Podcast appearances and mentions of elmer rice

When tech companies began announcing advanced artificial intelligence systems like ChatGPT, there was widespread enthusiasm. AI was going to make mundane jobs more efficient; it was going to reshape entire industries and creative processes; and it was going to free up time for humans to do things that were, well, more human – things like creating art. But in the last few years, it’s been artists themselves raising the alarm around automation. Some see AI as a cool new tool, or another color on the palette; others argue it’s an existential threat to industries that were already struggling to stay afloat. For local theater director Ryan Guzzo Purcell, the bleeding edge of AI in art is something we can’t approach from an either/or point of view. His latest production with The Feast is a reinterpretation of “The Adding Machine,” a 100 year old play about automation by playwright Elmer Rice. A new version of the play at Seattle University’s Lee Performing Arts Center updates that notion for modern times, leaning into the question of dealing with automation by incorporating AI at practically every level: the stage design, the production – even the performances. Soundside producer Alec Cowan spoke with Purcell to learn more about the intersection of technology and stagecraft after attending a showing last October. GUEST: Ryan Guzzo Purcell, artistic director at The Feast, a Seattle theater company, and director of "The Adding Machine: A Cyborg Morality Play." RELATED LINKS: What's Next | The Feast (the-feast.org) The Adding Machine: A Cyborg Morality Play - Seattle University How Seattle theater company The Feast’s play using AI turned out | The Seattle Times KUOW - Artists vs. AI: where innovation meets unwelcome imitation Thank you to the supporters of KUOW, you help make this show possible! If you want to help out, go to kuow.org/donate/soundsidenotes Soundside is a production of KUOW in Seattle, a proud member of the NPR Network.See omnystudio.com/listener for privacy information.

When tech companies began announcing advanced artificial intelligence systems like ChatGPT, there was widespread enthusiasm. AI was going to make mundane jobs more efficient; it was going to reshape entire industries and creative processes; and it was going to free up time for humans to do things that were, well, more human – things like creating art.  But in the last few years, it's been artists themselves raising the alarm around automation. Some see AI as a cool new tool, or another color on the palette; others argue it's an existential threat to industries that were already struggling to stay afloat.  For local theater director Ryan Guzzo Purcell, the bleeding edge of AI in art is something we can't approach from an either/or point of view. His latest production with The Feast is a reinterpretation of “The Adding Machine,” a 100 year old play about automation by playwright Elmer Rice. A new version of the play at Seattle University's Lee Performing Arts Center updates that notion for modern times, leaning into the question of dealing with automation by incorporating AI at practically every level: the stage design, the production – even the performances.  Soundside producer Alec Cowan spoke with Purcell to learn more about the intersection of technology and stagecraft after attending a recent showing. Curious about seeing the play yourself? The show runs through Sunday, Oct. 6. You can find tickets here. Thank you to the supporters of KUOW, you help make this show possible! If you want to help out, go to kuow.org/donate/soundsidenotes Soundside is a production of KUOW in Seattle, a proud member of the NPR Network. Guests: Ryan Guzzo Purcell, artistic director at The Feast, a Seattle theater company, and director of "The Adding Machine: A Cyborg Morality Play." Related Links:  What's Next | The Feast (the-feast.org) The Adding Machine: A Cyborg Morality Play - Seattle University How Seattle theater company The Feast's play using AI turned out | The Seattle Times KUOW - Artists vs. AI: where innovation meets unwelcome imitation See omnystudio.com/listener for privacy information.

