NOËL COWARD’S BRIEF ENCOUNTER
This play deftly explores the wild anticipation, tenderness, and heartbreak of an illicit English romance, circa 1938. Alec and Laura meet at a London train station. Both are happily married; both are content to be so; and both are naïve to their own latent desires for intimate connection, as well as the unbearable pain of unrequited love. Emma Rice’s adaptation of BRIEF ENCOUNTER integrates the songs of Noël Coward with his timeless, personal, and poignant text, bringing us one of the most exhilarating romances to hit the stage.
ADAPTED BY: Emma Rice
DIRECTED BY: Amy Cordileone
PERFORMANCE DATES: February 26 – March 6, 2016 (Provincetown Playhouse)
REHEARSALS BEGIN: Saturday, January 23, 2016
LOOKING FOR: ACTORS, SINGERS, & MUSICIANS
Performers of all ages, races, ethnicities, sizes, & genders are encouraged to audition.
Sunday, December 6, 2015
10 AM – 2 PM (10 min. appts.)
Pless Acting Lab
December 6, 2015
3 PM – 7 PM (As Needed)
Pless Acting Lab
Email Amy Cordileone to request an audition appointment.
WHAT TO PREPARE:
- Text: Sides will be provided upon confirmation of audition appointment. No monologue needed. All roles require a British dialect – either Received Standard or Southeast/Estuary English (see the CHARACTER DESCRIPTIONS below). Dialect references available.
- Music: Please prepare 1-minute (16 bars) of an early-20th century standard (Gershwin, Porter, Berlin, Coward, etc.). Feel free to email with questions or clarifications as needed. Piano accompaniment will be available. If you play an instrument and can accompany yourself, please do so (note: if you anything other than piano, please bring your own instrument to the audition).
Scripts will be available for checkout & perusal beginning Wednesday, Nov. 11, at 35 West 4th Street, Room 1207 (12th floor).
NYU’s EdD program in Educational Theatre prepares the next generation of arts professionals.
The EdD program is a 42 point program which provides specific pathways for specialized study at the doctoral level in three areas of educational theatre praxis: Drama in Education, Applied Theatre, and Theatre for Young Audiences and Play Production. It is a practice-based doctorate with an emphasis on arts-based research methods.
Why study Educational Theatre at NYU?
Engage with leading educators and practitioners
- Immerse yourself in course work and conduct research with a world-renowned faculty in arts-based methods and practice as research.
- Our global partnerships with leading cultural houses and educational institutions provide unparalleled opportunities for scholarship and practice.
Join our community
- Located in Greenwich Village, the hub of international artshappenings, our program is intimate and supportive withinone of the largest and most innovative private researchuniversities in the world.
The Application Deadline for fall 2016 is December 1st.
For More Information, visit the EdD Program Page.
The Ed.D. in Educational Theatre is designed for individuals who intend to pursue leadership positions in the practicing professions, preparing candidates for senior positions as principals, superintendents, arts administrators, researchers, curriculum developers, policy analysts, educational consultants, and theatre practitioners.
Through a broadly designed and individualized curriculum, students in the Ed.D. in Educational Theatre will develop their artistic praxis and the leadership skills needed to transform today’s learning communities in a variety of educational, cultural, and vocational contexts.
The Ed.D. program emphasizes collaborative and practitioner-based study, providing comprehensive research and artistic training that equips graduates with the knowledge and skills to have significant impact in the worlds of educational theatre, arts policy, and practice.
In particular, students will develop authority in one of three areas of specialization:
• Drama in Education (i.e., studies in drama/theatre curriculum, special education, integrated arts, assessment and evaluation)
• Applied Theatre (i.e., studies in community-based theatre, theatre of the oppressed, the teaching artist, diversity and inclusion)
• Theatre for Young Audiences and Play Production (i.e., studies in acting, directing, dramaturgy, playwriting, dramatic literature, arts-based research methodologies)
As a culminating study, students design and conduct a practitioner-based study under the direction of doctoral program faculty, developing a project drawn from one or more of the program’s specializations (as listed above) and are encouraged to complete their program in five years.
How to Apply
Applications for the Ed.D. in Educational Theatre are accepted from candidates with demonstrated interest in practice-based research. A satisfactorily completed master’s degree is expected prior to application along with a portfolio of work demonstrating arts based research credentials, professional arts experience, and leadership in the field.
For more detail on admissions requirements or to apply, please visit the admissions website.
For further information about the program or its curricula, please contact Jonathan Jones .
October was very much the Up and Away month. Previously featured in The New York Times, the immersive theatrical production has been enjoying extraordinary success and gained exciting media attention.
On October 4, WCBS-TV’s Diane Macedo interviewed Lincoln Center Education Executive Director Russell Granet and Trusty Sidekick’s Artistic Director Jonathan Shmidt Chapman (both alumni from the Program in Educational Theatre). A week later, Laura Collins-Hughes in The New York Times reviewed Up and Away in its Theater section. The review was glowingly positive, stating that “generosity and gentleness of spirit may be the two most striking features of… this joyous new show.” The reviewer also took note of Up and Away’s painstaking attention to technical detail. “[This] multisensory experience is a stellar example of how to connect with an underserved audience by identifying obstacles… Every element of the show has been made with the audience in mind, from the warm, tuneful greeting in the lobby…to the set’s walls.”
On October 23, WNBC Nightly News featured a segment on what it called “one of the hottest tickets in town for a theater experience unlike any other.” WNBC and anchor Anne Thompson interviewed Mr. Chapman and Mr. Granet and focused the camera on the performance, with its visibly enchanted audience and a deeply moved mother who fought back tears to say: “It’s so nice to go someplace… where you’re welcome.”
