As was his habit, John Shearin, Artistic Director, was heading to the Wright Store for his second cup of morning coffee. He moved with a steady brisk pace, and I was trying to stay in step: “You’re not doing The Odd Couple, you’re directing Daddy’s Dying Whose Got the Will.” I laughed. What a dumb title. “No joke, John, what am I directing?” He stopped at the door of the shop. “I’m not joking. Come by later and I’ll give you the script. Don’t worry, we’ll put together a good cast.” Daddy’s Dying was a summer theatre entry and it turned out to be quite popular with audiences. And he was right; per usual the cast was top notch. That was not my first show under John Shearin as my producer. Ironically, my first show was Lend Me A Tenor; and also ironically, it is my last show here. At that time, our relationship was new. I wasn’t even in the department. I expected his head to be over my shoulder for the next two weeks. (He does have a “controlling” streak, you know) He was not. He trusted me. And since then, he’s been my boss, my mentor, a devil’s advocate, and most importantly, my cherished friend. I admire his work ethic. John consumes theatre and all of its parts like the moviegoer who gobbles down a handful of popcorn. We didn’t always agree on directing styles, but I trusted his “third eye” when it came time for my first “stumble-through.” As my …show more content…
We shared stage managers and because his show had a matinee performance, we were short-handed. My actors took full advantage of John’s temporary ‘demotion’: “Why haven’t you made a fresh pot of coffee, John.” “Where are my props, John?” When we call for a line, “John, please be quicker in your response and speak up!!” “John keep your head down and follow the script not the rehearsal!” We were ruthless. But by the end of the day, he was our biggest fan! He laughed the loudest and the hardest. We loved him for
John was a rather mischevious teen. At the age of 13 John tried to run away to join the circus. Dad was not all that impressed
Braff himself has a warm, easy-to-watch screen presence. He can say nothing during the lull in a conversation, while the camera remains focused on his face, and it feels right. Portman and Sarsgaard are also genuine, each wonderfully relaxed in their roles. Production design is superb: details in every scene are arranged well, and the photography, by Lawrence Sher, is - like the story and the acting – unpretentious, never distracting, tricky or cute. This film never seems to manipulate us; instead it engages us, arouses our curiosity and amusement, bids us gently to care about Andrew and Sam and even Mark, leaving us entertained in the best sense. This movie is as confident, as secure in itself, as comforting, as a well worn pair of house slippers or your favorite reading chair. A splendid film. Grade: A- (09/04)
To begin with, I am going to talk about what I learned and experienced when Mr. Smith had come to visit. When he had come to visit, I had not expected much. I had expected him to give us a few pointers here and there, to help improve our music. However, I was wrong. However, I was wrong, the advice he gave made a huge impact on our music, as well as on me. One of the tips that Mr. Smith gave, was that when you go from a low to a high note, you need to have a smooth transition. Another piece of advice Mr. Smith gave, was that the music needs to be played lightly or heavily, depending on the type of song. Overall, Mr. Smith’s visit was a great learning experience for me. I learned many things, such as how to think about the pieces in a different way, and tips on more clean and steady sounds. Even though Mr.Smith was only present for one day his advice and tips seemed to have really helped me and our band.
... my sister and I returned to New York. Once again we made the trek to the Nederlander. We took our seats and relished the memories. While the cast was different, the affect was similar. It opened our eyes and renewed our appreciation for those that are different than us. I feel in love with it all over again. Even though I had seen the show in Indianapolis and Chicago, there was something about sitting in that theater that made it special.
Shumway, David, R. “Cinema Journal.” Screwball Comedies: Constructing Romance, Mystifying Marriage. Texas: University of Texas Press, 1999. 7 – 23. Print.