We went deep for our second King Vidor Special Subject episode, looking at four films from the 1930s: Street Scene (1931), adapted by Elmer Rice from his famous stage play about working-class New Yorkers; the little-known Cynara (1932), starring Ronald Colman as a kindly upper-middle-class man who stumbles into adultery and the abyss; Our Daily Bread (1934), Vidor's eccentric, self-produced response to the Great Depression; and Stella Dallas, one of the great woman's pictures, centered on one of Barbara Stanwyck's greatest performances. Class, gender, transformation of consciousness, and how they're served by melodrama story structures all come in for examination as we find links with the films of other auteurs, from Ozu to Lynch. And in Fear and Moviegoing in Toronto, we take a quick look at monster movie tropes and James Cameron's masochistic feminism in The Terminator. All this and more feedback on our Lilli Palmer series!  Time Codes: 0h 00m 30s:      More general musings on Vidor 0h 05m 49s:      STREET SCENE (1931) [dir. King Vidor] 0h 26m 44s:      CYNARA (1932) [dir. King Vidor] 0h 45m 32s:      OUR DAILY BREAD (1934) [dir. King Vidor] 1h 00m 46s:      STELLA DALLAS (1937) [dir. King Vidor] 1h 39m 13s:      Fear and Moviegoing in Toronto: James Cameron's The Terminator (1984) 1h 45m 23s:      Listener Communiqués +++ * Listen to our guest episode on The Criterion Project – a discussion of Late Spring * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's piece on Gangs of New York – “Making America Strange Again” * Check out Dave's Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com We now have a Discord server - just drop us a line if you'd like to join! 

Please join actress Susan Scannell Gilbert live in The Locher Room to look back at her career and time working in daytime television.Susan is well-known for her roles on Search For Tomorrow (Kristen Carter Emerson), Ryan's Hope (Gabriel Dubujak) and appearances on One Life to Live and All My Children. Susan is also known for her debut role on the soap opera Another Life (Becky Hewitt) produced by the Christian Broadcasting Network where she wrote songs to be performed by her character. Daytime soaps led to a contract role on the ABC hit prime-time series, Dynasty, and guest starring roles on episodes of The A-Team and Remington Steele.While acting, Ms. Scannell Gilbert kept her love of music alive by appearing at nightclubs such as: Dangerfields, Maxims, The Silver Lining, Carlos & Charlie's and others, as well as performing her original songs on The Merv Griffin Show. She also sang the National Anthem at Shea Stadium. Scannell Gilbert 's love of singing and writing led to writing a one-woman musical called “Love Jokes” which received a grant from Queens Public Television.She is a three-time winner in Joel Selmeier's New York One Minute Play Competition, which led to her scripts being published in “Rosebud Magazine”. She is also the winner of DramaLogues 1988 Critics Award for outstanding achievement in theater for her comedic performance in Dream Girl by Elmer Rice.From 2001 – 2005 she served as the Founding Executive Director of the award-winning Astoria Performing Arts Center in Astoria, NY, where along with producing popular shows for the public, she was able to create musical theater programs for youth (“Summer Stars”) and Seniors (“Senior Stars”) which are free to all participants. She left APAC in good hands, and it is a thriving theater to this day. Susan can be found on the stage in Massachusetts where she enjoys performing roles that “tickle her mind and heart.”Original Airdate: 5/10/2022

This week on No Script, Jackson and Jacob go back nearly 100 years to discuss a script with massive theatrical daring. Elmer Rice's Street Scene is packed with people and stories, Rice's attempt to capture the pulsing heartbeat of a New York City street. Listen in as J&J admire the craftsmanship, abundance, and bravery of the play!  ------------------------------ Please consider supporting us on Patreon. For as low as $1/month, you can help to ensure the No Script Podcast can continue.  https://www.patreon.com/noscriptpodcast  ----------------------------- We want to keep the conversation going! Have you read this play? Have you seen it? Comment and tell us your favorite themes, characters, plot points, etc. Did we get something wrong? Let us know. We'd love to hear from you. Find us on social media at:  Email: noscriptpodcast@gmail.com Facebook: https://www.facebook.com/No-Script-The-Podcast-1675491925872541/ Instagram: https://www.instagram.com/noscriptpodcast/ Twitter: https://twitter.com/noscriptpodcast/ ------------------------------ Our theme song is “Upbeat Soda Pop” by Purple Planet Music. Credit as follows: Music: http://www.purple-planet.com ------------------------------ Thanks so much for listening! We'll see you next week.

