto which is pretty much the same as the one we are using - although there are a few differences as MTI licenses the Joe Papp version which contains another great patter song taken from Ruddigore -  "My eyes are fully open" (which if you know Thoroughly Modern Millie was adapted and reappropriated  as "The Speed Test).

YOU CAN AND SHOULD VIEW THIS AT THE FOLLOWING YOU TUBE LINK OF THE FILM ADAPTATION OF THIS PRODUCTION. THE SHOW WAS A LOT BETTER AND I REMEMBER IT SO WELL BUT I'M GLAD THESE PERFORMANCES WERE PRESERVED

https://www.youtube.com/watch?v=3KSxW5tGzsc&t=2448s

The libretto is also available online - (we will be using a slightly different version taken from the Joe Papp production but those materials won't be in until August - so use this to follow/sing along.

http://www.gsarchive.net/pirates/pirates_lib.pdf

FRIENDS OF GREELEY THEATRE

The website for FRIENDS OF GREELEY THEATRE can be found at 

https://www.fgtheatre.com 

THE NEXT FUNDRAISER FOR THE FRIENDS OF GREELEY THEATER WILL TAKE PLACE ON  SATURDAY NOVEMBER 3,2018.

MARK YOUR CALENDAR !!!!

Friends of Greeley Theatre is a not-for-profit organization established to provide financial support for the Horace Greeley High School Theatre Department in Chappaqua, New York.

With your support, we purchase equipment, subsidize enhancements and expand opportunities in drama, music and theatre related arts.

 

SENIOR MUSICAL

 

One of the most exciting times to be on the Greeley campus is during the Senior Musical season! For 66 years !!!  seniors have come together at the end of the school year to participate.

This past year over 200 members of the senior class  presented "Disaster" on March 22nd, 23rd, and 24th.  

The profits from the musical funded scholarships provided by the Horace Greeley Scholarship Fund. HGSF is a not-for-profit organization that provides grants to Greeley students to help fund their college education by filling the gap between the actual cost of tuition and living expenses, and whatever other financial aid and loans are available to them.

Next Years senior musical will be presented on March 21, 22, 23rd 2019 

The senior musical choice is voted upon at the beginning of the school year and then approved by the performing arts department and administration.

 

GREELEY THEATER CLASS OFFERINGS

 

WELCOME TO GREELEY THEATER !!!!!!!!

I want to begin by extending a warm welcome to what I hope will be a home for you in this building !!!

Here is some important info  My e-mail jogellert@ccsd.ws

 My phone (914) 238.7201 ext.2302

The following Drama classes are available to students

1)          Acting 1    

2)          Acting 2,3,4 

3)          Musical Theater 

4)         Repertory Theater Company 

5)          Playwriting and Directing

6)          Stagecraft 

7)          Speech and Communication

8)          Independent Studies (Individual Monologue work, Theater history, other topics of interest)

PLEASE CLICK ON THE INDIVIDUAL CLASS PAGE TO FIND OUT MORE 

 



 

ACTING 1

Acting 1

 Course Description:

This class is intended to serve as a solid foundation for all acting work. We will begin with games and improvisation in order to bring our natural sense of play to everything that we do onstage. Following this we will study the general outline of Western Theater History up through the plays of William Shakespeare. We will then begin working with text. We will begin Shakespearean monologue work followed by work on "Open Scenes". 

Course Breakdown:

Units/Topics for Acting I students:

  • Unit 1 Theater Games and Improvisation Our first unit will be spent on learning and mastering the fundamentals of “long form” or “narrative” improvisation. You will learn and through many exercises, practice the three rules that are fundamental not only to improvisation but to all acting work both scripted and unscripted.  By the end of this unit you will have a solid foundation in narrative improvisation which will translate into our next unit.

The following progression of exercises will be used for this unit.

·         Gift giving

·         The expert game

·         The reunion game

·         Status wander

·         Status conversations

·         Status bench

·         The four status states

·         The King game

·   

·     

  • Unit 2 Theater History overview

The following topics will be introduced

1.       MYTH AND RITUAL

2.       GREEK TRAGEDY

3.       GREEK COMEDY

3.       ROMAN THEATER

4.       MEDIEVAL THEATER

5.       COMMEDIA DEL ARTE 

6.       THE SPANISH RENAISSANCE 

7.       THE FRENCH RENAISSANCE 

8.        THE ENGLISH RENAISSANCE 



 

This unit will end with a quiz.

  • Unit 3 Monologues  
  • Unit 4 Actions and Beats - Introduction to Scene work 

ACTING 2,3,4

Welcome to Acting II, III and IV

This class is designed to build on the foundation of focused play and familiarity with action introduced in Acting 1. We will be making a big leap forward in this class by introducing the fundamentals of  "Meisner work", which is a technique to begin living truthfully under imaginary circumstances. We will next continue the overview of theater history - picking up where we left off and continuing to the present day. The remainder of the semester will be spent on scene study, using challenging scenes from 20th and 21st century plays to create stronger and stronger connections between ourselves and the material. 

UNIT 1 - INTRODUCTION TO THE MEISNER TECHNIQUE

We will spend the first quarter working with Larry Silverberg's "MEISNER FOR TEENS". 

Unit 2 - THEATER HISTORY PART 2 

1.      17th and 18th century comedy of manners

2.   17th and 18th century musical theater/opera

3.   19th Melodrama and the well made play

4.   NATURALISM

5.   ABSURDISM

6.   EXPRESSIONISM 

7   EPIC THEATER  - .

8. .AMERICAN REALISM

9. CONTEMPORARY THEATER

UNIT 3  - SCENE STUDY

We will next work on challenging scenes from important 20th century and contemporary plays, using the "Meisner work" introduced in the first quarter to deepen our connection to the material. 

Scenes will present on two occasions - once before class feedback and coaching and once after. 

We will perform as many scenes in as many combinations as time allows. 

MUSICAL THEATER CLASS

MUSICAL THEATER 

Course Description: This class is designed for the beginning as well as more experienced musical theater performer.  Certain aspects of theatrical movement will be introduced however the major performance focus will be on acting and vocal growth. Students will also be introduced to the major artists and works in musical theater history. 

Unit 1: Introductions - first presentation

We will get to know each other and about our background, experience and interest in Musical Theater. 

Each student will then choose a song from a musical, that they know well and have performed and/or worked on previously. (If students have not performed at all then material will be provided). 

In the first few classes students will perform this song for the class. ​

We will then coach the student on this material and it will be presented a second time.

 

Unit 2: Musical Theater terminology and history

This next unit will introduce students to the major artists and major works  in musical theater history. 

The following is an overview of what will be covered in this unit

Composers/Lyricists/Librettists

  1. Gilbert and Sullivan   
  2. Minstrelsy/Vaudeville/Burlesque   
  3. American Comic Opera and Operetta  
  4. Kern and Hammerstein 
  5. Rogers and Hart 
  6. George and Ira Gershwin  
  7. Cole Porter 
  8. Rogers and Hammerstein 
  9.  Lerner and Loewe
  10.  Leonard Bernstein  
  11. Jule Styne
  12. Frank Loesser 
  13. Meredith Willson
  14. Stephen Sondheim
  15. Bock and Harnick  
  16. Stephen Schwartz
  17. Jerry Herman 
  18. Andrew Lloyd Webber and Tim Rice    
  19. Schönberg and Boublil 
  20. Jonathan Larson  
  21. Jason Robert Brown
  22. Lin Manuel Miranda 
  23. Recent and emerging musical theater writers 

As we discuss these artists and the works they created, students will also be introduced to the major performers directors and choreographers of musical theater history. 

There will be a quiz at the end of this unit. Students will also choose one musical to get to know better and will present a 5-7 minute powerpoint/prezi presentation about this work. 

Unit 3: Continuing work on material 

Students will be given material chosen by the teachers of class designed to stretch them both in terms of style, acting and vocal performance.

The material may be trios, duets or solos. 

Each piece will be performed in separate showings - once before and once after coaching and in class rehearsal.  

We will rehearse/ coach and present as many times as possible until the end of the semester.

REPERTORY THEATER COMPANY

 

Thank you for visiting the Repertory Theater Company class page. 

The Repertory Theater Company class is for those students who wish to push themselves to create meaningful work.

Our First semester this  past year was spent working on and presenting a production of "A Midsummer Night's Dream".

Second semester the Repertory Theater Company Acting students trained using Viewpoints, which is a ensemble based physical acting technique used throughout the world and developed by internationally renowned theater artist Anne Bogart who runs the Graduate MFA at Columbia University. The Repertory Theater class will be deepening their Viewpoints training again next year for the first semester and perhaps the entire year. 

Selection to the Repertory Theater class is by audition.

Students are eligible to be considered for "Rep", after completing two semesters of Theater coursework. Students may audition after completing one semester of course work in Theater and being enrolled a the second semester. 

Students may become members of the Repertory Theater Company class as Actors or Design/Tech students.

Generally students choose one path, however it is possible that students may participate in the class as both performers and as designers/technicians if they wish to do so. 

The most typical AND SUGGESTED way that Acting students fulfill the two semester requirement is by taking Acting 1 and Acting 2,3,4. However some students find that it is not possible to do so based on their schedule. Therefore in lieu of Acting 2,3,4 students may elect to do an independent study for their second semester. If enough students seek this option it may be possible to create a section called Intermediate Acting which meets during the activity period. Another way students may complete the second semester requirement is through writing and directing their own play in the Play writing/Directing Class. This class is typically only for Sophomores, Juniors and Seniors as the degree of independent student initiative that is required to write and direct a project is more suited to older students, however I have allowed motivated Freshmen who are greatly interested in this class to participate after they complete a written assignment outlining their ideas and goals.  Another way to complete this requirement is by taking part in a semester of Stagecraft.

Design/Tech students who wish to be considered for the Repertory Theater class must complete two semesters of Stagecraft and also distinguish themselves by working on productions in one or more of the following areas (Set design and construction, Lighting, Sound, Costuming). The stagecraft class and Greeley Theater production schedule will give the interested student many opportunities to develop their skills and demonstrate the leadership necessary to be part of the Repertory Theater class. 

Here is what students worked during the Spring semester of 2018. 

REPERTORY THEATER CLASS PERFORMANCE/DEMONSTRATION OF OUR INTRODUCTION TO VIEWPOINTS WORK – JUNE 7,2018

Viewpoints is an actor training system and way to generate new work that was developed by Anne Bogart in connection with numerous other artists.

While Viewpoints was designed as a training pedagogy for performance, it has proven to be directly applicable to myriad other professions and hold a variety of practical applications in everyday life. Students and practitioners describe using the Viewpoints training to codify practices and procedures in architectural design, social work and community organization, and musical comprehension, to name a few. Maridee Slater - a professional director who has studied under Anne Bogart through the MFA directing program at Columbia and SITI Company has been working with us on introducing some of the training exercises as well as helping guide our composition work.

We began our work on Viewpoints before Maridee Slater joined us with an exercise that I did almost twenty years ago in a workshop that I took part in at Columbia University with Anne Bogart.

