#David Calarco

[movienized-com]

Swing Into Romance

Swing Into Romance (2023) #BradleyWalsh #DanicaMcKellar #DavidHaydnJones #GlebSavchenko #ValerieBoyle #LisaBrown Mehr auf:

Jahr: 2023 Genre: Romantik Regie: Bradley Walsh Hauptrollen: Danica McKellar, David Haydn-Jones, Gleb Savchenko, Valerie Boyle, Lisa Brown, Jim Calarco, Sharona D’Ornellas, Michelle Jackett, Taya Messier, Ipsita Paul, Dexter Bolduc … Filmbeschreibung: Als die ehemalige Tänzerin Christine Sims (McKellar) in ihre Heimatstadt zurückkehrt, entdeckt sie, dass das Geschäft ihrer Familie in…

[schattenkino-der-postmotten]

SCHATTENKINO FÜR POSTMOTTEN

Alexander Wilson, Aesthesis and Perceptronium: On the Entanglement of Sensation, Cognition, and Matter, University of Minnesota Press

Anil Bhatti, Dorothee Kimmich, Albrecht Koschorke, Rudolf Schlögl, Jürgen Wertheimer, Ähnlichkeit, Internationales Archiv für Sozialgeschichte der deutschen Literatur

Arthur Kroker, Body Drift: Butler, Hayles, Haraway, University of Minnesota Press

Augusto Monterroso, Das Schwarze Schaf und andere Fabeln

Bernd Flessner, Nach dem Menschen: Der Mythos einer zweiten Schöpfung und das Entstehen einer posthumanen Kultur, Rombach

Bruce Clarke, Gaian Systems: Lynn Margulis, Neocybernetics, and the End of the Anthropocene, University of Minnesota Press

Bruce Clarke, Neocybernetics and Narrative, University of Minnesota Press

Carsten Strathausen, Bioaesthetics: Making Sense of Life in Science and the Arts, University of Minnesota Press

Cary Wolfe, What Is Posthumanism?, University of Minnesota Press

Catherine Bell, Performing Animality

Constance Classen, Worlds of Sense: Exploring the Senses in History and Across Cultures, Routledge

Cora Diamond, Fleisch essen und Menschen essen

Daniel S. Traber, Whiteness, Otherness and the Individualism Paradox From Huck to Punk, Palgrave Macmillan

David Cecchetto, Humanesis: Sound and Technological Posthumanism, University of Minnesota Press

David Farrier, Anthropocene Poetics: Deep Time, Sacrifice Zones, and Extinction, University of Minnesota Press

David Wills, Inanimation: Theories of Inorganic Life, University of Minnesota Press

David Wills, Dorsality: Thinking Back Through Technology and Politics, University of Minnesota Press

David Wood, Thinking Plant Animal Human: Encounters With Communities of Difference, University of Minnesota Press

Davide Tarizzo, Life: A Modern Invention, University of Minnesota Press

Debashish Banerji, Makarand R. Paranjape, Critical Posthumanism and Planetary Futures, Springer

Diana Walsh Pasulka, Michael Bess, Posthumanism: An Introductory Handbook, Macmillan

Dominic Pettman, Creaturely Love: How Desire Makes Us More and Less Than Human, University of Minnesota Press

Dominic Pettman, Human Error: Species-Being and Media Machines, University of Minnesota Press

Donna J. Haraway, Die Neuerfindung der Natur: Primaten, Cyborgs und Frauen, Campus-Verlag

Donna J. Haraway, When Species Meet, University of Minnesota Press

Donna J. Haraway, Cary Wolfe, Manifestly Haraway, University of Minnesota Press

Drew Ayers, Spectacular Posthumanism: The Digital Vernacular of Visual Effects, Bloomsbury Academic

Edwina Ashton, Steve Baker, The Salon of Becoming-Animal, New York University and the Massachusetts Institute of Technology

Élisabeth Fontenay, Without Offending Humans, University of Minnesota Press

Elizabeth Grosz, Animal Sex: Libido as Desire and Death, Routledge

Erik Hannerz, Performing Punk, Palgrave Macmillan

Erika Cudworth, Stephen Hobden, The Emancipatory Project of Posthumanism, Routledge

Ernst Kapp, Elements of a Philosophy of Technology: On the Evolutionary History of Culture, University of Minnesota Press