Date with the Angels is an American sitcom that aired on ABC from May 10, 1957, to January 29, 1958. The series, which stars Betty White and Bill Williams, began as a late season replacement for The Ray Anthony Show for the same sponsor, Chrysler's Plymouth division. Tom Kennedy was the show's announcer and spokesman for Plymouth. Synopsis. The series revolves around newly married Vicki Angel and her insurance salesman husband Gus Angel who get themselves and their friends and neighbors into various comedic situations. Besides Betty White and Bill Williams, the series also featured for several episodes Richard Deacon, Richard Reeves, Maudie Prickett and Burt Mustin. Among the series' guest stars were Nancy Kulp, Madge Blake, Joan Vohs, Chuck Connors, Reta Shaw, Dave Willock, Sid Melton, Russell Hicks, Hugh O'Brian, Hanley Stafford, and Willard Waterman. The show's theme song was "Got A Date With An Angel", a semi-standard introduction in 1932 and long associated with the orchestra of Hal Kemp. Date with the Angels was loosely based on the Elmer Rice play Dream Girl, and the series was originally intended to revolve heavily around Vicki's daydreaming tendencies, with more than half of a typical episode dedicated to fantasy sequences. However, the sponsor was not pleased with the fantasy elements and successfully exerted pressure to have them eliminated. "Without our dream sequences," White later said, "our show flattened out and became just one more run-of-the-mill domestic comedy[...]I can honestly say that was the only time I have ever wanted to get out of a show." The series produced 33 filmed episodes before it was canceled in late January 1958. White fulfilled her series commitment by reviving her previous live variety/comedy show, The Betty White Show, for the rest of the season.

Date with the Angels is an American sitcom that aired on ABC from May 10, 1957, to January 29, 1958. The series, which stars Betty White and Bill Williams, began as a late season replacement for The Ray Anthony Show for the same sponsor, Chrysler's Plymouth division. Tom Kennedy was the show's announcer and spokesman for Plymouth. Synopsis. The series revolves around newly married Vicki Angel and her insurance salesman husband Gus Angel who get themselves and their friends and neighbors into various comedic situations. Besides Betty White and Bill Williams, the series also featured for several episodes Richard Deacon, Richard Reeves, Maudie Prickett and Burt Mustin. Among the series' guest stars were Nancy Kulp, Madge Blake, Joan Vohs, Chuck Connors, Reta Shaw, Dave Willock, Sid Melton, Russell Hicks, Hugh O'Brian, Hanley Stafford, and Willard Waterman. The show's theme song was "Got A Date with an Angel", a semi-standard introduction in 1932 and long associated with the orchestra of Hal Kemp. Date with the Angels was loosely based on the Elmer Rice play Dream Girl, and the series was originally intended to revolve heavily around Vicki's daydreaming tendencies, with more than half of a typical episode dedicated to fantasy sequences. However, the sponsor was not pleased with the fantasy elements and successfully exerted pressure to have them eliminated. "Without our dream sequences," White later said, "our show flattened out and became just one more run-of-the-mill domestic comedy[...]I can honestly say that was the only time I have ever wanted to get out of a show." The series produced 33 filmed episodes before it was canceled in late January 1958. White fulfilled her series commitment by reviving her previous live variety/comedy show, The Betty White Show, for the rest of the season.

Date with the Angels is an American sitcom that aired on ABC from May 10, 1957, to January 29, 1958. The series, which stars Betty White and Bill Williams, began as a late season replacement for The Ray Anthony Show for the same sponsor, Chrysler's Plymouth division. Tom Kennedy was the show's announcer and spokesman for Plymouth. Synopsis. The series revolves around newly married Vicki Angel and her insurance salesman husband Gus Angel who get themselves and their friends and neighbors into various comedic situations. Besides Betty White and Bill Williams, the series also featured for several episodes Richard Deacon, Richard Reeves, Maudie Prickett and Burt Mustin. Among the series' guest stars were Nancy Kulp, Madge Blake, Joan Vohs, Chuck Connors, Reta Shaw, Dave Willock, Sid Melton, Russell Hicks, Hugh O'Brian, Hanley Stafford, and Willard Waterman. The show's theme song was "Got A Date with an Angel", a semi-standard introduction in 1932 and long associated with the orchestra of Hal Kemp. Date with the Angels was loosely based on the Elmer Rice play Dream Girl, and the series was originally intended to revolve heavily around Vicki's daydreaming tendencies, with more than half of a typical episode dedicated to fantasy sequences. However, the sponsor was not pleased with the fantasy elements and successfully exerted pressure to have them eliminated. "Without our dream sequences," White later said, "our show flattened out and became just one more run-of-the-mill domestic comedy[...]I can honestly say that was the only time I have ever wanted to get out of a show." The series produced 33 filmed episodes before it was canceled in late January 1958. White fulfilled her series commitment by reviving her previous live variety/comedy show, The Betty White Show, for the rest of the season.