We broke off into groups of 5 with each group presenting 5 separate pieces using the other 4 members of their group as actors. After presenting these initial compositions - the class was assigned the new Lawrence Selnick translation of "The Seagull" as well as a YouTube link to the Williamstown Theatre Festival made-for-television production of the play starring Frank Langella, Blythe Danner and Olympia Dukakis.​ I also assigned the first two essays of a series of in class readings. I have made copies of those readings available. This first essay is by Tina Landau which introduces all of the Viewpoints as well as discusses the three aspects of the Viewpoints work.

These are the NINE Viewpoints

1.     TEMPO – how fast or slow something is done/occurs

2.     DURATION – how long or short an one thing occurs)

3.     KINESTHETIC RESPONSE involuntary reaction to stimuli/an instinctive response to external stimuli

4.     REPETITION – the copying of a moment or gesture or floor pattern or sound, etc.)

5.     SHAPE – the form of bodies in space/the outline of the body

6.     GESTURE – (both Abstract and Quotidian) Abstract gestures convey greater ideas (love, justice, incarceration, etc.). Quotidian gestures are of the everyday (wiping sweat off a forehead, picking your nose, adjusting clothing, etc.)

7.       ARCHITECTURE the environment that an event contains

8.       SPATIAL RELATIONSHIP – the relationship between people and objects in space/how near or far we are from one another

9.       TOPOGRAPHY/FLOOR PATTERN the pattern of movement from A to B on a floor

There are three aspects of viewpoints work

·         Training - The rigorous training exercises designed to strengthen awareness of the viewpoints and create the possibility of tremendous creative ensemble work. You will see examples of some of these

·         Sourcework  Music, art, fashion, other text – anything that is inspired by the piece being worked on is found and shared by the ensemble as a way into the work.

 

  Composition An original collage that uses the training, source-work and Viewpoints to create a theatrical event such as an example you saw tonight

We discussed our first composition using the language of Viewpoints for the first time. We then moved onto a second composition, introducing “sourcework”. I made copies and uploaded the first essay from Anne Bogart’s work...and then you act on "context" to compliment this work.

Students were asked to find online and print or cut out of newspapers or magazines images of groups of people relating to each other. Each group then had no more than 6 minutes to create a piece. This is enormously important as one of the most challenging and important components of this work is creating quickly on your feet. The piece represented one image transforming into their representation of the second image. While working, the group's goal was striving to be aware of and to incorporate awareness of all of the Viewpoints.  We then showed these twice; the second time we added a new element: Music. We then discussed as a class how meaning was created and affected by the addition of this element and how the addition of other elements might create and affect meaning.

Our next exercise was designed as an introduction to how Narrative can function in this work. We will broke into groups of three   One person served as director,  In anticipation of the work on "The Seagull" we called this work "Love story". We created Tableaux's with with each piece including at least one moment of shared weight.  Each piece had a title and a linking device (as with the first exercise the audience's eyes closed between images).

Each group had no more than 5 minutes to create their piece. In the next few classes, we presented "Love Story", revisiting these pieces and adding movement and sound. The groups then added one line of text from each act of The Seagull. Each correspond to one act of the play.

We then broke into the four groups that you saw today and each group first broke each act into “mis-en-scenes” (a term used in both theater and film to define an important moment or shot that is an essential piece of the storytelling pie). Each group then created a tableaux and a title for each mis-en-scene. These were presented and the class responded with greater familiarity with the language of Viewpoints. These tableaux served as a foundation for the work you saw presented this evening.  Each group then expanded their composition into what you saw tonight. Each composition needed use the following.

Tableaux's needed to be part of composition

Memorize​d text from The Seagull act you are focused on, used in any order, spoken as you wish, by anyone.

Music from an unexpected source

Shared weight

Revelation of character

Revelation of space

Revelation of prop

15 seconds of silent yearning

A surprise entrance

A broken expectation

Jo Ha Kyu that leads into next Mis-en-scene

15 seconds (at least) of live music (instrument or vocal) 

Here is a list of the training exercises that students have been working with.

FLOW

.The Five guiding principles of FLOW ARE:   

·         Move through the spaces between other people

·         Start/stop

·         Change direction

·         Change tempo

·         Follow someone

·         Extra: Be and Notice

*This exercise works best if there are no added gestures, fancy walking styles, or changes of level. The beauty and rigor comes from the simplicity of the ensemble improvisation.

FLOCKING

The group starts in a clump. One person leads the movement, and everyone follows them as precisely as they can by picking up intuitively (without looking directly to mimic). Eventually, there is no leader - the group is moving together as a whole.​

LANES

Participants line up along the upstage line, facing the audience. Similar to bowling alley lanes, each person moves in their respective line. This exercise highlights Kinesthetic Response. The vocabulary participants can use includes: Clapping; Start/Stop; Jump; Lay Down; Run/Walk (utilizing the scale of tempo 1-10). Focus remains straight ahead, always facing downstage.

 

SLOW TEN

An exercise that is completely slow-tempo. Two lines stand facing each other. The whole ensemble moves together, with each line walking towards the other. Important to maintain the integrity of the line you are in while also remaining with your focus forward and your tempo completely consistent. The Lines pass through each other, walk to the opposite side of the space and turn around AS A GROUP to return to where they originated the exercise. Two passes across the space for each line. All turn downstage when the turn happens. Everyone's first step is with the downstage leg. The end comes when each line has returned but has not turned around (so we end up with the lines facing away from each other

STOMPING SHAKUHACHI

What students did in class was stomping together for 3 1/2 minutes (either to the traditional music or to the leader's choice). There is traditional music but when working with us, Maridee Slater used Miserlou (Dick Dale) and Love Buzz (Nirvana).  During the last 45 seconds of stomping, everyone makes their way towards the upstage line, scattering as a group and all facing downstage. At the end of the song, all fall. This is the lead-in to Shakuhachi (named after the flute played in the original song). From here, everyone slowly rises, moving from their core (no pushing off the ground with their arms) in a continuous rise. They find infinite focus. There should be no pausing over the course of the rise to standing. Then they all move downstage to form a Company style line on the "proscenium". This utilizes the slow-tempo method of walking.

DOWN IN 10,5,3,0

Heels are together, toes apart. Similar to ballet position #1. Knees are tracked over the toes. Arms are at the side, holding imaginary poles parallel to the earth. Down in 10 - a cue is given (a clap) and the leader counts backwards from ten, guiding the actors in a descent towards the earth. Legs are engaged; focus is straight ahead; torso is straight (not leaning over/back/sideways); tension is released in the neck/arms/shoulders; heels are intended together. Movement should be at a consistent tempo all of the way down. This is the same way we rise back to standing. Adjust this for a 5 count, a 3 count, and "on the clap (0 count).

2,6,8 - TWO COMPLETE STOPS - 6 CHANGES OF DIRECTION - 8 JUMPS

Two complete stops, 6 changes of direction, 8 jumps. Group starts in a circle. They begin moving in a direction decided by the group. It is up to an outside guide to decide how many of each task has been completed. Focusing energy towards the center of the circle is key to the success of this exercise.

Sound scape -Group starts in a circle, facing in. One at a time, as soundscape is built, each person adding to the elements introduced already

ART BRAIN

We imagined our space (this auditorium - however any space works) as though it was an art installation funded by a grant.  We bought into the reality that teams of designers spent two years conceiving and executing every element of this space with meticulous detail.  There are performers present as well (US) (from Juilliard or Yale, perhaps?).

We allow for the fact that it’s an incredible collaboration brought together to curate this experience you are about to have.

The class spent 15-20 minutes to explore and take in the space and each other with this new lens.  We then circled up and shared some amazing discoveries that this new perspective offered.

CONCEPTS

Jo-ha-Kyu is the lifeblood of Noh. Jo-ha-kyu is really about expansion and contraction of energy.It literally means “beginning, middle, end” or “slow, fast, faster”. Jo-ha-kyu is really about expansion and contraction of energy.Our work next year will explore this great depth.

SATS

A powerful concept developed by Eugene Barba, an Italian Author, Theater director and founder of the International school of Theater Anthropology. SATS can be understood as the instant which precedes the action, when all the necessary force is ready to be released into space but as though suspended and still under control, the performer perceives her/his energy in the form of SATS of dynamic preparation. We will be expanding on this powerful concept in the work next fall as well.

  •  
  • I am very pleased to announce the Greeley Theater Repertory Theater Company for 2018-2019
  • Hudson Alexander
  • Sarah Bogner
  • Jordan Burrows
  • El Cetinski
  • Liam Curtis
  • Erica Dunne 
  • Ava Foster
  • Benjamin Hirshfield
  • David Katz
  • Jacob Kaufman-Shalett
  • David Koestler
  • Ellie Leibner
  • Kyle McAfee
  • Emily Nobel
  • Evan Ozer
  • Samantha Phillips
  • Lily Restivo
  • Olivia Snow
  • Hannah Sobon
  • Jordan Ziegler
  • Vivian Zymeck

 

 

STAGECRAFT

 

We offer a full range of opportunities for backstage experience at Greeley Theater both for the beginning and more advanced student.

The first step in getting involved in the tech world at Greeley Theater is to sign up for STAGECRAFT CLASS.

Interested students can (and should) sign up for the class through their  guidance counselor. 

The class is what is called a Z-mod  -  meaning that it does not meet during the academic day but meets once a week after school (Friday's in the Fall and Thursdays in the Spring - 2:45 until 3:45 and sometimes later depending on what needs to be accomplished). In addition we meet on selected Saturdays throughout the year also depending on the needs of productions.

In addition during the Spring semester, Stagecraft students are paired with a student from the Playwriting/Directing class and take on the responsibility of a  TD (Technical Director) in charge of facilitating any and all of the minimal design and technical needs of each individual project. Those projects that pass the evaluation in May are then presented as part of SPRINGFEST, the annual presentation of new work that presents each year during the first week of June. 

 

In addition there is opportunity for the interested and motivated student to really develop their design skills and rise to a leadership position within Greeley Theater - both through the stagecraft class as well as the advanced Repertory Theater class.

PLAYWRITING/DIRECTING CLASS AND SPRINGFEST !

 

Welcome to the homepage for the Playwriting/Directing class ! 

Playwriting/Directing class is an opportunity for any and all interested AND MOTIVATED Horace Greeley High School students to write and direct their own 10 minute play which is performed during the first full week of June every year.

Any Sophomore, Junior or Senior is eligible to register for Playwriting and Directing class.

Freshmen who are very interested in Playwriting and Directing can apply to be a member of the class and based on an assignment and interview I will make a determination whether they can take part in the class during the second semester of their Freshmen year. 

The class is a Z-MOD - meaning that we meet after regular school hours once a week. Playwriting and Directing meets second semester on Friday's from 2:45 - 3:45. In addition all registered students set up a check in session with me once a cycle to discuss the progress of their project. 

Playwright/Directors (who sometimes work in teams), are paired with a student from the Stagecraft class who become their TD (Technical Director) in charge of facilitating any and all of the minimal design and technical needs of each individual project. 

Based upon the continued progress of both the writing, directing and successful collaboration with their technical director,  a decision is made as the whether a project will appear in our annual festival of new work entitled SPRINGFEST.