Francesca Ferrando, Philosophical Posthumanism, Bloomsbury Publishing

Gilbert Simondon, Individuation in Light of Notions of Form and Information, University of Minnesota Press

Gilles Deleuze, Felix Guattari, Tausend Plateaus. Kapitalismus und Schizophrenie, Merve Verlag

Giovnni Aloi, Deleuzian

Glemens-Garl Härle, Karten zu Tausend Plateaus, Merve Verlag

Ian Bogost, Alien Phenomenology, Or, What It's Like to Be a Thing, University of Minnesota Press

Ilya Prigogine, Isabelle Stengers, Order Out of Chaos: Man's New Dialogue With Nature, Bantam New Age Books

Indra Sinha, Menschentier, Edition Büchergilde

Isabelle Stengers, Thinking With Whitehead a Free and Wild Creation of Concepts, Harvard University Press

Isabelle Stengers, Cosmopolitics I, University of Minnesota Press

Isabelle Stengers, Cosmopolitics II, University of Minnesota Press

Jacques Derrida, Ned Lukacher, Cinders, University of Minnesota Press

Jakob von Uexküll, A Foray Into the Worlds of Animals and Humans: With a Theory of Meaning, University of Minnesota Press

Jamie Lorimer, The Probiotic Planet: Using Life to Manage Life, University of Minnesota Press

Joey Keithley, Jack Rabid, I, Shithead: A Life in Punk, Arsenal Pulp Press

John Ó Maoilearca, All Thoughts Are Equal: Laruelle and Nonhuman Philosophy, University of Minnesota Press

John Protevi, Political Affect, University of Minnesota Press

John Robb, Punk Rock: An Oral History, PM Press

Judith Roof, The Poetics of DNA, University of Minnesota Press

Julian Yates, Of Sheep, Oranges, and Yeast: A Multispecies Impression, University of Minnesota Press

Julius Zimmermann, Die Eigenständigkeit der Dinge

Jussi Parikka, Insect Media: An Archaeology of Animals and Technology, University of Minnesota Press

Kalpana Rahita Seshadri, HumAnimal: Race, Law, Language, University of Minnesota Press

Karen Pinkus, Fuel: A Speculative Dictionary, University of Minnesota Press

Kate Devlin, Turned On: Science, Sex and Robots, Bloomsbury Sigma

Kathy High, I offer my power in the service of love

Laura Erickson-Schroth, Trans Bodies, Trans Selves: A Resource for the Transgender Community, Oxford University Press

Laurent Dubreuil, The Intellective Space: Thinking Beyond Cognition, University of Minnesota Press

Laurent Dubreuil, Sue Savage-Rumbaugh, Dialogues on the Human Ape, University of Minnesota Press

Legs McNeil & Gillian McCain, Please Kill Me: The Uncensored Oral History of Punk, Grove/Atlantic, Inc.

Lutz Dammbeck, DAS NETZ - Die Konstruktion des Unabombers & Das "Unabomber-Manifest": Die Industrielle Gesellschaft und ihre Zukunft: Nautlius Flugschrift, Edition Nautilus

Mads Rosendahl Thomsen, The Bloomsbury Handbook of Posthumanism, Bloomsbury Academic

Marcel O'Gorman, Necromedia, University of Minnesota Press

María Puig de La Bellacasa, Matters of Care: Speculative Ethics in More Than Human Worlds, University of Minnesota Press

Martin Kurthen, Robert Payne, White and Black Posthumanism: After Consciousness and the Unconscious, Springer

Matthew Fuller, Olga Goriunova, Bleak Joys: Aesthetics of Ecology and Impossibility, University of Minnesota Press

Michael Hauskeller, Curtis D. Carbonell, Thomas D. Philbeck, The Palgrave Handbook of Posthumanism in Film and Television, Palgrave Macmillan

Michael Haworth, Neurotechnology and the End of Finitude, University of Minnesota Press

Michel Serres, The Parasite, University of Minnesota Press

Mick Smith, Against Ecological Sovereignty, University of Minnesota Press

Mickey Weems, The Fierce Tribe: Masculine Identity and Performance in the Circuit, University press of Colorado