Date with the Angels is an American sitcom that aired on ABC from May 10, 1957, to January 29, 1958. The series, which stars Betty White and Bill Williams, began as a late season replacement for The Ray Anthony Show for the same sponsor, Chrysler's Plymouth division. Tom Kennedy was the show's announcer and spokesman for Plymouth. Synopsis. The series revolves around newly married Vicki Angel and her insurance salesman husband Gus Angel who get themselves and their friends and neighbors into various comedic situations. Besides Betty White and Bill Williams, the series also featured for several episodes Richard Deacon, Richard Reeves, Maudie Prickett and Burt Mustin. Among the series' guest stars were Nancy Kulp, Madge Blake, Joan Vohs, Chuck Connors, Reta Shaw, Dave Willock, Sid Melton, Russell Hicks, Hugh O'Brian, Hanley Stafford, and Willard Waterman. The show's theme song was "Got A Date With An Angel", a semi-standard introduction in 1932 and long associated with the orchestra of Hal Kemp. Date with the Angels was loosely based on the Elmer Rice play Dream Girl, and the series was originally intended to revolve heavily around Vicki's daydreaming tendencies, with more than half of a typical episode dedicated to fantasy sequences. However, the sponsor was not pleased with the fantasy elements and successfully exerted pressure to have them eliminated. "Without our dream sequences," White later said, "our show flattened out and became just one more run-of-the-mill domestic comedy[...]I can honestly say that was the only time I have ever wanted to get out of a show." The series produced 33 filmed episodes before it was canceled in late January 1958. White fulfilled her series commitment by reviving her previous live variety/comedy show, The Betty White Show, for the rest of the season.

Adapted from the play by Elmer Rice. This drama of Counsellor at Law, aired on The Campbell Playhouse. This episode aired Friday, January 6, 1939. Story: Successful attorney has his Jewish heritage and poverty-stricken background brought home to him when he learns his wife has been unfaithful. The movie was written by, Elmer Rice, and based on the 1931 Broadway play. Starring: Orson Welles, Aline MacMahon, Gertrude Berg, and Joseph Cotten. With guest star, Samuel S. Leibowitz, a well-known lawyer at the time who was famous for winning most of his cases and became a New York State Supreme Court Justice. : : : : : website: https://otr.duane.media/ (https://otr.duane.media). email: info@otr.duane.media. connect n' follow: Instagram @duane.otr | Twitter @duane_otr : : : : : Thank you for your support.

Date with the Angels is an American sitcom that aired on ABC from May 10, 1957, to January 29, 1958. The series, which stars Betty White and Bill Williams, began as a late season replacement for The Ray Anthony Show for the same sponsor, Chrysler's Plymouth division. Tom Kennedy was the show's announcer and spokesman for Plymouth. Synopsis. The series revolves around newly married Vicki Angel and her insurance salesman husband Gus Angel who get themselves and their friends and neighbors into various comedic situations. Besides Betty White and Bill Williams, the series also featured for several episodes Richard Deacon, Richard Reeves, Maudie Prickett and Burt Mustin. Among the series' guest stars were Nancy Kulp, Madge Blake, Joan Vohs, Chuck Connors, Reta Shaw, Dave Willock, Sid Melton, Russell Hicks, Hugh O'Brian, Hanley Stafford, and Willard Waterman. The show's theme song was "Got A Date With An Angel", a semi-standard introduction in 1932 and long associated with the orchestra of Hal Kemp. Date with the Angels was loosely based on the Elmer Rice play Dream Girl, and the series was originally intended to revolve heavily around Vicki's daydreaming tendencies, with more than half of a typical episode dedicated to fantasy sequences. However, the sponsor was not pleased with the fantasy elements and successfully exerted pressure to have them eliminated. "Without our dream sequences," White later said, "our show flattened out and became just one more run-of-the-mill domestic comedy[...]I can honestly say that was the only time I have ever wanted to get out of a show." The series produced 33 filmed episodes before it was canceled in late January 1958. White fulfilled her series commitment by reviving her previous live variety/comedy show, The Betty White Show, for the rest of the season.