... I met my father crying’ and are about deaths. ‘Little – Less – Nothing and that ended it’ ‘He had always taken funerals in his stride.’ Also, that both deaths were accidents. ‘The saw ........ seemed to leap out of the boys hands.’
father’s death. Throughout the play, the severe stress of the situation seems to take its toll on
There are famous people all around and their fans are loving every second of it. The fans' faces are full of joy and awe as their favorite actors and actresses enter the large building that will soon be showing the new movie. Soon, the two people that everyone in Hollywood is dying to see, appear in their stretched Rolls Royce and bring the crowd to its feet. As Lockwood and Lamont exit their luxurious ride they are received lovingly by everyone. They walk to the front of the building and are introduced to the crowd.
I was being held under with no idea when I may get up, getting tumbled and dragged along the ocean floor. Each chance I pop up and gasp for another breath of air another wave crashes on me causing me to choke on the salt from the ocean. This has been my experience in high school, and once I am graduated it will feel like I can finally catch my breath and ride that first wave.
“We have a special song that Mr. Christy doesn’t know about – sorry Christy.” Nothing like Fishers light hearted humor and clumsy grin to help shake off my nervousness. He continued. “In honor of everything Mr. Christy has taught us the last four years, we want to play him this song. It is called “Songs My Mother Taught Me.” We changed the lyrics to Mr. Christy for obvious reasons.” The remaining crowd chuckled. “I will now give the mic over to Skyler to give a few words.” I was on the stage, flute in hand and a microphone in front of my face staring into a very familiar audience. Everyone else had left except for the proud students and parents of band. I spoke, now feeling warm and
Over the years I have balanced many productions, school, social obligations, student directing, as well as tech week. Regardless of the production, my dedication has been shown by my non-stop attitude. During JWADE PRODUCTIONS presentation of J.M. Barrie’s Peter Pan and Wendy, Wendy and Peter Pan both withdrew six days from opening night. The boy playing John Darling took over for Peter, and I for Wendy. In the six days that we had I went to school and memorized 238 lines. This shows my dedication from start to finish, in addition to my role in being a team player. Through the combined efforts of Peter Pan’s Production Team the show went on as planned. This success taught me that through the combined effort and passion, achievement is possible, even under the most dire of
The “Little Shop of Horrors” was first a film created by Roger Corman, which was distributed as a B-movie in 1960—back when Jack Nicholson was first starting to make a living as a working actor. It slowly gained recognition and fame throughout the years, until acquiring a cult status. The low-budget film from the 1960s came to earn popularity mostly because it was turned into a musical by Alan Menken (music) and Howard Ashman (book and lyrics) that was premiered off-off Broadway. It is also what Brandeis University’s theater club Tympanium Euphorium presented between Nov. 19th to the 22nd at the SCC Theater.
Jonathan is a young adult who does not know what to think for reason that his father is sick in a hospital bed...dying. Dying is an alarming and touchy topic to talk about, but with the presence of loved ones, it does not have to be so bad. . Family members are shocked and saddened, being surrounded by loved ones comforts people, and the approach one takes to dealing with the situation can relieve a large amount of the patient’s emotional strain.
Now, children, the problem here lies squarely on the shoulders of William Broyles. I dont know how much actual writing hes done in Hollywood, but hes clearly not mastered the art of screenwriting. The setup of this script feels slapdash and arbitrary.
The lessons I learned through this production were greater than anything I have ever learned in the classroom. I am quite thankful to everyone involved for being dedicated enough to help me grow as a person through this show. The community that was created around this project is going strong and I can see it lasting beyond the three years I have left here at Cornell. It is quite sad to grow so close with a group of people and then have the interactions slowly fade away as the daily rehearsals are no longer a thing. I suppose that this is just one more lesson that this group and project has taught me: locations may change and people will come and go, but a strong community will always be there for you. I know that I was 100% committed to bringing my best out for this show and I am happy to say that all that hard work truly did pay off. Because of everyone’s dedication, and Andy’s especially, we were able to put on the beautiful show that Jerome Robbins had envisioned from the