Here is an example of the great work that was presented during SPRINGFEST 2018 of this past year.  

 

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SPEECH COMMUNICATION

Speech Communication                                                         

Course Breakdown:

 

Welcome to Speech and Communication class. Developing the skills to become an effective public speaker will stay with you for the remainder of your life. I look forward to getting to know each of you over the course of the semester. We will always be working on a speech in this class beginning on day 1 ! 

  • Unit One: Introduction Speeches
  • Unit Two: Speech Writing and Organization
  • Unit Three: Informative Speeches
  • Unit Four: Verbal Delivery Techniques
  • Unit Five:  Me in 20 years speech
  • Unit Six: Oral Interpretation
  • Unit Seven Persuasive Speeches/Final Exam

INDEPENDENT STUDIES

Independent Studies

Typically students elect to do independent studies with me to work on Monologues for College preparation, Pre-College program preparation or enrichment, however it is  possible to design an independent study around another specific interest.

Here are some possiblities

  • A study of a specific playwright
  • A look at a specific era of Theater history
  • Scene work (If more than one student can arrange a suitable time that all three of us can meet)

I am hesitant to have students use independent studies as a way to fulfill the two semester requirement for Repertory Theater as there is always a limited amount of time available that works in terms of scheduling. However if no other option is available I have, and will do my best to accomodate students in this situation. 

PURITANS

 THE PURITANS IS THE HORACE GREELEY HIGH SCHOOL IMPROV COMEDY TROUPE !

 

The Puritans comprise Greeley’s one and only improv comedy performance troupe ! We meet weekly (on Sundays) at members’ houses, and play improv games (in the format we will ultimately perform) in order to hone our craft. We perform three times per year (IMPROV of course), in addition to a late night performance at Chappaqua’s Relay For Life. Auditions are typically held in late May, (dates for the 2018-2019 school year are TBD), so keep an eye open for it! Auditions are open to ALL Greeley students, no matter your age...except if you’re a senior. IF YOU ARE INTERESTED IN BEING CONSIDERED FOR THE PURITANS - A GREAT WAY TO GET STARTED IS TO JOIN THE IMPROV CLUB 

THERE ARE THREE SCHEDULED PURITAN PERFORMANCES FOR THE 2018-2019 SCHOOL YEAR

1) October 19th AT 7:00

2) January 25th AT 7:00 

3) May 10th AT 7:00 

AUDITIONS FOR PURITANS TAKE PLACE AT THE END OF MAY OR BEGINNING OF JUNE EVERY YEAR.

 

Puritans 2018-2019

Co-Presidents - ***

Seniors - *

Alex Bianchi

Erika Bloomgarden

Halle Brickman

Sam Cooperberg*

Michael Grapel*

Bennett Katz***

Jacob Kaufman-Shalett***

Kyle McAfee

Alex Milne*

Sophie Nadel*

Emma Rosh

Naomi Shapiro

Ellie Shepardson

Dylan Snow*

Thomas Wright

 

 

IMPROV CLUB

WELCOME TO THE PAGE OF THE HORACE GREELEY HIGH SCHOOL IMPROV CLUB 

THE IMPROV CLUB MEETS DURING THE PROFESSIONAL LEARNING PERIOD ON DAY 6 FROM 7:45 - 8:40 IN THE AUDITORIUM.

ANY AND ALL GREELEY STUDENTS ARE ENCOURAGED TO TAKE PART !

 

THE CO-LEADERS OF NEXT YEARS IMPROV CLUB ARE SYDNEY FORD AND DYLAN SNOW 

 

AT IMPROV CLUB PEOPLE CAN COME TO LEARN, REFINE THEIR ACTING SKILLS OR JUST WATCH GOOD IMPROV !!!

JOIN US !!!

Theater Office Library - PLEASE BORROW !!!


THEATER LIBRARY

 

  •  READING PLAYS MAKES YOU A BETTER ACTOR, DIRECTOR, PLAYWRIGHT AND PERSON
  • READING PLAYS IS FAST! YOU CAN READ A PLAY IN AS LITTLE AS AN HOUR AND GET TO KNOW THE STYLE OF A SPECIFIC WRITER.
  • READING BOOKS ON THEATER BY THE WORLDS GREATEST TEACHERS AND PRACTITIONERS IS FUN (AT LEAST TO ME, AND MAYBE TO YOU) 
  • IT'S NOT ENOUGH TO HAVE AN OPINION !!!  INFORMED OPINIONS MEAN MORE !!!
  • THE SUMMER IS A GREAT TIME TO START.
  • I HAVE ORGANIZED THIS LIST OF MATERIALS AVAILABLE  IN THE FOLLOWING WAY IF YOU WISH TO SCROLL THROUGH.

1) AMERICAN THEATER MAGAZINES 

2) BOOKS ON MUSICAL THEATER

3) ORIGINAL VINYL RECORDINGS OF MUSICALS AND MUSICAL THEATER INTEREST

4) BOOKS ON THEATER HISTORY/THEATER CRITICISM (INCLUDING LIST OF RECORDED LECTURES BY LEON KATZ)

5) BOOKS ON SHAKESPEARE

6) BOOKS ON OR BY STANISLAVSKI

7) BOOKS ON ACTING TECHNIQUE

8) MONOLOGUE BOOKS

9) BOOKS ON STAGECRAFT AND DESIGN

10) BOOKS ON DIRECTING

11) BOOKS ON WRITING/PLAYWRITING

12) BOOKS ON IMPROVISATION AND COMEDY WRITING

13) BOOKS ON OPERA

14) ORIGINAL VINYL RECORDINGS OF PLAYS

15) PLAYS AVAILABLE TO BE BORROWED

16) ANTHOLOGIES

The following books, plays, American Theater Magazines and Vinyl LP recording are available to be borrowed by ALL STUDENTS.  

ALL OF THESE ARE WORTH YOUR TIME

THE PLAYS AND BOOKS WITH *STARS*NEXT TO THEM ARE CLASSICS OR RECENT WORKS THAT YOU ALL SHOULD ABSOLUTELY KNOW

I HAVE ALSO WRITTEN (SOME COMMENTS) ABOUT SELECT TITLES. 

 

There is a blue binder on my desk that lists all of the following resources

Please sign out the items that you wish to borrow and the date that you do so.

IT'S THAT SIMPLE !

 

AMERICAN THEATER MAGAZINE BACK ISSUES

(THESE MAGAZINES ARE ON THE TABLE RIGHT OUTSIDE OF THE THEATER OFFICE. I HAVE LISTED ONE KEY ARTICLE OR FEATURE FROM INDIVIDUAL ISSUES, HOWEVER THERE IS MORE TO EXPLORE IN EACH VOLUME)

  1. May 1984 - Peter Brook's World (Get to know Peter Brook - His first book THE EMPTY SPACE is the single most important book to start with in order to have a deeper understanding of theater) 

  2. June 1984- Richard Gilman on sports and theater (fascinating for any athletes - Theater really is MUCH more like althletics than most people admit)

  3. July/August 1984 - The Liberation of Eugene O'Neil/Beck and Malina in the 80's 

  4. October 1984 - The visionary art of Meredith Monk

  5. November 1984 - The legacy of Lorraine Hansberry

  6. December 1984 - Sam Shepard's music plays

  7. February 1985 - Tracking myths with Joseph Cambell (Mythology is the wellspring of Theater - it was at the beginning and it is now) 

  8. April 1985 - Here come new American Epics

  9. May 1985 - Sondheim talks Theater (If you are anything li

  10. June 1985 - Real life drama for Young Audiences

  11. July/August 1985 - Dangerous Directors - a profile

  12. September 1985 - Maria Irene Fornes and Tina Howe on Women and Art

  13. November 1985 - The Complete text of "Execution of Justice" by Emily Mann

  14. December 1985 - Mapping the world of David Hare

  15. February 1986 - Profile on Director Adrian Hall

  16. April 1986 - Robert Lewis on Acting and Directing

  17. September 1986 - The complete text of "The Day Room" by Don DeLillo (The power of Joseph Papp) (Wallace Shawn on Morality in the age of Reagan)

  18. October 1986 - Richard Gilman writes about Eric Bentley

  19. March 1986 - The complete text of "The Marriage of Bette and Boo" by Christopher Durang

  20. May 1986 - Complete text of "Lemon Sky" by Lanford Wilson (An Afternoon with Arthur Miller)

  21. November 1986 - Celebrating 25 years of the Non profit Theater movement in America

  22. December 1986 - Complete text of "Once Five years pass" by Federico Garcia Lorcas

  23. January 1987 - The Theatricalization of American Politics

  24. February 1987 - The complete text of THE COLORED MUSEUM by George C. Wolfe

  25. April 1987 - Commedia troupe Jeune Lune

  26. June 1987 - Plugging into Electric language

  27. December 1987 - The Wagnerian vision of Peter Sellers

  28. January 1988 - Robert Brustein on Kenneth Tynan

  29. March 1988 - Exposing the myth of Stage Realism (Ionesco makes a comeback)

  30. April 1988 - Brave new vision of THE TEMPEST at the Goodman Theater

  31. May 1988 - The complete text of "The Illuminati" by Larry Larson and Levi Lees' (Gay Theater comes of Age)

  32. June 1988 - What's wrong with Actor Training?

  33. December 1988 - Chilean artists on the front lines

  34. May 1989  - Complete text of "The last of the Formicans" by Constance Congdon

  35. June 1989 - Steppenwolf Theater company's THE GRAPES OF WRATH

  36. November 1989 - Complete text of "De Donde" by Mary Gallagher

  37. December 1989 - A new take on Alice in Wonderland at the American Conservatory Theater

  38. July/August 1989  - The complete text of "The Speed of Darkness" by Steve Teisch

  39. March 1990 - The complete text of "Temptation" by Vaclav Havel

  40. March 1992 - The complete text of "Marvin's Room" by Scott MchPherson

  41. May 1992 - A Walk in the Woods with Lanford Wilson

  42. June 1992 -  Angels in America - Millenium Approaches part 1

  43. July/August 1992 - Angels in America - Millenium Approaches conclusion

  44. October 1992 - Essays on THEATRE AND PLACE

  45. November 1992 - Complete text of SIGHT UNSEEN by Donald Margulies

  46. December 1992 - Wadworth's reimagining of the Complete text of The Triumph of Love by Marivaux

  47. January 1993 - Unleasing Cyltemnsestra at the Guthrie

  48. March 2002 - Mary Zimmerman's Broadway Splash - Metamorphoses

  49. April 2002 - The complete text of HOLES by Loius Sachar

  50. May/June 2002 - Comedies about Terrorism?

  51. February 2004 - The Complete text of "Stone Cold Serious" by Adam Rapp

  52. December 2004 - The Last word A Manifesto for Hip-Hop Theater by Danny Hoch

  53. July/August 2005 - The Complete text of "Brooklyn Bridge" by Mellisa James Gibson

  54. February 2006 - The complete text of ELECTRICIDAD by Luis Alfaro

  55. May/June 2006 - Making Musicals with Duncan Sheik

  56. November 2006 - Suzan-Lori Park's Year of Writing Dangerously

  57. September 2007 - The Complete Text of "SONGS OF THE DRAGONS FLYING TO HEAVEN" BY Young Jean Lee

  58. November 2007 - A Writer Wrestles with Rwanda

  59. December 2007 - The Complete text of SCARCITY by Lucy Thurber

  60. March 2008 - What's next for the SITI company - Complete text of "IN THE RED AND BROWN WATER" by Tarell Alvin McCraney