In this episode, Randy and Tyler discuss the 1929 Pulitzer Prizewinning Play, Street Scene by Elmer Rice.From Stageagent.com: The claustrophobic reality of living in a six-story walk-up in the Lower East Side of Manhattan is the focus of Elmer Rice's Street Scene. With the neighbors all knowing everyone's business, and constantly passing judgement on everyone's behavior, it is easy to see how this melting pot can quickly become dangerous.On two scorching hot days in June 1929, the pot finally boils over for Frank Maurrant. The rumors about his wife having an affair have become too loud and too persistent for him to ignore. How many times does he have to lay down the law in his own home before it is followed? To make matters worse, that guy keeps turning up and talking to his wife in full view of everyone. ******* IN OUR NEXT EPISODE *******Join us as we discuss the 2007 winner of the Pulitzer Prize for Drama, Rabbit Hole by David Lindsay-Abaire.From Stageagent.com: Becca and Howie Corbett have a picture perfect family life in the suburbs of New York until a random, tragic accident takes the life of their four-year old son. Soon after, Becca's younger, irresponsible sister, Izzy, announces that she is pregnant: there will now be a new child in the family. As Becca and Howie grow apart, Becca's mother, Nat, badgers Becca about her grieving process, and Jason, the young driver who killed their son, continually shows up to ask forgiveness, the group is on a bumpy road to healing with no road map in sight. Rabbit Hole delves into the complexity of a family navigating deep grief, and learning what it means to live a fruitful life when things fall apart.DeScriptedFacebook: https://www.facebook.com/DeScriptedPodTwitter: @DeScriptedPod - www.twitter.com/DeScriptedPodInstagram: @DeScriptedPod - www.instagram.com/DeScriptedPod

Note: This episode contains explicit language.In this episode, Randy and Tyler discuss the 2008 Pulitzer Prizewinning Play, August: Osage County, by Tracy LettsSynopsis from StageAgent.com: August: Osage County centers around the Weston family, brought together after their patriarch, world-class poet and alcoholic Beverly Weston, disappears. The matriarch, Violet, depressed and addicted to pain pills and “truth-telling,” is joined by her three daughters and their problematic lovers, who harbor their own deep secrets, her sister Mattie Fae and her family, well-trained in the Weston family art of cruelty, and finally, the observer of the chaos, the young Cheyenne housekeeper Johnna, who was hired by Beverly just before his disappearance. Holed up in the large family estate in Osage County, Oklahoma, tensions heat up and boil over in the ruthless August heat. Bursting with humor, vivacity, and intelligence, August: Osage County is both dense and funny, vicious and compassionate, enormous and unstoppable.Photos of Penobscot Theatre Company's production of August: Osage County: https://www.facebook.com/penobscotthea trecompany/posts/10153305557141202This episode uses these sounds from freesound.org: "Cartoony Clangs (hit with spade)_2.wav" by Timbre licensed under CCBYNC 3.0******* IN OUR NEXT EPISODE *******Join us as we discuss the 1929 winner of the Pulitzer Prize for Drama, Street Scene by Elmer L. Rice.From Stageagent.com: The claustrophobic reality of living in a six-story walk-up in the Lower East Side of Manhattan is the focus of Elmer Rice's Street Scene. With the neighbors all knowing everyone's business, and constantly passing judgement on everyone's behavior, it is easy to see how this melting pot can quickly become dangerous.On two scorching hot days in June 1929, the pot finally boils over for Frank Maurrant. The rumors about his wife having an affair have become too loud and too persistent for him to ignore. How many times does he have to lay down the law in his own home before it is followed? To make matters worse, that guy keeps turning up and talking to his wife in full view of everyone. It's enough to turn anyone to drinking. When he returns home to find the curtains drawn mid-morning, he knows exactly what is going on. In a fit of fury and emotion, Frank carries out his threat and kills them both.Street Scene is a huge piece with themes of immigration, racism, domestic violence, sexual assault, murder, social status, youth culture, and poverty, which won the Pulitzer prize for Drama in 1929.DeScriptedFacebook: https://www.facebook.com/DeScriptedPodTwitter: @DeScriptedPod - www.twitter.com/DeScriptedPodInstagram: @DeScriptedPod - www.instagram.com/DeScriptedPod