Neil H. Kessler, Ontology and Closeness in Human-Nature Relationships: Beyond Dualisms, Materialism and Posthumanism, Springer

ngbk, Tier-werden, Mensch-werden

Nicole Shukin, Animal Capital: Rendering Life in Biopolitical Times, University of Minnesota Press

Nigel Rothfels, Representing Animals, Indiana University Press

Oliver Krüger, Die Vervollkommnung des Menschen, E-Pub

Peter Atterton & Matthew Calarco, Animal Philosophy, Ethics and Identity: Essential Readings in Continental Thought, Continuum

Peter Mahon, Posthumanism: A Guide for the Perplexed, Bloomsbury Academic

Phillip Thurtle, Biology in the Grid: Graphic Design and the Envisioning of Life, University of Minnesota Press

Raymond Ruyer, Neofinalism, University of Minnesota Press

Riccardo Campa, Humans and Automata: A Social Study of Robotics, Peter Lang

Roberto Esposito, Bios: Biopolitics and Philosophy, University of Minnesota Press

Roger F. Cook, Postcinematic Vision: The Coevolution of Moving-Image Media and the Spectator, University of Minnesota Press

Ron Broglio, Surface Encounters: Thinking With Animals and Art, University of Minnesota Press

Siegfried Zielinski, Variations on Media Thinking, University of Minnesota Press

Stanislaw Lem, Sterntagebücher

Stefan Lorenz Sorgner, Branka-Rista Jovanovic, Evolution and the Future: Anthropology, Ethics, Religion- in Cooperation With Nikola Grimm, Peter Lang

Steve Baker, Artist Animal, University of Minnesota Press

Steven Shaviro, The Universe of Things: On Speculative Realism, University of Minnesota Press

Susan McHugh, Animal Stories: Narrating Across Species Lines, University of Minnesota Press

Thierry Bardini, Junkware, University of Minnesota Press

Timothy C. Campbell, Improper Life: Technology and Biopolitics From Heidegger to Agamben, University of Minnesota Press

Timothy Campbell, Adam Sitze, Biopolitics: A Reader, Duke University Press

Timothy Morton, Hyperobjects: Philosophy and Ecology After the End of the World, University of Minnesota Press

Tom Tyler, CIFERAE: A Bestiary in Five Fingers, University of Minnesota Press

Vilém Flusser, Rodrigo Maltez Novaes, Vampyroteuthis Infernalis, Atropos Press

Vinciane Despret, What Would Animals Say if We Asked the Right Questions?, University of Minnesota Press

[larryland]

A Tribute Saxophone Legend Nick Brignola at Music Haven

A Tribute Saxophone Legend Nick Brignola at Music Haven

SCHENECTADY, N.Y.—JULY 12, 2019—On a June Sunday in 1990, baritone saxophone legend Nick Brignola put his lips to the reed and kicked off the second date of the inaugural Music Haven Concert Series.

Now, 30 years later, the Troy-bred jazz great will be feted by former bandmates and acolytes with A Tribute to Nick Brignola.

Brignola was a legend in the jazz world. He played the big horn like no…

[fumpkins]

Exploring the Global Landscape of Quantum Technology Research

Leading quantum technology professionals from around the world have actually explored their particular local and nationwide objectives for the future of the field, in a brand-new focus problem of Quantum Science and Technology (QST).

The very first 5 short articles in the collection, covering Australia, Japan, the United States, Canada and the European Union, are released today. They are composed by the leading scientists associated with each nation or area’s effort.

QST’s Editor-in-Chief, Dr Robert Thew from the University of Geneva, stated: “This collection unites insights from leaders in the field throughout the world, consisting of Europe, Canada, Japan, Australia and the United States, supplying an unmatched view of the quantum technology landscape around the world.

“Throughout the last couple of years, the interest, and in addition to it the monetary investment, in quantum technology research has actually been gradually increase. There are a wide variety of possible application locations: quantum computing and simulations; quantum interaction, and picking up and metrology.

“However, this has actually stayed a mainly scholastic pursuit up until the last couple of years. We have actually now begun to see a shift towards advancement of items and applications, which is amassing increasing interest from market. Business and federal governments are beginning to understand the scale of the effect these innovations might have for modern-day society.

“The aim of this collection is to provide insight into this global pursuit for quantum technology research breakthroughs and dominance. It also provides a fascinating perspective into how each of these regions have evolved, the decisions behind launching their respective initiatives, and their aspirations for future research and development.”

