Theatre Library Association
SYMPOSIUM II
New York University
Kimmel Center for University Life
Shorin Music Performance Center
(directions)
Friday, February 16, 2007
9:00 AM – 5:00 PM
Performance Reclamation:
Research, Discovery, and Interpretation
Performance Calendar
Location for all selections: New York City
Stephen Sondheim and James Goldman FOLLIES February 8 - 11, 2007 New York City Center Encores! West 55th Street (6th & 7th Avenues) 212/581-1212 The first production in the 14th season of the acclaimed Encores! series, celebrating the great Broadway revue. Follies (1971) showcases Sondheim's brilliant pastiche of songs from the teens, ‘20s and ‘30s in the style of Gershwin, Berlin and Porter. |
Harley Granville-Barker THE MADRAS HOUSE February 2 - March 11, 2007 Mint Theater Company 311 W. 43rd Street, 3rd floor (Eighth Avenue) 212/868-4444 Harley Granville-Barker’s comedy The Madras House (1909), a brilliant, electrifying play on the subject of sex, shopping and social embarrassment, has been seen only once in New York, in a 1921 production presented by the Neighborhood Playhouse. |
Sheldon Harnick and Jerry Bock The Apple Tree (1966) is an evening of three one-act musicals about men, women, and temptation, adapted from stories by Mark Twain, Frank R. Stockton, and Jules Feiffer. This production is based on the 2005 New York City Center Encores! revival. |
Harley Granville-Barker THE VOYSEY INHERITANCE December 6, 2006 - March 25, 2007 Atlantic Theater Company 336 West 20th Street (8th & 9th Avenues) 212/691-5919 The Voysey Inheritance (1905) is the portrait of a wealthy family coming apart when a son discovers the secret of how his aging father amassed the family fortune. David Mamet, the contemporary master of the conflict between morals and money, has adapted Granville-Barker’s classic play for this production. |
Tennessee Williams Written during an experimental phase in Williams' career, In the Bar of A Tokyo Hotel (1968) depicts the tragic demise of a famous American painter and his desperate wife, employing an innovative use of language, stark minimalism, brashness of character and multi-layered symbolism. |
R.C. Sherriff Based on the author’s own experiences in the trenches during World War I, Journey’s End (1929) follows a group of British soldiers who await their fate on the front lines. This is a remounting of the production that played in London on the play’s 75th anniversary. |
Peter Weiss MARAT SADE February 2 – March 11, 2007 Classical Theatre of Harlem 645 St. Nicholas Avenue (West 141st Street) 212/868-4444 This seminal work of 20th century drama (1966), depicting the French Revolution as enacted by the inmates of an asylum under the direction of the Marquis de Sade, explores the concept of democracy and if it is possible, given the realities and limitations of human nature. |
J. M. Barrie MARY ROSE Previews begin February 1, 2007 Vineyard Theatre 108 East 15th Street (Union Square East) 212/353-0303 J. M. Barrie’s romantic drama (1920), about a girl who disappears only to return mysteriously twenty days later with no memory of the time that has passed, tells a story of love, loss, ghosts and the living. |
William Shakespeare/Christopher Marlowe
THE MERCHANT OF VENICE, January 6 - March 11, 2007 Theatre for a New Audience The Duke on 42nd Street 229 West 42nd Street (7th & 8th Avenues) 212/229-2819 Did Shakespeare write The Merchant of Venice (c1594-98) in response to his contemporary Marlowe's The Jew of Malta (c1589-91)? Audiences can decide when they see a single company of actors perform the plays in repertory for the first time in New York City. |
I. L. Peretz, Alexandra Aron, Glen Berger and Frank London A new musical in English and Yiddish based on I. L. Peretz's dramatic poem, Bay Nakht af dem Altn Mark (1907), about an insane Badkhu (master of ceremonies, or jester) dancing on a bridge between the worlds of the living and the dead. |
John Murray and Allen Boretz A classic screwball comedy, Room Service (1937) tells the story of an unscrupulous Broadway producer in search of a backer for his new show. It remains not only a very funny play, but also a persuasive study of New York theater in the 1930s. |
Lillian Hellman Lillian Hellman's last great play (1960) follows a single day in the life of the Brenier family in New Orleans as love turns destructive, innocence becomes dangerous, and truth wins out - no matter the cost. |
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