Producer Samuel Goldwyn wanted to populate his film of Elmer Rice's play Street Scene with a mix of actors from the hit Broadway production and Hollywood.  To play the lead Rose, Goldwyn had Nancy Carroll in mind.  Signed to Paramount, the studio's managing director Bud Schulberg, would not give Carroll up for the film, instead suggesting Sylvia Sidney for the part.  Sidney, also Schulberg's mistress, nonetheless turned out to be inspired casting for the role and anchors the ensemble with her mix of innocence and grit. Along with this 1931 gem, Dan and Vicky delve into some recently seen, including In The Heights, Unhinged, Summer of Soul, Army of the Dead, In Fabric and Memories of Murder. Check out Hot Date 131 and visit our website at hotdatepod.com!

Chatting With Sherri welcomes actor and writer; Philicia Saunders! Philicia Saunders is an American actress of Jamaican and African-American parentage. She is best known for her role as Tabala Zo in the Star Wars Universe, The Force Awakens.  Philicia completed a master's degree program in acting at UCLA School of Theater, Film and Television. At UCLA, she appeared in many stage productions, including William Wycherley's The Country Wife, Elmer Rice's The Adding Machine and Noël Coward's Hay Fever. She also attended the British American Drama Academy in Oxford, England with an emphasis on classical acting and Shakespeare.  Philicia also worked as a production and casting intern on Quentin Tarantino's Django Unchained, Salim Akil's Jumping the Broom and Justin Tipping's Kicks. She started her professional career in acting when she made her stage debut at Ark Theater in Los Angeles as Hermia in William Shakespeare's Midsummer Night's Dream, portraying Portia with the Independent Shakespeare Company in a production of William Shakespeare's Julius Caesar, and at Stage 52 as Monica in a Jamaican play called Which Way is Out? Her film debut started with a series of featured roles in 88 Soul, Don't Let Her Pull you Down, Blaxican Brothers, The Doctor of Bagram, Enhanced, Sleight, and Straight Outta Compton. She has appeared in film with supporting and lead roles in Star Wars: The Force Awakens, Bound to Kill, The Morning After, Come Here Often?, He's Watching and Poe. Her television credits include co-star and featured roles in Shameless, REL, Speechless,  Strange Angel, Bulge Bracket and Lost Angeles and Side Hustle. Her latest project is her one woman streamed stage play and radio play; Breathe. !    

Josh, John, and Chris discuss and love on Elmer Rice's Street Scene.

For our first episode, we discuss Dream Girl, by Elmer Rice, first produced in 1945. Dream Girl is a romantic comedy about Georgina Allerton, a young woman who is prone to flights of fancy, which are depicted on stage. It's a relatively unknown play, appropriate for both community and professional theatre.  Music Credits:  Delightful D Kevin MacLeod (incompetech.com)  Licensed under Creative Commons: By Attribution 3.0 http://creativecommons.org/licenses/by/3.0/