  61. September 2015 - Lin Manuel Miranda Sets Hamilton on Fire


 

BOOKS ON MUSICAL THEATER

  1. Nothing Like a Dame - Conversations with the Great Women of Musical Theater - Eddie     Shapiro

  2. **Wonder of Wonders - A Cultural history of Fiddler on the Roof - Alisa Solomon (JUST ASTOUNDING FOR ANYONE WHO LOVES FIDDLER)

  3. The Art of the American Musical - Edited by Jackson Breyer and Richard Davison

  4. **Broadway Musicals - show by show - Stanley Green

  5. **The American Musical Theater - Lehman Engel (Engel is arguably the most important teacher of musical theater writing ever..he founded BMI)

  6. *The Acting and Singing Handbook - Thomas de Mallet Burgess

  7. **Acting the Song - Performance skills for the Musical Theater - Tracey Moore

  8. RENT - a tribute

  9. HAMILTON THE REVOLUTION - A trubute

  10. SONDHEIM - Martin Gottfreid

  11. **Finishing the Hat - Stephen Sondheim (It's Sondheim..on his lyrics..in detail..c'mon)

  12. **Look I made a Hat - Stephen Sondheim (It's Sondheim..on his lyrics..in detail..c'mon)

  13. How to Audition for the Musical Theater - Donald Oliver

  14. Second Act Trouble - Behind the Scenes at Broadway's Big Musical Bombs - Steven Suskin (really fun!)

 

ORIGINAL VINYL RECORDINGS OF MUSICALS AND MUSICAL THEATER INTEREST

 

  1. Don’t Give the name a Bad Place - Types and Stereotypes in songs of the early American Musical theater

  2. Gerswhin Rarities - Rare recordings of the music of George Gershwin

  3. **Three Penny Opera - Kurt Weill Bertolt Brecht 1956 recording

  4. **The Most Happy Fella - Original Cast recording

  5. **Mame - Original Cast recording

  6. **The King and I - Original Cast recording

  7. Street Scene - Original Cast recording

  8. I wants to be an actor lady and other hits from early musical comedy

  9. **My Fair Lady - Original cast recording

  10. **Showboat - 1947

  11. American Musical Theater Masters - the songs of Arthur Schwartz

  12. **West Side Story - Original cast recording

  13. **Funny Girl - Original Cast recording

  14. **Carousel - Orginal Cast recording

  15. **How to Suceed in Business without really trying - Original cast recording

  16. **Sweet Charity - Original Cast recording

  17. **Rogers and Hart - a Collection sung by Broadway legends

  18. **Cabaret - Original Broadway cast

  19. **A Little Night Music - Original Broadway Cast

  20. **Porgy And Bess - 1956

  21. Kismet  - Original Broadway cast

  22. **Man of La Mancha  - Soundtrack recording

  23. **Bye bye Birdie - Soundtrack recording

  24. **Fiddler on the Roof - Original Broadway cast

  25. **The Music Man - Original Broadway Cast

  26. **Kiss me Kate - Original Broadway Cast

  27. **Oklahoma Original Broadway cast

  28. Mary Martin in Hello Dolly

  29. Time Remembered - Original Cast Album - Helen Hayes - Richard Burton

  30. **South Pacific - Original Cast Album

  31. Two by Two - Original Cast Album

  32. **Songs of Ira and George Gershwin

  33. **Brigadoon - Orignal Broadway cast - Lerner and Lowe

  34. **She Loves me - Original Broadway cast - Bock and Harnick

  35. The songs of Jaques Brel

  36. Jerome Kern Stamp of Genius

  37. Jerome Kern In London 1914-1923 the early years

  38. Jerome Kern in London - Original Cast recordings

  39. Jimmy - Original cast Alubum starring Frank Goshin

  40. Ira Gershwin - selected works

  41. CUT - outtakes from Great Hollywood Musicals - Judy Garland - Fed Astaire

  42. The World of Kirt Weill  sung by Marsha Schlamm

  43. Songs of Kurt Weill

  44. Speak Low - More music of Kurt Weill

  45. Our Man Chricton - Original Broadway Cast

  46. The Sound of Music - Mary Martin Outtakes

  47. **Finians Rainbow - Original Cast recording

  48. **The Pajama Game - Original Cast recording

  49. **Candide - Original Broadway Cast - Leonard Bernstein - Stephen Sondheim- Lillian Hellman

  50. Top Banana - Original Broadway Cast - Phil Slivers

  51. All in Love - Original Cast Album

  52. Three Wishes for Johnny - Orginial Broadway Cast Album - John Raitt

  53. 70 Girls 70 - Original Cast Album - Kander and Ebb

  54. Sandy Wilson’s Alladin - Original Cast Album

  55. Twang! - Original Cast Album - Lionel Bart’s (Oliver) musical about Robin Hood

  56. Gone With The Wind - Orignal Broadway production Cast album

  57. The Consul - Orginal Cast Album - Gian Carlo Minotti’s acclaimed musical drama

  58. First Impressions - Original Cast Album - Ray Bolger

  59. On The Brighter Side- Orginal Cast Albun

  60. Time Remembered - Original Cast Album - Helen Hayes - Richard Burton



 

BOOKS ON THEATER HISTORY/THEATER CRITICISM

 

  1. The Methuen Drama Dictionary of the Theater

  2. **The Theatre an Introduction - Oscar Brockett (This is the most widely used undergraduate text in Theater history)

  3. Anthropology of the Peforming Arts - Anya Royce

  4. FARCE - Albert Bermel

  5. A sourcebook in Theatrical history - A.M Nagler

  6. Cultural Calistenics - Robert Brustein

  7. The Seige of the Arts- Robert Brustein

  8. Revolution as Theater - Robert Brustein

  9. Theater - The Lively Art - Wilson Goldfarb

  10. **Free for All Joseph Papp The Public Theater and the Greatest Theater story ever told - Kenneth Turran (Joe Papp is someone to know and this book gives the history of the public..it's a fun read) 

  11. **The Dramatic Imagination - Robert Edmond Jones (An enormously influential book by the most important Theatrical designer of the early 20th century)

  12. ***The Empty Space - Peter Brook (THE PLACE TO START FOR IMPORTANT WRITING ABOUT THEATER)

  13. The Shifting Point - Peter Brook

  14. Conversations with Peter Brook - Margret Croyden

  15. **The Theater and it’s double - Atonin Artaud

  16. **Toward a poor Theater - Jerzy Grotowsk

  17. Artuad on Theater - Claude Shumacher

  18. **Playing Boal Theater Therapy Activism - Mady Schutzman (For anyone who might be thinking about Drama Therapy (yes it's a real profession) - You should know Boal - he is incredibly inspiring) 

  19. **From the Bowery to Broadway New York’s Yiddish Theater (a pet interest of mine..this is a wonderful big book full of many pictures and articles)

  20. Arthur Miller his life and work - Marin Gottfried

  21. The Cambridge companion to Arthur Miller

  22. The Camridge companion to Chekhov

  23. Chekhov - a spirit set free - V.S Pritchett

  24. Kafka and the Yiddish Theater Evelyn Beck

  25. The Theater of E.E Cummings - George Firmage

  26. Imagining Medea - Rhodessa Jones and Theater for Incarcerated Women

  27. **Stella Adler on America’s Master Playwrites

  28. Ghost Light - Frank Rich

  29. **The Theater of Comittment - Eric Bently

  30. **The Life of the Drama - Eric Bently

  31. Theories of the Theater- Marvin Carlson

  32. Cleaning Augean Stables - Lon Katz

  33. **Aristotles Poetics - Translated and with commentary by James Hutton

  34. **The Birth of Tragedy - Freidrich Nietzsche

  35. Postmodernism and Performance - Nick Kaye

  36. The Twentieth Century Permance Reader - edited by Noel Witts

  37. **Legistlative Theater - Augosto Boal

  38. Critiical Theory and Performance - Reinelt and Roach

  39. The Oxford illustrated history of Theater - John Russel Brown

  40. Aristopheanes in an hour - C.R Mueller

  41. **Writings from Washinton Irving to Tony Kushner on the American Stage - Forward by John Lithgow (A TREASURE)

  42. **Real Life Drama (The Group Theater and America) Wensy Smith (Hard to understand American Theater well without understanding The Group and it's aims) 

  43. **Jonas Barish - The Anti-Theatrical Prejudice (A great way to see what the arts are up against in America) 

***(IN ADDITION TO THE BOOKS LISTED ABOVE,  I HAVE A YEARS WORTH OF PRICELESS LECTURES RECORDED WHEN I WAS IN GRADUATE SCHOOL BY MY PROFESSOR THE LATE GREAT LEON KATZ WHO FOUNDED THE DRAMATIC CRITICISM PROGRAM AT YALE AND HAS A UNIVERSITY NAMED AFTER HIM IN ROMANIA..THESE ARE IN MP3 FORM..LET ME KNOW WHICH ONE YOU ARE INTERESTED IN AND I WILL HAPPILY SEND YOU THE FILE.)

LEON KATZ THEATER HISTORY LECTURES

1. The Sense of Tragedy 2. Aeschylus 3. Sophocles 4. Eurpides 5. Greek Comedy 6. Roman Comedy  - 1 7. Roman Comedy - 2 8. Gothic Theater - 14th century 9. Medieval staging - Communal Theatre 10. The Morality Play - Everyman 11. Toward the Renaissance 12. Commedia Del Arte 13. The wordly Comedy of Machiavelli 14. Elizabethan  Romantic comedy part 1 15. Elizabethan Romantic comedy part 2 16. Terminal subversions (Webster and Ford) 17. Calderon and the Spanish Renaissance 18. Moliere's tragic and comic characters 19. Wycherly's comedy of convention 20. World historical Hegelian Drama 21. Ibsen's Ambivalence 22. Jarry and Weinninger 23. Gertrude Stein 24. Artuad 25. Chekhov and abundance and futility 26. Gorki (What then must be done) 27. Shaw and creative evolution 28. Pirandello - illusion becomes reality 29. Satre 30. Brecht 31. Camus and O'Neill  

 

BOOKS ON SHAKESPEARE

 

  1. **The Riverside Shakespeare complete Works (You can get all the plays on line..read them and love them for your whole life)

  2. Shakespeare - the Life the works the treasures

  3. One More unto the Speech dear Friends - Volume one the Comedies

  4. **Playing Shakeseare - John Barton (a very readable guide to any actor working on Shakespeare - taken from recordings of working sessions)