Up and Away is not merely a show that makes the effort to accommodate a special audience, but an experience entirely designed for that audience. Two years of thoughtful observation and work with students on the autism spectrum were a part of the development process, and in that sense, Up and Away was designed by the audience.
World renowned storyteller and Educational Theatre faculty member Regina Ress recently wrote an article about a workshop she gave for formerly incarcerated women that was published by the Healing Story Alliance in their journal Diving in the Moon. It is accompanied by gorgeous art work.
Congratulations to the cast, crew, and director, Nan Smithner, of the spectacular Tales of the Lost Formicans. I’ve just come from the first of our two student matinees which had our audience emotionally engaged with a family on the brink and thoroughly entertained with songs, 80s costumes, and an especially physical performance from an ensemble of aliens. They sing; they dance; they narrate; they abduct–this production is not to be missed! And with the Halloween festivities coming this weekend, I might encourage you to get into the spirit with your own 80s flavored ensemble so that you too can travel back in time with us. – Jonathan Jones
While preparing the resource guide for our upcoming production of Tales of the Lost Formicans, Jonathan Jones sent some questions to playwright, Constance Congdon.
What was your inspiration when you wrote TALES OF THE LOST FORMICANS?
I don’t believe in inspiration, altho’ it has been known to strike WHILE I’m writing and sometimes it’s good. I had just come off of a huge adaptation project and decided that my next play would be for me. I also had started thinking about what culture was I from? Well, I’m from Formica.
What are you hoping teenage audiences, or any audience, will take away from seeing this play?
I hope any audience member would enjoy and be moved by it. It’s about transience.
As you celebrate the 25th anniversary of the publication of the play, has its meaning changed over time?
You know, it has remained a true picture of this time in which we are living.
What advice would you give to young people interested in a future career as a playwright?
First of all, “career” is the wrong word. Would you talk about someone’s career as a poet? Playwriting is a calling. What to do? Just write plays and don’t judge them. Enjoy your own work. Genius is just doing your work on a particularly lucky day. Persistance. And fun.
Do you have other plays that may be appropriate for young audiences?
They are published by Smith and Kraus and are in the many volumes that Craig Slaight of the Young Conservatory of American Conservatory Theater has published over the years. He’s gotten many major playwrights to write for young audiences. Mine are: MOONTEL SIX; THE AUTOMATA PIETA; NIGHTENGALES.
Tales of the Lost Formicans opens Friday night, October 23. Tickets can be purchased at the event website.
In preparation for the 50th Anniversary of the Program and the 2016 Forum in Educational Theatre, we are working hard on a special project: a timeline of 50 years in Educational Theatre. When completed, this timeline will live on the Educational Theatre website. For now, we would like to draw your attention to one of our resources: the Lowell and Nancy Swortzell Theatre Arts Collection, Child Drama Collection, Arizona State University. About 15 years ago, Lowell and Nancy Swortzell donated all of their papers, pictures, pamplets, etc. to the Child Drama Collection at Arizona State University to preserve the legacy, not only of our innovative founders, but also of our Program, the first of its kind in the world. This way, researchers will have access to materials documenting the history of our Program in perpetuity. A number of these images will be featured in the timeline, but here are a preview of what’s to come:
By Suzanne Sweeney, MA ’01
My drama class is working on a play called “The Bystander: A Portrait of Apathy.” The play deals with teen harassment and bullying. The School Climate Committee,(an organization consisting of administrators, child study team, guidance counselors, student assistance counselor and teachers) asked them to produce this production to be viewed by other sending districts. It was reviewed by my English supervisor and accepted into the drama curriculum. This play received a grant from the Educational Committee of Rumson Fair Haven for the royalties.
Regarding student resource support – the students were initially asked to refer to the school web page on School Climate. They were introduced to a HIB form, articles and videos dealing with the bullying and harassment as well a representative from the School Climate Committee addressing them on the subject as relating to our school environment. Other resources from a dramatic perspective were:March Cassady’s An Introduction to The Art of Theatre, Jonothan Neelands and Tony Goode’s Structuring Drama Work and Drama for Learning: Dorothy Heathcote’s Mantle of the Expert.
The class is producing the play by themselves – from casting, blocking, props, etc. Every day the class begins with a production meeting on the objectives. Theses objectives were provided by a teacher generated timeline. They play has 3 student directors which had to be interviewed by the production committee( in role). They had to present their qualifications to the class. Students selected an underscore to assist them with character development. The music is associated to the issue being performed. Every student shared their music during a production meeting. Students have also added drama conventions in the blocking- chanting, freeze frame, etc. This they believed “made the dramatic work more powerful- it sends a clear message.” They felt that the narratives could be more interesting if they were also presented in a pantomime format.
Once the students felt comfortable with the dramatic piece, it was time for the Film Club to engage in the class and make decisions regarding the filming process – lights, camera action!! They held their own meetings with their advisor making decisions. Lastly, I would like to mention that during this whole process the students were maintaining a daily journal log. This log was divided into sections: Objective, Accomplishments and Personal Reflection.
This flier is from our 1972 summer course:
The Program in Educational Theatre’s connection with Puerto Rico began in 1967, our first academic year, when The Dancing Donkey toured there. Following the success of the Caribbean tour, the Program offered summer study in Puerto Rico beginning in 1971. More recently, our study in San Juan has moved to the January term, where we have been offering a course in community engaged theatre for ten years. If you are interested in applying for January, 2016, the time is now.
For information on applying, visit the Study Abroad website.