If you’d like a peek at the play written from my book, “The Saga of Jack Durant”, go to http://www.mabelleo.com and click on “play teaser.”
If you’d like a peek at the play written from my book, “The Saga of Jack Durant”, go to http://www.mabelleo.com and click on “play teaser.”
You can buy new issue of theatre magazine Frakcija (in English and Croatian). Go to this link: http://www.cdu.hr/frakcija/shop/description.php?br=49
About: This issue of Frakcija does not address a new topic; instead, it is dedicated to the new era on the local scene of performing arts, which is reflected on its own pages. It contains texts written by a new generation of authors who think and write about a wide range of topics related to the performing arts. The first bloc in this issue includes an interview with theatre director Anica Tomic and dramaturge Jelena Kovacic, which has been conducted by Lana Saric, a representative member of the new generation of Frakcija’s collaborators, as well as two contributions on Oliver Frljic’s work.
The second bloc features three contributions to A Glossary of Poetic Terms, which has evolved in the framework of What to Affirm? What to Perform? , a project launched by East Dance Academy. The third and last bloc in this new issue of Frakcija announces the 15th conference of Performance Studies international, which will take place in Zagreb from 24-28 June, 2009 with the topic of Misperformance: Misfiring, Misfitting, Misreading. Texts by Branislav Jakovljevic, Lada Cale Feldman, John Mullarkey, and Matthew Goulish point to various possible directions in the research, analysis, and theoretical reflection of performance within the paradigm of performing studies. The three final texts were originally written as conference papers for Performance Studies international in New York (2007) and Copenhagen (2008).
June 20, 2009
Categories: News, Other . Tags: Anica Tomic, Bojana Cvejic, Branislav Jakovljevic, East Dance Academy, Jelena Kovacic, John Mullarkey, Lada Cale Feldman, Lana Saric, Matthew Goulish, Oliver Frljic, Performance Studies International . Author: Croatian Drama . Comments: Leave a Comment
For much, much more go http://www.croatiandrama.wordpress.com
By: Carol Costa and Ken Eberhart
Cast: 5 M, 4 F, extras
Performance Time: Approximately 90-120 minutes, 88 pgs.
MUSICAL. Winner, Robert J. Pickering Award for Playwriting Excellence, 1987. It’s 1933 and the music is hot and lively at Big Al’s, a Chicago funeral home, which serves as a front for an illegal speakeasy. Here, the coffins are more likely to contain the inebriated rather than the deceased, and mob boss, Albertina (aka “Big Al”), is rolling in dough selling illegal whiskey to her faithful customers. But the good times soon end for Big Al when a rival mob boss is found dead and mobster Rats Branigan sets his sights on taking over the speakeasy for his illegal gambling operation. Then to make matters worse, Big Al discovers her daughter is secretly engaged to a cop—of all people!— and her right-hand man is in love with a runaway nun. But nothing has prepared Big Al for the biggest surprise of all—the end of Prohibition! This delightful musical features eight original songs, a strong ensemble cast, hilarious one-liners, and a genuine mystery for the audience to solve if they can stop laughing long enough to catch the clues.
Freeviews: To read play excerpts click here.
Carol Costa is an award-winning playwright whose plays have been produced in New York City, Los Angeles, and regional theaters across the country. Originally from Chicago, she now resides in Tucson, AZ.
Ken Eberhart is an accomplished singer and composer. Educated at the University of Arizona, he now lives in Bellingham, WA.
For more information go to http://www.bigdogplays.com
ELVIS BOSNJAK (1971.), Split
Elvis Bosnjak studied acting at Academy of Dramatic Arts in Zagreb. By the end of the nineties he starts to write for the theater. His first play Father, was produced by National Theatre Split by the end of 2000, and was followed by The River Takes Us in 2002, and Let’s Go Jumping on Those Clouds in 2004. All his texts were directed by Nenni Delmestre and these productions received fifteen awards. For his text The River Takes us, he received the most important annual award Vladimir Nazor which was given to him by Ministry of Culture of Croatia, and the award for best drama in festival of national drama Days of Marulic. His plays were produced in Croatia, Chile, Slovenia and Republic of Macedonia.