  5. The Cambridge Companion to Shakespeare

  6. On Directing Shakespeare - Ralph Berry

  7. The Peter Brook Annotated A Midsummer Night’s Dream

  8. Playing Shakespeare - an actors Guide- Jogn Barton

  9. Filthy Shakespeare - Pauline Kieran

  10. Living with Shakespeare - Edited by Susanah Carson

  11. Will in the World - Stephen Greenblatt

  12. Shakespeare our Contemporary - Jan Kott

  13. Staging Shakespeare at the new globe - Pauline Kiernan

  14. Will Power - How to Act Shakespeare John Basil

  15. The Ultimate Scene study Guide for Teens/Shakespeare Volume 1

  16. Shakespeaeres Politics - Allan Bloo,

  17. The Quality of Mercy - reflections on Shakespeare - Peter Brook

  18. Shakespeare and Company - Stanley Wells

  19. Mastering Shakespeare - Scott Kaiser

  20. Shakespeare’s Restless World - Neil MacGregor

  21. **Speak the Speech (Shakespeare's Monologues illuminated) (WONDERFUL WONDERFUL BOOK)

 

BOOKS ON OR BY STANISLAVSKI

  1. Stanislavski on Opera

  2. **An Actor Prepares (These three books are the beginning of modern acting training)

  3. **Building a Character (These three books are the beginning of modern acting training)

  4. **Creating a Role (These three books are the beginning of modern acting training) 

  5. An Actors Handbook

  6. Stanislavski reveleaed - Sonia Moore

  7. Stanislavski directs - Nikolai Gorchakov


 

BOOKS ON ACTING TECHNIQUE

 

  1. **The Actor and the Target - Declan Donnellan (very easy to read and very illuminating)

  2. Training the American Actor - Edited by Arthor Bartow

  3. ** The Viewpoints book - Anne Bogart/Tina Landau (A challenge and potential liberation for those willing to work for it)

  4. ** Freeing the Natural Voice - Kristin Linklater (If you practice these exercises diligently you will gain reservoirs of power) 

  5. An Acrobat of the heart - Stephen Wangh

  6. ** The Presence of the Actor - Joseph Chaikin (A wonderful book)

  7. The Sanford Meisner approach Workbook 1 - Larry Silverberg

  8. The Sanford Meisner approach Workbook 2 - Larry Silverberg

  9. The Sanford Meisner approach Workbook 3 - Larry Silverberg

  10. The Sanford Meisner approach Workbook 4 - Larry Silverberg

  11. Meisner for Teens - Larry Silverberg (A very accessible handbook full of much wisdom and a way to start practicing) 

  12. The Actors Art and Craft- William Esper teaches the Meisner technique - William Esper (Excellent and helpful) 

  13. Telling Stories - a grand unifything theory of Acting technniques - Mark Rafael

  14. Acting - Advanced techniques for the actor director and teacher - Terry Schreiber

  15. Audition - Michael Shurtleff

  16. Masking unmasked - 4 approaches to basic acting - Eli Simon

  17. Theater in my head  - Dan Cheifitz

  18. Being and Doing - Eric Morris

  19. Irrelevant Acting - Eric Morris

  20. A Practical Handbook for the Actor - Members of Altantic Theater Company (The fundamental language that I use all the time spelled out)

  21. In Character - Christopher Vened

  22. The Other Way - Charles Manowitz

  23. On the Technique of Acting - Michael Chekhov

  24. An Actors companion  - Seth Barrish

  25. The Craftsmen of Dionysis - An approach to Acting - Jerome Rockwood

  26. The Existential Actor- Jeff Zinn


 

MONOLOGUE BOOKS  

 

  1. Audition Monologues for Young Women 1 and 2

  2. The Ultimate Audition book for Teens 5 111 Shakespere Monologues

  3. In Performance Contemporary Monologues for men and women late teen to 20’s

  4. Audition speeches for 6 - 16 year olds

  5. Monologues from Literature - A sourcebook for Actors

  6. Great Monologues for Young Actors

  7. Great Monolouges for Young Actors 2

  8. The Perfect Monolouge - Michael Shurtleff

  9. The Monolouge Workshop - Jack Pioggi

***In addition I have hundreds of monoloues saved as 5 seperate huge PDF files that I will be happy to share -just ask !!!!

 

 

BOOKS ON STAGECRAFT AND DESIGN 

 

1. The Perfect Stage Crew - John Kaluta

2. Light on the Subject - David Hays (Introduction by Peter Brook !)

3. Theatre Sound - John A. Leonard

4. Scene Design and Stage Lighting - W. Oren Parker - Harvey K. Smith

5. Technical Theater for non technical people

6. Twentieth Century Stage Decoration - Walter Rene Fuerst

7. Stage Make up Step by Step - Rose Marie Swinfield

8. Stagecraft - David Welker

9. Stage Lighting revelead - A design and execution handbook

10. How To (Theatercrafts) Metalwoeking/Plastic work/Adhesives)

11. Scene Design - A Guide to the stage - Henning Nelms

12. A practical guide to stage lighting - Steven Louis Shelley

13.  A Complete Guide to Backstage work - William H. Lord

14.  The Perfect Stage Crew - John Kaluta

 



 

BOOKS ON DIRECTING

 

  1. *Theater Games for Rehearsal - A Director's Handbook - Viola Spolin (A great resource) 

  2. Directing - a miscellany - Simon Usher

  3. Directing the Action - Charles Marowitz

  4. Mis-Directing the Play - Terry McCabe

  5. *A Sense of Direction  - William Ball

  6. The Directors eye - John Ahart

  7. *Actions - the Actors Thesaurus - Caldreone & Lloyd - Willaims

  8. The Director's Companion - Mel Shapiro

  9. Re: direction - Edited by Rebecca Schneider

  10. *In Contact with the Gods? - Directors talk theater  - edit by Maria Delgado and Paul Heritage (brilliant interviews) 

  11. *The Director's Voice - Arthur Bartow (brilliant interviews)

  12. Problem projects in Acting for the Director - Katherine Kester

  13. Ensemble Theater Making - A practical Guide - Rose Burnett Bonczek and David Storck

  14. Scriptwork - A Directors Approach to new play development  - David Kahn and Donna Breed

 

BOOKS ON WRITING/PLAYWRITING AND GENERAL

 

  1. Working on a new play - Edward M. Cohen

  2. Writing the Short Film - Pat Cooper

  3. The Writers Idea Book Jack Heffron

  4. Several Short Sentences about Writing - Verlyn Klinkenborg

  5. The 36 Dramatic Situations - Georges Polti

  6. The Playwright's workbook - Jean-Claude can Italle

  7. *Writing the 10-minute play - Glenn Alterman

  8. *Creating your own Monolouge - Glenn Alterman

  9. Writing your own plays - Creating,Adapting and Advising - Carol Korty

  10. The Art of Dramatic Writing - Lajos Egri

  11. To be a Playwright - Janet Neipris

  12. How to Write a play  - Raymond Hull

  13. Playmaking - Children writing and performing their own plays - Daniel Judah Sklar

  14. Character and Conflict - Alvin Kernan

  15. Making Plays - The writer director relationship in Theater today - Richard Nelson and David Jones

  16. Teaching young Playwrights - Gerald Chapman

  17. The Dramatists Toolkit - Jeffrey Sweet

  18. State of Play (Playwrights on Playwriting) - Edited by David Edgar

  19. *Straight advice on Making a life in the Arts - Anna Deveare Smith

  20. *The Pulitzer Prize Plays - The first fifty years (A Dramatic reflection of American Life) Paul A. Firestone (YOU SHOULD KNOW ALL THESE PLAYS)

  21. *The Drama 100 - A Ranking of the Greatest plays of All time  - Daniel S. Burt (THESE TOO)

  22. If you want to write - Brenda Ueland

 

BOOKS ON IMPROVISATION AND COMEDY

 

  1. The Second City Almanac of Improvisation - Annie Libera (So much here) 

  2. Trusting the Moment -  handbook for Individual and group work

  3. *Improvisation for the Theater - Viola Spolin

  4. Impro for Storytellers - Keith Johnstone

  5. *Impro - Keith Johnstone (One of the greatest books on acting let alone improv ever written) 

  6. Improvisation at the speed of Life - The TJ and Dave Book - T.J Jagodowski and David Pasquesi (these guys are magicians) 

  7. Why is that so Funny? A practical exploration of Physical Comedy - John Wright

  8. Poking a Dead Frog - Conversations with Today's top Comedy Writers - Mike Sacks (anyone interested in comedy writing should look here !)

  9. *Truth In Comedy - - Del Close (THE manuel of Improvisation)

  10. Improvisation with Fairy Tales - Ruth Beal Henig

  11. ​Handbook of Recreational games - Neva Boyd

  12. Improvisation Handbook - Samuel Elkind

  13. Long Form Improv - Ben Hauck

  14. How to Improvise a full length play - Kenn Adams

  15. The Young Actor's book of Impovisation (Taken from Literature and Film) - Sandra Karuso

  16. Drama Games for self development - Dr. Tian Dayton

  17. Improv comedy - Andy Goldberg

  18. 101 Improv games for Adults and Children - Bob Bedore

  19. Zen and the Art of Stand up Comedy - Jay Sankey

  20. *Improv for Actors - Dan Diggles (The book I draw from for Acting 1 class - simple, clear, excellent)

  21. The Improv Handbook - Tim Salinsky and Deborah Frances-White

  22. *The Upright Citizen Brigade Comedy Improvisation Manuel - Matt Besser, Ian Roberts and Matt Walsh (These guys are the best around)

  23. Drama Games for those who like to say NO - Chriss Johnston

  24. Improvisation Staters - Phillip Bernardi

  25. All Jokes Aside - (Stand up Comedy) Raymond Lampert

  26. Group Improvisation - Peter Quinn

  27. Games for Actors and Non-Actors - Augusto Boal (Boal is important for myriad reasons..these games are incredibly powerful) 


 

BOOKS ON OPERA

  1. Wagner and the Art of Theater - Patrick Carnegy

  2. The perfect Wagnerite - George Bernard Shaw

  3. Decoding Wagner - An Invitation to his world of music drama- Thomas May

  4. Opera as Drama - Joseph Kerman

  5. 101 Opera Librettos

  6. A History of Western Music

  7. *Stanislavski on Opera

 

 



 

ORIGINAL VINYL RECORDINGS OF PLAYS

 

  1. Living Shakespeare Collection 1

  2. The Tempest, The Winters Tale, Much Ado About Nothing, The Comedy of Errors, Twelfth Night, The Merchant of Venice, As You Like it

  3. Living Shakespeare Collection 2

  4. Coriolanus, Julius Ceasar, Hamlet, Richard III, Richard II, Macbeth, King Lear

  5. A Dolls House I(Ibsen)- starring Claire Bloom

  6. Uncle Vanya (Chekhov)- starring Laurence Olivier

  7. *Rhinocerous (Ionesco) - Starring Zero Mostel

  8. *Death of a Salesman (Miller) Staring Lee J. Cobb

  9. *Long Days Journey into Night - (O’Neil) Jason Robards

  10. Happy Days (Beckett) Starring Irene Worth

  11. She Stoops to Conquer (Oliver Goldsmith) - Claire Bloom

  12. *Antigone (Sophocles) Ellen Atkins

  13. Medea (Eurpides) - Judith Anderson - Anthony Quinn

  14. Missalliance (George Bernard Shaw) -

  15. St. Joan (George Bernard Shaw)

  16. The Browning Version (Terrance Rattigan)

  17. *The Homecoming (Harold Pinter)