Watch the video of this episode. What does it mean to be live? Can a hologram be considered performance? Is going to the theatre a private or communal act? And should performing artists embrace and incorporate technological change—or should they resist, and build an oasis from social media and screen time? What on earth is going on with live performance in the digital age? Listen to the first-ever recording of the podcast with a live audience! The panel, moderated by Ben, features Colleen Renihan, Craig Walker and Michael Wheeler of the Dan School of Drama and Music. About the Panel Colleen Renihan Colleen Renihan was delighted to join the Dan School of Drama and Music faculty as a Queen's National Scholar in 2016. She earned a B. Mus. in Vocal Performance from the University of Manitoba, an Artist Diploma in Opera Performance from the Vancouver Academy of Music, and an MA and PhD in Musicology at the University of Toronto in 2011 with generous funding support from the Social Sciences and Humanities Research Council of Canada. Her dissertation Sounding the Past was a finalist for the Society for American Music’s Housewright Dissertation Award. Dr. Renihan’s research considers aspects of opera and operatic culture from a postmodern perspective. Inherently interdisciplinary in nature, it explores cultural politics, popular culture, performance theory, temporality, memory theory, opera’s interactions with media (specifically film), and opera’s potential for intervention in current debates in the philosophy of history. Her work has been published in a variety of edited collections and journals, including, most recently, twentieth century music, The Journal of the Society for American Music, and Music, Sound, and the Moving Image. Forthcoming publications include an invited chapter on Benjamin Britten’s coronation opera Gloriana to an edited collection for Boydell & Brewer, and a chapter on affective listening in Harry Somers’s Louis Riel for Wilfrid Laurier Press. Two current book projects explore the historiographical dimensions of American postwar opera, and innovation in Canadian opera and music theatre 1970-2010. Dr. Renihan has presented her research at academic conferences in Canada, the United States, and Europe, including chapter and national meetings of the American Musicological Society, and in 2010, she participated in the Society for Music Theory’s graduate student workshop on ‘Music and Narrative’ with Michael Klein. She was a founding member of Operatics (a working group for the interdisciplinary study of opera) at the University of Toronto, a founding member of IPMC (Interdisciplinary Perspectives on Music in Canada), and has been involved with several research and writing projects at the Canadian Music Centre. Learn more about Colleen. Craig Walker is Director of the Dan School of Drama and Music and Professor of Drama, and is also cross-appointed to the Departments of English and Cultural Studies. Dr. Walker earned his Ph.D. at the University of Toronto, where he had taken his earlier degrees in English. He has taught courses in most subjects in Queen's Drama at one time or another. As a director, for the Queen’s Drama, Dr. Walker has directed the world premiere of Orbit, a play about the daughters of Galileo by Jennifer Wise (2014), a double-bill of Michel Tremblay’s Counter Service and Nina Shengold’s Lives of the Great Waitresses (2012), Thornton Wilder’s Our Town (2010), his own adaptation of Bertolt Brecht’s Drums In the Night (2008), John Lazarus’ Meltdown (2005), Michel Tremblay’s Les Belles Soeurs (2003), Thornton Wilder’s The Skin of Our Teeth (2000), his own translation of Odon von Horvath’s Judgement Day (1999), Richard Rose and D.D. Kugler’s adaptation of Timothy Findley’s Not Wanted on the Voyage (1997), the medieval morality play Everyman (1996) and Elmer Rice’s The Adding Machine (1993). From 1997 to 2007, Dr. Walker was Artistic Director of Theatre Kingston, during which time the company produced 54 plays, 36 of which were Canadian, including 18 world premieres. On the academic side (see profile on academia.edu), Dr. Walker's most recent publication is "Canadian Drama and the Nationalist Impulse" in The Oxford Handbook to Canadian Literature. He is the author of The Buried Astrolabe: Canadian Dramatic Imagination and Western Tradition and co-editor (with Jennifer Wise of the University of Victoria) of The Broadview Anthology of Drama: Plays from the Western Theatre, Volumes I and II and The Broadview Anthology of Drama, Concise Edition. He was Book Review Editor for Modern Drama for two years, from 1998 to 2000. In 2009, he was appointed as a Corresponding Scholar at the Shaw Festival. He is a Fellow of the Royal Society of Canada. Learn more about Craig. Michael Wheeler is Artistic Director of SpiderWebShow Performance, an online performance company working at a national scale. His previous position was as Executive Director of Generator, a mentoring, teaching, and innovation incubator that empowers independent artists, producers and leaders in Toronto. He has co-curated The Freefall Festival with The Theatre Centre and HATCH emerging artist projects with Harbourfront Centre. In 2017, he will co-curate the first Festival of Live Digital Art (foldA) at The Isabel Bader Centre for the Performing Arts. As Founding Artistic Director of Praxis Theatre and a theatre director, he has produced and created numerous independent works including Rifles (2 Dora nominations), the World Premiere of Jesus Chrysler by Tara Beagan presented in association with Theatre Passe Muraille, a National Tour of the SummerWorks Award-winning G20 drama You Should Have Stayed Home, and Jesse Brown’s Canadaland World Tour of Canada. Much of Michael’s work has intertwined with online tools, as editor and publisher of websites like PraxisTheatre.com (Winner Best Blog Post & Best Arts and Culture Blog: Canadian Blog Awards), DepartmentOfCulture.ca, AfricaTrilogy.ca, WreckingBall.ca and most recently SpiderWebShow.ca. He holds a BA (distinction) from McGill University and a Masters of Fine Arts from The American Repertory/Moscow Art Theatre Institute for Advanced Theatre Training at Harvard University. Learn more about Michael.