For more information about Croatian drama go to http://croatiandrama.wordpress.com
He got use to the long days and the long nights. He didn’t expect to be repaid. Volunteerism was what he signed up for.
The Philippines had it own star system, a system that was out of reach for most everyone. Some actors and directors already had a public following; some had just begun their rise to stardom, while others who worked there would always work in the shadows. Sometimes they were envious and sometimes not. Alfred was always on track. It was always an adventure for him, from when he first arrived from Nick’s class, either at the theater or on the television set. For him it always seemed new and exciting: the selecting of a script, the casting calls and auditions, the pressure of getting something on; the temperamental actors, the rehearsals and run-throughs, technical stuff, with a small group of people who really knew what they were doing. The industry (if you could call it that) was still very small, and the number of people Alfred worked with every week to produce a weekly live television drama was also very small. Sometimes he couldn’t find the people he needed. But people who couldn’t improvise didn’t last long in the business. Alfred evidently made do, and producers preferred to work with him rather than someone who wasn’t as flexible.
All of the shows were in Tagalong. That also applied to the theater, except for a few exceptions. Susan was nervous about playing the Virgin Mary. She didn’t want Ted anywhere near the studio during the performance. But there was no way he would miss it, though he didn’t tell Susan that. To get him in, without her knowing it, they gave him a ticket. No one in the audience seemed to know that he was married to the Virgin Mary. After getting in, without her knowing it, he went and sat in the back. So for him, more than for anyone else, and in different ways than anyone else, Susan’s successful depiction of the Virgin Mary had special meaning.
Sometimes on the weekend, between performances and rehearsals, Alfred would take them out to eat, and they had their favorite restaurants that served their favorite fish and soups, sweet and sour with tamarind.
Ted would always remember the conversations they had with Alfred over soup…conversations that went somewhere and those he followed up with Alfred alone, conversations about the Philippines and the direction the country was going.
It wasn’t much different then than sixty or seventy years before then, when “sedition in Manila” was the theme of many plays in native theaters. “HOW AN AMERICAN SMASHED THE SUN OF FILIPINO INDEPENDENCE” had been a brazen cry during those restless times when the Americans held tight control…in the face of that tight control to produce those plays took balls. The Americans would have tried to clamp down on the thespians with everything they had, while they wouldn’t have been able to subdue the “recrudescence of the insurrecto spirit.” The symptoms of that spirit would have been an alarming increase of insurrecto bands. All of them would’ve been on foot. The modern insurrection had less support, though that was hard to gage. The assaults would’ve been simple, and not too different from modern assaults, and with good firearms would’ve driven back constabulary forces, and terrorize areas for some time. There would’ve been scattered fighting, Filipinos against Americans, no mercy for Filipinos. To live through that would’ve been rough; to live through war and disease month after month and year after year would’ve been rougher than rough; it would’ve been hell. It made for good drama. Just as bitter as the drama in the countryside, Filipino theater took up the cause in Manila, since without a doubt it was a just cause, in tune with the hearts and minds of the people, so they got away with producing semi-seditious plays in Tagalong, a language most of the Americans didn’t understand. Only history can judge them. And now there was Nick and all those agitated students, but did that call for a new play, or perhaps they should do a revival of “Hindi Aco Patay,” one of the seditious plays from long ago. They would have to mull that one over.