  18. *The Importance of Being Earnest (Oscar Wilde)

  19. The Lady’s not for Burning (Christopher Fry)- John Gielgud

  20. The Playboy of the Western World (J.M Synge)

  21. The Rivals (Sheridan)

  22. Faustus (Marlowe)

  23. *Everyman A Morality Play- Burgess Meredith

  24. *Waiting For Godot (Beckett) - Burt Lahr

  25. No Exit - (Satre)

  26. In the Matter of J.Robert Oppenheimer (Kipphardt)

  27. Ghosts - (Ibsen)

  28. Spoon River Anthology (Edgar Lee Masters)

  29. Bus Stop (William Inge)

  30. The Crucuble (Miller)

 

PLAYS AVAILABLE TO BE BORROWED

  1. Snow Angel - David Lindsay-Abaire

  2. Good People - David Linsday-Abaire

  3. *Fuddy Meers - David Linsday-Abaire

  4. *The Frogs - Aristophanes

  5. *Everyman - Anonymous

  6. *The Oriestia - Aeschlyus (2 copies)

  7. Marcus is Walking - Joan Ackerman

  8. *Three Tall Women - Edward Albee

  9. A Delicate Balance - Edward Albee

  10. The American Dream - Edward Albee

  11. The death of bessie Smith - Edward Albee

  12. *The Zoo Story - Edward Albee

  13. Fam and Yam - Edward Albee

  14. *Who’s Afraid of Virginia Woolf? - Edward Albee

  15. Anne of the Thousand Days - Maxwell Anderson

  16. Funny Shorts - Billy Aranson

  17. God - Woody Allen

  18. Don’t Drink the Water- Woody Allen

  19. Smile - Howard Ashman

  20. *Three plays - Alan Ackbourn

  21. Intimiate Exchanges volume 1 - Alan Ackbourn

  22. Antigone - Jean Anouilh

  23. The Arrest - Jean Anouilh

  24. Too much light makes the baby go blind - Greg Allen

  25. *Happy Days - Samuel Beckett

  26. *Endgame - Samuel Beckett

  27. *The collected short plays - Samuel Beckett

  28. *Krapps’ Last tape - Samuel Beckett

  29. *Waiting for Godot - Samuel Beckett

  30. Company - Samuel Beckett

  31. *A Chorus Line - Michael Bennet

  32. *Red Noses and other plays - Peter Barnes

  33. Wonderland - Brooke Berman

  34. *The Substance of Fire - Jon Robin Baitz

  35. The Pairs letter (2 copies) John Robin Baitz

  36. *John - Anne Baker

  37. *The Vermont Plays - Anne Baker

  38. *The Flick - Anne Baker

  39. Amputation - Jen Bjorneboe

  40. *Tantalus - John Barton

  41. The Complete plays - Brendan Behan

  42. A Matter of Gravity - Enid Bagnold

  43. The Tale of the allergists wife - Charles Busch

  44. Peter Pan - Jm Barrie

  45. A limb of snow and The Meeting - Anna Marie Barlowe

  46. Joined at the Head - Catherine Butterfly

  47. Transfers - Conrad Bromberg

  48. Babes and Brides - Eric Berlin

  49. Anastasia - Maurice Bolton

  50. *Zoyka’s Apartment - Mikhail Bulgakov

  51. Clue - the musical - Blum

  52. *The Caucasian chalk circle - Berolt Brecht

  53. *Mother Courage - Bertolt Brecht

  54. *The Mother - Berolt Brecht

  55. *The Measures taken and other Lehrsucke - Berolt Brecht

  56. *The Jewish wife and other short plays - Berolt Brecht

  57. *Parables for the Theater - Berolt Brecht

  58. *Galileo - Berolt Brecht

  59. Sulk - Jeffrey Brown

  60. The History Boys - Alan Bennet

  61. Agamemnon and the Fall of the House of Usher - Steven Berkoff

  62. *The Figaro Plays -Beaumarchais

  63. Psycho Beach Party - Charles Busch

  64. The Muscles in our toes - Steven Belber

  65. *Tape - Steven Belber

  66. *Almost Maine - John Cariani

  67. *Love/Sick - John Cariani

  68. *Top Girls - Caryl Churchhill

  69. *Cloud Nine- Carol Churchill

  70. Reflex Action - Douglas Craven

  71. Cinderella wore combat boots - Jerry Chase

  72. Rossum’s Universal Robots - Karel Capek

  73. *The Mousetrap - Agatha Chrisite

  74. Witness for the Prosecution - Agatha Christie

  75. *And then there were none - Agatha Christie

  76. The Life and Death of Almost Everybody - David Campton

  77. *Present Laughter - Noel Coward

  78. *Harvey - Mary Chase

  79. The Childrens’ Story - James Clavell

  80. *Seven short Farces by Anton Chekhov (Paul Schmitt)

  81. *The complete plays of Anton Chehov - (Laurence Selnick)

  82. The Brute and other Farces by Anton Chekhov (Eric Bently)

  83. 4 plays by Anton Chekhov (David Magarshack)

  84. The Lady and the Clarinet  - Michael Christopher

  85. *Him - E.E Cummings

  86. The Gifted Program - Ruben Carbajal

  87. Personals - David Crane

  88. *Blithe Spirit - Noel Coward

  89. Little Brother - Little Sister - David Campton

  90. Kate Crackernuts - Sheila Callaghan

  91. *Life is a Dream - Calderon

  92. Offices - Ethan Coen

  93. *The Wolves - Sarah DeLappe

  94. Voices in Conflict - Bonnie Dickenson

  95. *Baby with the Bath water - Christopher Durang

  96. *Laughing Wild - Christopher Durang

  97. *Sister Mary Ignatious explains it all and other plays - Christopher Durang

  98. Naomi in the living room - Christopher Durang

  99. *27 short plays - Christopher Durang

  100. *Beyond Therapy - Christopher Durang

  101. A Taste of Honey - Shelagh Delaney

  102. *Valparaiso - Don DeLillo

  103. The Life and Asventures of Nicholas Nicholby parts 1 and 2 - Dickens/Edgar

  104. *The Physicists - Freidrich Durrenmat

  105. *The Visit -  Freidrich Durrenmat

  106. The six year old man - Stanley Elkin

  107. Plays 1 - David Edgar

  108. *Wit - Margret Edson

  109. The Spoils - Jesse Eisenberg

  110. *The Bacchae - Euripides

  111. *Grief Lessons - the plays of Euripides

  112. The Suicide - Nikoilai Erdman

  113. *Theater as life Five modern plays - Nikolai Evreinov

  114. *BatBoy - Farley - Fleming O’keefe

  115. How to eat like a child  - John Forster

  116. *The selected plays of John Ford

  117. *Dancing at Lughnasa - Brian Friel

  118. *Dario Fo - Plays 1 and 2

  119. *Selected one Act plays of Horton Foote

  120. 1918 - Horton Foote

  121. The last days of the Thorntons - Horton Foote

  122. The Death of Papa - Horton Foote

  123. *Laura Dennis - Horton Foote

  124. *Look homeward Angel - Kerri Frings

  125. Unbalancing Acts - Richard Foreman

  126. A lesson from Aloes - Athol Fugard

  127. *Master Harold and the boys - Athol Fugard

  128. Stage Door - Edna Farber

  129. *Tis pity she’s a whore - John Ford

  130. Feiffer’s people - Jules Feifer

  131. *The Lady’s not for Burning - Christopher Fry

  132. Years Ago - Ruth Gordon

  133. The Golden Age - A.R. Gurney

  134. *Another Antigone - A.R Gurney

  135. *Sylvia - A.R Gurney

  136. *The Dining Room - A.R. Gurney

  137. What I Did Last Summer - A.R. Gurney

  138. *The Balcony - John Genet

  139. *Of Thee I Sing - George Gershwin

  140. Becky Shaw - Gina Gianfrodo

  141. Spinning into Butter - Rebecca Gilman

  142. *The Lower Depths - Maxim Gorky

  143. Take me back to the five and dime Jimmy Dean Jimmy Dean - Ed Gracyzk

  144. *The Grapes of Wrath - adapated by Frank Galati

  145. The Lion in Winter - James Goldman

  146. *The house of Blue leaves- John Guare

  147. *Jesus Hopped the A train- Stephen Guirgis

  148. *Between Riverside and Crazy - Stephen Guirgis

  149. *Take me out - Richard Greenberg

  150. The Babylon Line- Richarg Greenberg

  151. Three days of Rain and other plays - Richard Greenberg

  152. *The Love of Three Oranges - Carlo Goldini

  153. *The Blue Room - David Hare

  154. *Via Dolorosa and Where shall we Live- David Hare

  155. *M. Butterfly - David Henry Hwang

  156. Trees and Leader - David Horowitz

  157. *The Curious Incident of the Dog in the Nighttime - Mark Haddon

  158. *The Children’s Hour - Lillian Hellman

  159. The Whale - Samuel Hunter

  160. *A Bright New Boise - Samuel Hunter

  161. *A Dolls House Part 2 - Lucas Hnath

  162. Issac’s eye - Lucas Hnath

  163. Death Tax - Lucas Hnath

  164. *The Christians Lucas Hnath

  165. Hilary and Clinton - Lucas Hnath

  166. A Public reading of an unproduced screenplay about the death of Walt Disney - Lucas Hnath

  167. The Bully Plays - Linda Habjan

  168. The Garden party and other plays- Vaclav Havel

  169. *Largo Desolato - Vaclav Havel

  170. *Crimes on the Heart - Beth Henley

  171. *6 plays of working class life- Isreal Horovitz

  172. Trees and Leaders- Isreal Horovitz

  173. The Kite Runner - Khaled Hosseini (adapted by Matthew Spangler)

  174. 84 Charring Cross Rd - Helene Hanff (adapated by James Roose-Evans)

  175. *ART- Yazmina Reza (Adapated by James Hampton)

  176. Three plays - Gerhardt Hauptman

  177. *Vanaties - Jack Heiffner

  178. Light up the Sky - Moss Hart

  179. The Outsiders - S.E Hinton (Adapted by Christopher Segal)

  180. Angel Street - Patrick Hamilton

  181. *Crimes of the Heart - Beth Henley

  182. Harold and Maude - Colin Higgins

  183. Aloha say the pretty Girls - Naomi Izuka

  184. Peer Gynt - Henrik Ibsen

  185. *Eight Plays - Henrik Ibsen (Eva La Galliene)

  186. *Four Major plays - Henrik Ibsen (James Mcfarlane)

