Circle stock theater was based on the repertory companies that began to tour America after the Civil War; unlike their repertory brethren, circle stock troupes toured a regular circuit, usually consisting of six small towns situated roughly in a circle around a base community where the performers lived. Through interviews, written reminiscences of veteran circle stock performers, and extensive research, the history of this unique slice of Americana is here presented for the first time.
Based on years of research as well as interviews conducted with Circle in the Square's major contributing artists, this book records the entire history of this distinguished theatre from its nightclub origins to its current status as a Tony Award-winning Broadway institution. Over the course of seven decades, Circle in the Square theatre profoundly changed ideas of what American theatre could be. Founded by Theodore Mann and Jose Quintero in an abandoned Off-Broadway nightclub just after WWII, it was a catalyst for the Off-Broadway movement. The building had a unique arena-shaped performance space that became Circle in the Square theatre, New York's first Off-Broadway arena stage and currently Broadway's only arena stage. The theatre was precedent-setting in many other regards, including operating as a non-profit, contracting with trade unions, establishing a school, and serving as a home for blacklisted artists. It sparked a resurgence of interest in playwright Eugene O'Neill's canon, and was famous for landmark revivals and American premieres of his plays. The theatre also fostered the careers of such luminaries as Geraldine Page, Colleen Dewhurst, George C. Scott, Jason Robards, James Earl Jones, Cecily Tyson, Dustin Hoffman, Irene Papas, Alan Arkin, Philip Bosco, Al Pacino, Amy Irving, Pamela Payton-Wright, Vanessa Redgrave, Julie Christie, John Malkovich, Lynn Redgrave, and Annette Bening.
Drama /2w, 3m, 1 female voiceover In high school, Neely was deemed "Most Likely to Succeed," but at 19, she's still working at the Amoco station and taking care of her meth-addicted younger brother (their mom ran out on them in search of herself). Her best-friend is a small-time drug dealer (also 19) who's taking care of the baby he had with a girl who has gone off to college abandoning them both. Into this mess strolls a new cop, who takes an interest in Neely and starts to date her. A swift-mo
Circle stock theater was based on the repertory companies that began to tour America after the Civil War; unlike their repertory brethren, circle stock troupes toured a regular circuit, usually consisting of six small towns situated roughly in a circle around a base community where the performers lived. Through interviews, written reminiscences of veteran circle stock performers, and extensive research, the history of this unique slice of Americana is here presented for the first time.
Reveals the multicultural dimension of the history of North American theater, covering Mexican, Native US, Caribbean, and Canadian theater as well as US theater history. Coverage encompasses major theatrical developments, events, and influential figures, with sections on pre- Columbian performance, New Spain, the American colonies, New France, national stages, and the periods 1825-1870, 1870-1900, 1900-1945, and 1945 to the present. Includes some 300 bandw photos and illustrations. For students and general readers. Annotation copyrighted by Book News, Inc., Portland, OR
Outdoor drama takes many forms: ancient Greek theatre, open-air performances of Shakespeare at summer festivals, and re-enactments of landmark historical events. The essays gathered in "Outdoor Performance," Volume 17 of the annual journal Theatre Symposium, address outdoor theatre's many manifestations, including the historical and non-traditional. Among other subjects, these essays explore the rise of "airdomes" as performance spaces in the American Midwest in the first half of the 20th century; the civic-religious pageants staged by certain Mormon congregations; Wheels-A-Rolling, and other railroad themed pageants; first-hand accounts of the innovative Hunter Hills theatre program in Tennessee; the role of traditional outdoor historical drama, particularly the long-running performances of Paul Green's The Lost Colony; and the rise of the part dance, part sport, part performance phenomenon "parkour"-- the improvised traversal of obstacles found in both urban and rural landscapes.
THE STORY: When four lost New Englanders who enroll in Marty's six-week-long community-center drama class begin to experiment with harmless games, hearts are quietly torn apart, and tiny wars of epic proportions are waged and won. A beautifully cra