Distribution : Orson Welles (George Simon), Gertrude Berg (Mrs. Simon), Aline MacMahon (Regina Gordon) Remarks by legal advisor Sam Leibowitz L’article Counsellor at law de Elmer Rice est apparu en premier sur EIBS.

Might the way to enlightenment just be through your anus? In this episode, The Puru cozies butt-up with Amanda Miller--writer, actor, massage therapist, yogi, and compulsively creative person--in order to investigate the inner alchemy of transforming our shit to gold. Hear how Amanda's trauma became the driving force behind her memoir and solo show One Breath, Then Another, why hemorrhoid cream should be renamed "embarrassment balm," and learn the best position for kegeling your way to nirvana. Try it at home, and let us know how it goes on our social media pages! Also mentioned in this podcast: compulsion, obsession, artist, eating disorders, BBYO, catharsis, Toilet Hackers, World Toilet Day, self-hatred, Edinburgh International Fringe Festival, sex dungeons, kegels, ashwini mudra, ashram, India, Croft Vaughn, pelvic floor, Anal Pleasure and Health, Jack Morin, Anal-Ese, mind body relationship, stool sample, parasites, microbiome, contagion, compassion, NYC subway, homeless population, Anatomy of Disgust, William Ian Miller, objectification, meat vs. flesh, What’s Your Poo Telling You?, Anish Sheth, Josh Richman, anally expressive, Sigmund Freud, Loo Lady Rachel Erickson, Allen Ginsberg, sphincter, Ganges, People’s Improv Theater, Nuyorican, Elmer Rice, Real Body Library

Bob Wilcox and Gerry Kowarsky review (1) BRIGHTON BEACH MEMOIRS, by Neil Simon, at the Repertory Theatre of St. Louis, (2) MY ONE AND ONLY, by George & Ira Gershwin and Peter Stone & Timothy S. Mayer, at Stages St. Louis, (3) DINNER WITH FRIENDS, by Donald Margulies, at Dramatic License Productions, (4) GOODBYE, RUBY TUESDAY, by EM Lewis, at HotCity Theatre, (5) MOONLIGHT AND MAGNOLIAS, by Ron Hutchinson, at KTK Productions, (6) ADDING MACHINE: A MUSICAL, by Elmer Rice, Joshua Schmidt & Jason Loewith, at R-S Theatrics, (7) REMEMBER ME?, by Samuel Bobrick, at the Theatre Guild of Webster Groves, and (8) KEN HALLER: THE TV SHOW!, at The Presenters Dolan.

The Campbell Playhouse was a sponsored continuation of the Mercury Theater on the Air, a direct result of the instant publicity from the War of the Worlds panic. The switch occurred on December 9, 1938. In spite of using the same creative staff, the show had a different flavor under sponsorship, partially attributed to a guest star policy in place, which relegated the rest of the Mercury Players to supporting cast for Orson Welles and the Hollywood guest of the week. There was a growing schism between Welles, still reaping the rewards of his Halloween night notoriety, and his collaborator John Houseman, still in the producer's chair but feeling more like an employee than a partner. The writer, as during the unsponsored run, was Howard Koch.THIS EPISODE:January 6, 1939. CBS network. "Counselor At Law". Sponsored by: Campbell's Soup. A good story about a powerful attorney with a secret past. Announced as the first radio performance by Gertrude Berg in a program other than, "The Goldbergs." Attorney Sam Liebowitz also appears. Orson Welles, Gertrude Berg, Aline MacMahon, Elmer Rice (author), Sam Liebowitz, Joseph Cotten. 58:26.