  187. When we Dead awaken - Henrik Ibsen

  188. *1984 - (Orwell) - Icke and Macmillan

  189. Picnic - William Inge

  190. *The Dark at the top of the stairs - William Inge

  191. The School for Wives - David Ives

  192. *All in the Timing - David Ives

  193. A Flea in her ear - David Ives

  194. Lives of the Saints - David Ives

  195. *Mere Mortals - David Ives

  196. The Heir Apparent - David Ives

  197. *Rhinocerous and other plays - Eugene Ionesco

  198. *Medea  - Freeley adapted by Robinson Jeffers

  199. *The Lottery - Shirley Jackson

  200. The Art of self defense - Trish Johnson

  201. Love Death and the Prom  - John Jory

  202. *Ubu Roi - Alfred Jarry

  203. Speech and Debate - Stephen Karam

  204. *The Humans - Stephen Karam

  205. Boys Life- Harold Korder

  206. *The Laramie Project and the Laramie Project 10 years later - Moises Kaufman and the  members of the Techtonic Theater company

  207. *Jaques and his Master- Milan Kundera

  208. End of the World - Arthur Kopit

  209. *Nine - Arthur Kopit - (Maury Yeston)

  210. Indians - Arthur Kopit

  211. *Arsenic and Old Lace - Joseph Kesserling

  212. *A Bright room called day - Tony Kushner

  213. A Dybbuk - Tony Kushner

  214. *Angels in America - Millenium Approaches - Tony Kushner

  215. Angels in America - Perestroika - Tony Kushner

  216. *Orphans - Lyle Kessler

  217. Funnyhouse of a Negro - Adrienne Kennedy

  218. Really Rosie - Carol King/Maurince Sendak

  219. Bash - three plays by Neil Labutte

  220. Reasons to be Pretty - Neil Labutte

  221. *Sideman - Warren Leight

  222. Mr. Roberts  - Joshua Logan

  223. The Waverly Galery - Kenneth Lonerghan

  224. *This is our Youth - Kenneth Lonerghan

  225. The Hunting of Hill House - F. Andrews Leslie

  226. Seventeen short plays - Romulus Linney

  227. Career - James Lee

  228. *Inherit The Wind - James Lawrence and Robert Lee

  229. The Golem - Joseph Lands (adapted by David Fishelson)

  230. *Blood Wedding/Yerma/The House of Bernada Alba - Federico Garcia Lorca

  231. *What I meant Was (new plays and selected one-acts) Craig Lucas

  232. DA - Hugh Leonard

  233. *Time stands still - Donald Margulies

  234. The Country House - Donald Margulies

  235. *Coney Island Christmas - Donald Marguelis

  236. *Collected plays of Mendander

  237. Hangman  - Martin McDonagh

  238. *The Pllowman - Martin McDonagh

  239. *The Beaty Queen of Lenane - Martin McDonagh

  240. *American Buffalo - David Mamet

  241. Speed the Plow - David Mamet

  242. Goldberg Street - David Mamet

  243. The Water Engine and Mr. Hapiness - David Mamet

  244. *Glengary Glen Ross- David Mamet

  245. *Oleanna - David Mamet

  246. Faustus- David Mamet

  247. *K2 - Patrick Myers

  248. *It’s only a Play - Terrence McNally

  249. *Lilliom - Ferenc Molnar (Benjamin F. Glazer)

  250. *An Enemy of the People - Arthur Miller (From Ibsen)

  251. *Picasso at the Lapin Agile - Steve Martin

  252. *All My sons - Arthur Miller

  253. *Death of a Salesman - Arthur Miller

  254. *A View from the Bridge - Arthur Miller

  255. The American Clock - Arthur Miller

  256. Playing for Time - Arthur Miller

  257. *The Crucible - Arthur Miller

  258. After the Fall - Arthur Miller

  259. *The Price - Arthur Miller

  260. Execution of Justice - Emily Mann

  261. Dealer’s Choice - Patrick Marber

  262. Howard Katz - Patrick Marber

  263. *Closer - Patrick Marber

  264. Strange Snow - Stephen Metcalfe

  265. Wolf Hall and Brining up the Bodies - Hillary Mantel and Mike Poulton

  266. *The Imaginary Invalid - Moliere - (Miles Malleson)

  267. *Extremeties - William Mastrosimone

  268. *J.B - Archibold McLeash

  269. *The Member of the Wedding - Carson McCullers

  270. AMPHITTRYON - Moliere (Richard Wilbur)

  271. The School for Husbands - Moliere (Richard Wilbur)

  272. *The Misanthrope - Moliere (Richard Wilbur)

  273. *Tartuffe - Moliere (Richard Wilbur)

  274. Some Americans Abroad - Richard Nelson

  275. James Joyce - the Dead - Richard Nelson

  276. *Ruined - Lynne Nottage

  277. Cincinatti and other plays - Don Nigro

  278. Mabel in the woods and other plays - Don Nigro

  279. *The Survivor - Susan Nanus

  280. *Night Mother- Marsha Norman

  281. Getting Out - Marsha Norman

  282. *Joe Egg - Peter Nichols

  283. Plays 1 - Anthony Neilson

  284. Golden Boy - Clifford Odets

  285. *Awake and Sing - Clifford Odets

  286. The Country Girl - Cliford Odets

  287. *Ontological Proof of my existence- Joyce Carol Oates

  288. Miracle Play - Joyce Carol Oates

  289. The Triumph of the Spider Monkey - Joyce Carol Oates

  290. Loot - Joe Orton

  291. Ten “lost” plays - Eugene O’Neil

  292. *Ah Wilderness - Eugene O’Neil

  293. A Moon for the Misbegotten - Eugene O’Neil

  294. *Complete plays 1932 - 1943 - Eugene O’Neil

  295. A touch of the Poet - Eugene O’Neil

  296. Tonight we Improvise - Luigi Pirandello

  297. *Six characters in search of an Author - Luigi Pirandello

  298. Henry IV - Luigi Pirandello

  299. The man with a Flower in his mouth - Luigi Pirandello

  300. Right you are if you think you are  - Luigi Pirandello

  301. Lazarus - Luigi Pirandello

  302. *Top Dog/Underdog - Suzan Lori Parks

  303. *Venus - Suzan Lori Parks

  304. *The Red letter Plays - Suzan Lori Parks

  305. Say Goodnight Gracie - Ralph Pape

  306. Kennedy’s Children - Robert Patrick

  307. *The Caretaker and the dumbwaiter - Harold Pinter

  308. Ashes to Ashes - Harold Pinter

  309. In Search of Lost time - Harold Pinter and Di Trevis

  310. *The Elephant Man - Bernard Pomerance

  311. Chrossing Jersusalem and other plays - Julia Pascal

  312. The Yiddish Queen Lear/Woman in the Moon - Julia Pascal

  313. Everybody Loves Opal - John Patrick

  314. Outstanding short plays volume 2 - Craig Pospisl

  315. *Supid F$%%ing Bird - Aaron Posner

  316. Who am I this time- Aaron Posner

  317. His Dark Materials Pullman

  318. Flowers For Algernon - David Roberts

  319. *Pheadra - Racine

  320. Olso - J.T Rogers

  321. *Evil Dead - the musical - George Reinblatt

  322. Strider (musical) - Mark Rozovsky

  323. Dream Girl - Elmer Rice

  324. *The Adding Machine - Elmer Rice

  325. *Hurlyburly - David Rabe

  326. Double date - Florence Ryerson

  327. *Zombie Prom - Dana p. Rowe

  328. Plays by Adam Rapp - Adam Rapp

  329. *Nocturne - Adam Rapp

  330. Sideshow - Bill Russel

  331. LifeX3 - Yazmina Reza

  332. *ART - Yazmina Reza

  333. The Dream of the Burning Boy - David West Read

  334. *Dead Man’s cell phone - Sarah Ruhl

  335. Stage Kiss - Sarah Ruhl

  336. *The Clean house and other plays - Sarah Ruhl

  337. The Oldest boy - Sarah Ruhl

  338. Dollhouse - Theresa Rebeck

  339. *Mauritius - Theresa Rebeck

  340. The Cave dwellers - Willaim Saroyan

  341. Mack and Mabel - Michale Stewart

  342. *Lie of the Mind - Sam Shepard

  343. States of Shock - Sam Shepard

  344. Simpatico - Sam Shepard

  345. A Particle of Dread - Sam Shepard

  346. The God of Hell - Sam Shepard

  347. *Buried Child - Sam Shepard

  348. *Curse of the Starving Class - Sam Shepard

  349. The Tooth of Crime - Sam Shepard

  350. La Turista - Sam Shepard

  351. Tongues -  Sam Shepard

  352. Savage Love  - Sam Shepard

  353. True West - Sam Shepard

  354. *Jumpers - Tom Stoppard

  355. Hapgood - Tom Stoppard

  356. *The Real Thing - Tom Stoppard

  357. *Arcadia - Tom Stoppard

  358. *Rosencrantz and Gildenstern and Dead - Tom Stoppard

  359. *Dogg’s Hamlet and Cahoot’s Macbeth - Tom Stoppard

  360. *The Invention of Love- Tom Stoppard

  361. *Travesties - Tom Stoppard

  362. The Read Inspector Hound - Tom Stoppard

  363. The Gingerbread lady- Neil Simon

  364. *Brighton Beach Memoirs - Neil Simon

  365. *Biloxi Blues- Neil Simon

  366. *Broadway Bound - Neil Simon

  367. *Lost In Yonkers - Neil Simon

  368. Jake’s Women - Neil Simon

  369. *La Ronde - Arthur Schnitzler

  370. The days and nights of Beebee Fenstermaker - Willaim Snyder

  371. Man and Superman - George Bernard Shaw

  372. *Pymalian - George Bernard Shaw

  373. Arms and the Man - George Bernard Shaw

  374. And then there were none..the world of Anne Frank...James Still

  375. *Assasins - Stephen Sondheim

  376. *Into The Woods  - Stephen Sondheim

  377. Sweeney Todd - Stephen Sondheim

  378. Pterodactyls - Nicky Silver

  379. Enter Laughing  - Joseph Stein

  380. The Birthday Party and the Ground Zero club - Charlie Schulman

  381. A Few Good Men - Aaron Sorkin

  382. *Amadeus - Peter Shaffer

  383. *Equus - Peter Shaffer

  384. The White Liars and Black Comedy - Peter Shaffer

  385. The Foreigner - Larry Shue

  386. *God’s Ear - Jenny Schwartz

  387. Class Action - Brad Slaight

  388. Copeis - Brad Slaight

  389. *The Father - August Strindberg

  390. *Five plays (Ms. Julie - Dance of Death - A Dream Play - Ghost Sonata) - August Strindberg (Harry Carlslon transaltion)