All over campus students talked about France and China and Vietnam. They stood up to the police with their armored jeeps and tear gas. Ted, spending the day in his office and wondering what the hell Nick was doing, had become sympathetic with the demonstrators. But while students and professors alike had been allowed to assemble, the president of the university hadn’t had time to call off classes. Here history was being made, as the first shots rang out. This was the beginning of THE FIRST QUARTER STORM, or had it been building for quite some time? It certainly had on campus. Nick had made his way down to the street. This happened in June, a wet June that year; there were tables, benches and chairs used to set up barricades that one side crouched behind. Nick wished he had remembered to bring his Filipino flag. He had to find Ben; it was no secret that he relied on Ben. And he sang revolutionary songs and waited for Ben to appear and make a speech. There were the colonels and the deans debating over what to do, with ambassadors crossing over from one side to the other. Each side had their reasons for being nervous. The school was under siege, and it looked as if it would never end, or not without a lot of bloodshed. They all jeered at the police and the soldiers before the police and the soldiers tossed tear gas at them. Ted watched from his window, Ted and a student, one that didn’t want to get involved. As an American, it was hard for him to watch, it was harder to be at ease knowing the anti-American sentiment of the demonstrators, as a moderate demonstration turned into a “radical one.” Down with America and Marcos, Marcos, an American goon! The students always treated Ted like a stranger. He never got used to being treated that way; so to him, to the bloody end, the siege felt strange and awkward, and watching it from his perch really got to him.
The complete list of Pulitzer Prize in Drama winners is listed below:
2008: August: Osage County, by Tracy Letts
2007: Rabbit Hole, by David Lindsay-Abaire
2006: No award
2004-05: Doubt, by John Patrick Shanley
2003-04: I Am My Own Wife, by Doug Wright
2002-03: Anna in the Tropics, by Nilo Cruz
2001-02: Topdog/Underdog, by Suzan-Lori Parks
2000-01: Proof, by David Auburn
1999-00: Dinner with Friends, by Donald Margulies
1998-99: Wit, by Margaret Edson
1997-98: How I Learned To Drive, by Paula Vogel
1996-97: No award
1995-96: Rent, by Jonathan Larson
1994-95: The Young Man From Atlanta, by Horton Foote
1993 94: Three Tall Women, by Edward Albee
1992-93: Angels in America: Millennium Approaches, by Tony Kushner
1991-92: The Kentucky Cycle, by Robert Schenkkan
1990-91: Lost in Yonkers, by Neil Simon
1989-90: The Piano Lesson, by August Wilson
1988-89: The Heidi Chronicles, by Wendy Wasserstein
1987 88: Driving Miss Daisy, by Alfred Uhry
1986-87: Fences, by August Wilson
1985-86: No award
1984-85: Sunday in the Park With George, by James Lapine and Stephen Sondheim
1983-84: Glengarry Glen Ross, by David Mamet
1982-83: ‘night, Mother, by Marsha Norman
1981 82: A Soldier’s Play, by Charles Fuller
1980-81: Crimes of the Heart, by Beth Henley
1979-80: Talley’s Folly, by Lanford Wilson
1978-79: Buried Child, by Sam Shepard
1977-78: The Gin Game, by D.L. Coburn
1976-77: The Shadow Box, by Michael Cristofer
1975-76: A Chorus Line, by Michael Bennett, James Kirkwood, Nicholas Dante, Marvin Hamlisch and Edward Kleban
1974-75: Seascape, by Edward Albee
1973 74: No award
1972-73: That Championship Season, by Jason Miller
1971-72: No award
1970-71: The Effect of Gamma Rays on Man-in-the-Moon Marigolds, by Paul Zindel
1969-70: No Place To Be Somebody, by Charles Gordone
1968-69: The Great White Hope, by Howard Sackler
1967-68: No award
1966 67: A Delicate Balance, by Edward Albee
1965-66: No award
1964 65: The Subject Was Roses, by Frank D. Gilroy
1963-64: No award
1962-63: No award
1961-62: How To Succeed in Business Without Really Trying, by Abe Burrows, Willie Gilbert, Jack Weinstock and Frank Loesser
1960-61: All the Way Home, by Tad Mosel
1959-60: Fiorello!, by Jerome Weidman, George Abbott, Sheldon Harnick and Jerry Bock
1958-59: J.B., by Archibald MacLeish
1957-58: Look Homeward, Angel, by Ketti Frings
1956-57: Long Day’s Journey Into Night, by Eugene O’Neill
1955-56: The Diary of Anne Frank, by Frances Goodrich and Albert Hackett
1954-55: Cat on a Hot Tin Roof, by Tennessee Williams
1953-54: The Teahouse of the August Moon, by John Patrick
1952-53: Picnic, by William Inge
1951-52: The Shrike, by Joseph Kramm
1950-51: No award
1949-50: South Pacific, by Richard Rodgers, Oscar Hammerstein II and Joshua Logan
1948-49: Death of a Salesman, by Arthur Miller
1947-48: A Streetcar Named Desire, by Tennessee Williams
1946-47: No award
1945-46: State of the Union, by Howard Lindsay and Russel Crouse
1944-45: Harvey, by Mary Chase
1943-44: No award
1942-43: The Skin of Our Teeth, by Thornton Wilder
1941-42: No award
1940-41: There Shall Be No Night, by Robert E. Sherwood
1939-40: The Time of Your Life, by William Saroyan
1938-39: Abe Lincoln in Illinois, by Robert E. Sherwood
1937-38: Our Town, by Thornton Wilder
1936-37: You Can’t Take It With You, by Moss Hart and George S. Kaufman
1935-36: Idiot’s Delight, by Robert E. Sherwood
1934-35: The Old Maid, by Zoe Akins
1933-34: Men in White, by Sidney Kingsley
1932-33: Both Your Houses, by Maxwell Anderson
1931-32: Of Thee I Sing, by George S. Kaufman, Morrie Ryskind, Ira and George Gershwin
1930-31: Alison’s House, by Susan Glaspell
1929-30: The Green Pastures, by Marc Connelly
1928-29: Street Scene, by Elmer Rice
1927-28: Strange Interlude, by Eugene O’Neill
1926-27: In Abraham’s Bosom, by Paul Green
1925-26: Craig’s Wife, by George Kelly
1924-25: They Knew What They Wanted, by Sidney Howard
1923-24: Hell-Bent fer Heaven, by Hatcher Hughes
1922-23: Icebound, by Owen Davis
1921-22: Anna Christie, by Eugene O’Neill
1920-21: Miss Lulu Bett, by Zona Gale
1919-20: Beyond the Horizon, by Eugene O’Neill
1918-19: No award
1917-18: Why Marry?, by Jesse Lynch Williams
1916-17: No award
For more information, visit pulitzer.org.
My teaching a class at Assumption College, the most exclusive girls’ school in Manila and possibly in all of the Philippines, had be justified in my mind…in other words I had to say to myself that these girls would soon become leaders of their country. The reasons we entered the Peace Corps and went to the Philippines had more to do with helping the less fortunate than the upper-class, but I ended up working in the theater with movie stars and in school with students who were relatively well off. No amount of explaining, however philosophical, could change the fact that my Peace Corps experience was not typical. My experience, taken even the context of my being a part of the creation of a national theater, the first in the Philippines in the vernacular, will always have to be explained: drama is not what the Peace Corps is about.
I was good at adapting, and my idea of taking upper-class kids into the tenements of a slum was an example of that. In fact, I said, it was a chance for these students to experience how the lower-class lived, while they improvised skits, drawn from what they learned from the tenants on each floor. What the tenants saw in a personal way…from the dramatizations…were themselves, or in those dingy halls that were always public and cold…a connection between the two worlds came alive.
Before I did this, my upper-class students had had virtually no contact with slum dwellers. And you could tell from their reactions that they at first were very uneasy about going into the tenements. I have wondered what my impact was. The reason was that I saw some immediate change. I saw reluctance turn to willingness. I did, and from that, confidence. I also saw the smiles and excitement on the faces of the tenants. I trust it had a lasting impact. But I have no idea if it did, whether any of my former students later used those experiences. At the time I thought the idea had merit; I thought it had substance and could shape lives, and that, in my estimation, made the Peace Corps and my project a fit.