  391. *The Chamber Plays - August Strindberg

  392. The Great Highway - August Strindberg

  393. Duet for Cannibals- Susan Sontag

  394. The Mandrake - Machiavelli (trans..Wallace Shawn)

  395. *Aunt Dan and Lemon - Wallace Shawn

  396. Finger Foods - Nina Sheingold

  397. Other People’s Monet - Jerry Sterner

  398. *The Playboy of the Western World/Riders to the Sea - J.M Synge

  399. Women and Wallace- Jonathan Marc Sherman

  400. *Geography and Plays - Gertrude Stein

  401. Uncorrected Proof - Gertrude Stein

  402. Plays volume 3 - (Punk Rock, On the shore of the Wide World)  Simon Stephens

  403. Mary Stuart- Shiller

  404. Building the Wall - Shenkman

  405. *Twlight Los Angeles 1982 - Anna Deveare Smith

  406. Hooters - Ted Tally

  407. *Machinal - Sophie Treadwell

  408. The Hobbit - Tolkien (Peter Gray adapt)

  409. Is he Dead - Mark Twain

  410. *Our Town - Thornton Wilder

  411. The Collected Short Plays Volume 1 - Thornton Wilder

  412. *The Skin of our Teeth - Thornton Wilder

  413. Achilles in Sparta - Sharr White

  414. *Mr. Burns - A post electric play - Anne Washburn

  415. Cellophane and other plays - Mac Wellman

  416. Cowtet - Mac Wellman

  417. I am my Own Wife - Doug Wright

  418. *America Hurrah - Jean-Claude Van Italle

  419. How to explain the history of Communisim to mental patients and other plays - Matei Visniec

  420. *Spring Awakening - Frank Wedekind (Jonathan Franzen)

  421. *Spring Awakening - Frank Wedekind (Eric Bentley)

  422. *Driving Miss Daisy - Alfred Uhry

  423. *The Last Night of Ballyhoo - Alfred Uhry

  424. *Is He Dead - Mark Twain (David Ives)

  425. Morality Play - Barry Unsworth

  426. The Ash Girl - Timberlake Weternbaker

  427. *Joe Turner’s Come and Gone - August Wilson

  428. *Two Trains Running - August Wilson

  429. *Fences - August Wilson

  430. *Ma Rainey’s Black Bottom - August Wilson

  431. Three plays - Goerge F. Walker

  432. *Shared Anxiety - Goerge F. Walker

  433. 27 Wagons full of Cotton - Tennessee Williams

  434. *Summer and Smoke - Tennessee Williams

  435. *A Street Car named Desire - Tennessee Williams

  436. *Cat on a Hot Tin Roof - Tennessee Williams

  437. *The Glass Managerie - Tennessee Williams

  438. Not about Nightengales - Tennessee Williams

  439. *The Rose Tatoo - Tennessee Williams

  440. Vieux Carre - Tennessee Williams

  441. The Pavillion - Doug Wright

  442. *Our Country’s Good - Timberkale Wertenbaker

  443. *The Hot L Baltimore - Lanford Wilson

  444. *Balm in Gilead and other plays - Lanford Wilson

  445. *Collected works 1965-1970 Lanford Wilson

  446. *The Plays of Oscar Wilde - Oscar Wilde

  447. *One flew over the Cuckoo’s nest - Dale Wasserman

  448. I am a Camera - John Van Druten

  449. The Voice of the Turtle - John Van Druten

  450. *Uncommon Women and Others - Wendy Wasserstein

  451. The Heidi Chronicals - - Wendy Wasserstein

  452. The Secret in the Wings - Mary Zimmerman

  453. *Metamorphosis - Mary Zimmerman

  454. Agonautika - Mary Zimmerman

  455. The Odyssey - Mary Zimmerman

  456. *The Effect of Gamma Rays on Man in the Moon Marigolds - Paul Zindel

 

ANTHOLOGIES

  1. Extreme Exposure- An Anthology of 20th century performance texts

  2. Plays for Actresses - Edited by Nina Shengold

  3. Midsummer Mischeif - Four Radical new plays as takes on Midsummer

  4. God,Man and Devil - Yiddish Plays in translation

  5. Plays of the Holocaust

  6. Balkan Plots - Plays from Central and Eastern europe

  7. American Political Plays - Edited by Allan Havis

  8. Landmark Yiddish Plays - Edited by Joel Berkowitz

  9. *Seven Famous Greek Plays

  10. Ten Great one act plays - edited by Morris Sweetkind

  11. Plays children love - edited by Coleman Jennigs

  12. Plays from Playwrights Horizens -

  13. Four volumes of ACTORS THEATER OF LOIUSVILLE 10 minute plays

  14. Japanese No Dramas

  15. Kubuki Playa

  16. Take Ten - more 10 minute plays

  17. Plays for the end of the century

  18. New plays from A.C.T Young Actors Conservatory

  19. The Best American Short Plays 2009-2010

  20. The Downtown Anthology - Six plays from New York’s Downtown Theater (Edited by Mac Wellman)

  21. Everyman and Midieval cyle plays

  22. *One Minute Plays - A practical guide to Tiny Theater

Once Again The  books, plays, American Theater Magazines and Vinyl LP recordings listed above  are available to be borrowed by ALL STUDENTS.  

ALL OF THESE ARE WORTH YOUR TIME 

 THE PLAYS AND BOOKS WITH STARS NEXT TO THEM ARE CLASSICS OR RECENT WORKS THAT YOU ALL SHOULD ABSOLUTELY KNOW

 

There is a blue binder on my desk that lists all of the following resources

Please sign out the items that you wish to borrow and the date that you do so

 IT'S THAT SIMPLE !

 

 

 

 

ABOUT NOISES OFF

 

Noises Off is a play within a play and a farce. It was written in 1982 and is one of the most produced comedies in English speaking theater.

Here is a link to some information about the most recent Broadway revival (the second since it's 1984 Broadway premiere. 

https://www.roundabouttheatre.org/Shows-Events/Noises-Off.aspx

The actors in Noises Off are putting on a play entitled Nothing On. They are from England and actors will use class specific and appropriate British accents that may change when we are in (Nothing On)the play within the play  

Noises Off Character Breakdowns

MALE ROLES

Tim Allgood  - Tim is the stage manager of Nothing On. As well as having his own stage management responsibilities, he is also Freddie’s body double in one scene and understudy for all of the male roles. He is incredibly tired and overworked, having not been to bed for 48 hours. He is logical and sensible but frequently finds himself overruled and bossed around by Lloyd, particularly in Act II, when he is sent to buy some flowers for Brooke instead of running the show. He is constantly stressed and clearly not comfortable in front of an audience, getting tongue-tied and flustered when he has to apologize for the late start of the show in Act III.

Lloyd Dallas -  Lloyd is the director of Nothing On, although his heart does not seem to be in it. In Act I he is tired and desperate to finish the dress rehearsal and his stress levels rise as the rehearsal is constantly brought to a standstill by various members of the cast. Most of the time he prevents his anger from showing by patronizing the actors, referring to them as ‘love’ and ‘honey’ and making snide remarks at their expense. He is having affairs with Brooke and Poppy, although it is clear that his affections lie more with Brooke. When his temper reaches bursting point, he vents his frustrations at Brooke, cruelly humiliating her in front of the rest of the cast. During his visit to the production on tour, he is unwilling to do anything to help the show, prioritizing spending time alone with Brooke. However, at the end of the play, it is his quick thinking that saves the performance.

Frederick Fellowes -  Freddie is a seasoned actor, most well-known for his appearances in various TV hospital dramas, who plays the roles of Philip Brent and the Sheikh in Nothing On. He has a very nervous disposition, suffering from nosebleeds whenever he is faced with violence and is overcome with dizziness at the sight of blood. He seems weary and stressed during Act I and we later find out that this is because his wife has left him that morning. Referred to by Garry as ‘that poor halfwit,’ he is not particularly intelligent and for the most part of Act II is completely unaware of the impact his platonic chat with Dotty has had on her relationship with Garry. Garry Lejeune Garry is a fairly well-known actor who plays the role of estate agent Roger Tramplemain in Nothing On. He is having a secret relationship with Dotty Otley, with whom he previously acted in the sitcom On The Zebras. He is well-meaning, constantly trying to keep the cast’s morale up but also argumentative and defensive, frequently standing up to Lloyd during Act I. However, the majority of the time he comes across as inarticulate when he tries to express himself, frequently leaving sentences unfinished and his listeners confused. He takes himself and his work very seriously and is incredibly possessive of Dotty, turning to violence against Freddie in Act II, when he believes he is being cheated on. However, he tries to remain as professional as possible throughout Act III, despite the various problems thrown at him.

Selsdon Mowbray Selsdon is an elderly Shakespearean actor, who has only ever played supporting roles throughout his career. He plays the small role of the Burglar in Nothing On. He is apparently hard-of-hearing and frequently misses his cue to enter, although Lloyd suggests that actually ‘he can hear better than I can.’ However, when he is onstage, he is an enthusiastic actor, delivering each of his lines as if it is a Shakespearean monologue. Unfortunately he frequently forgets his lines, freezing mid-sentence and waiting for a prompt. He is also an alcoholic and because of this he is falsely accused of hiding multiple bottles of whisky around the set.

FEMALE ROLES

Brooke Ashton - Brooke is a relatively new and inexperienced actress, appearing as Inland Revenue tax collector Vicki in Nothing On. Although she has had several minor roles on screen, this is her stage debut. She is having an affair with director Lloyd Dallas, unaware that he is also having a relationship with Poppy. She is highly emotional and practices meditation to calm her nerves. The majority of the time she is oblivious to what is going on around her, rarely listening to the conversations of her fellow actors. She is eager to impress and even when things go wrong during the performance, she carries on regardless, unable to adapt to changes or mistakes. She wears contact lenses which she has a habit of losing and finds it very difficult to see anything without them.

Belinda Blair  - A former dancer, Belinda is a successful actress, having appeared in number of farces and now playing the role of Flavia Brent in Nothing On. Of all the cast, she is the most resilient, constantly rallying her fellow actors and supporting them through their various dilemmas. However, her constantly positive attitude seems to grate on other members of the cast and it is suggested that there may be an element of falseness to her sunny disposition. She is the source of all gossip, filling Lloyd in on the various relationships and dramas within the company. She is very protective of Freddie and clashes violently with Dotty when she thinks that there is something going on between them.

Poppy Norton -Taylor Poppy is the inexperienced but well-intentioned assistant stage manager of Nothing On. As well as being responsible for cuing the show, Poppy is understudy for all of the female characters. She has recently been having a secret relationship with Lloyd and at the end of Act II we find out that she is pregnant with his child. Despite the fact that she frequently gets the blame when things go wrong, she is still in love with him. She is very highly-strung, constantly on the verge of tears and becomes very jealous of Brooke when she finds out that she has also been involved with Lloyd.

Dotty Otley -  Dotty is the leading actress of the Nothing On company, playing Mrs. Clackett the cockney housekeeper. Famous for her role as Mrs. Hackett the lollipop lady in the TV sitcom On The Zebras, as well as her many stage roles playing similar characters, she is not only starring in, but also financing this production of Nothing On, using her life savings in the hope that she can ‘put a little something by’. She is forgetful, getting her lines and moves wrong throughout Act I. Nevertheless, she is an exuberant actress, playing the role with energy and good comic timing. She enjoys being the center of attention and is flirtatious, causing Garry – a younger actor with whom she is having a relationship - to think she is cheating on him with Freddie. She is also shown to be something of a drama queen in Act II, when she initially refuses to perform and has a vicious streak which sees her tying Garry’s shoelaces together. By the end of the play she is behaving very unprofessionally. However, with Lloyd’s help, it is she who ultimately saves the play with her quick thinking, as it draws towards the final curtain.

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