Composed in an available design, the short articles concentrate on the nation or area’s history of supporting research in quantum technology; why now is the correct time to greatly money this location; and the future outlook on the field and the advantage to their different areas as an effect of this financial investment.

The scientists who contributed, and their particular short articles, are:

Tara Roberson and Andrew White (Australia) ‘Charting the Australian quantum landscape’Ben Sussman, Paul Corkum, Alexandre Blais, David Cory, and Andrea Damascelli (Canada) ‘Quantum Canada’Tommaso Calarco, Jürgen Mlynek, Matyas Kovacs, Max Riedel, and Peter Zoller (European Union) ‘Europe’s Quantum Flagship initiative’Yoshihisa Yamamoto, Masahide Sasaki, and Hiroki Takesue (Japan) ‘Quantum Information Science and Technology in Japan’Michael G. Raymer and Christopher Monroe (United States) ‘The U.S. National Quantum Initiative’

More point of views from the UK and China will appear in 2019.

New post published on: https://livescience.tech/2019/02/25/exploring-the-global-landscape-of-quantum-technology-research/

[tempi-dispari]

New Post has been published on http://www.tempi-dispari.it/2017/06/09/progetto-europa-incanto-arriva-al-parco-archeologico-ostia-antica-flauto-magico/

Il progetto Europa INcanto arriva al Parco archeologico di Ostia antica con Il Flauto Magico

Dopo il debutto, nel tempio storico della lirica, il Teatro San Carlo Di Napoli, il 10 giugno arriva al Teatro Romano di Ostia Antica la versione speciale, coloratissima e esplosiva de IL FLAUTO MAGICO di Wolfgang Amadeus Mozart, messa in scena secondo l’innovativo metodo didattico di Scuola InCanto che ha visto protagonisti decina di migliaia di studenti delle scuole dell’infanzia elementari e medie di varie città italiane.

Il progetto, dopo i successi entusiasmanti della Traviata di Giuseppe Verdi (2015) e della Cenerentola di Gioacchino Rossini (2016), quest’anno ha previsto la messa in scena del Il Flauto Magico di Wolfgang Amadeus Mozart tra le opere più originali, fiabesche e adatte a un pubblico di bambini.

Una vera e propria festa della musica e del teatro che dal suo debutto ha coinvolto, ogni giorno, migliaia di studenti, insieme ai loro insegnanti e alle loro famiglie.

Tutti i partecipanti, prendendo parte attivamente allo spettacolo, interpretano insieme ai cantanti e all’ensemble musicale i brani studiati nel corso dell’anno, eseguendo movimenti scenici e coreografici e salendo sul palcoscenico con i costumi e gli elementi di attrezzeria da loro stessi realizzati.

Convinti dell’importanza di formare le nuove generazioni e contemporaneamente di valorizzare i talenti e le professionalità del settore artistico, Europa InCanto ha formato un cast artistico costituito da giovani e giovanissimi cantanti e musicisti, che possono trovare in questo progetto la possibilità di perfezionarsi e di confrontarsi un pubblico ampio e vario. 

Per quanto riguarda l’aspetto musicale il Maestro Germano Neri, direttore artistico del progetto e direttore dell’orchestra di Europa Incanto, si richiama all’origine del Flauto stesso, la “commedia fantastica”. E così scrive nelle sue note: “È un genere popolare e assolutamente non incolto, leggero ma non comico, musicale ma con grande importanza anche della recitazione. Un caratteristica tipica e originale delle composizioni di Mozart. La scelta di un giovane cast per le rappresentazioni ha dato la freschezza musicale finale affinché la rappresentazione diventi di pregio naturale e assolutamente diretta nel sentire, senza convenzioni, che era esattamente quello che voleva Mozart. I personaggi sono in scena per raccontarci in quel momento quello che succede. E sono lì per viverlo”. La regia è curata da Lisa Capaccioli, che da anni si dedica con passione al progetto e che nelle sue note al Flauto pone l’accento sull’importanza del personaggio di Papageno, che si sdoppia e diventa “cantante” e “voce narrante e regista” di ciò che i bambini vedranno sul palcoscenico. Papageno accompagnerà i bambini nel mondo della musica di Mozart, dove – prosegue la regista – “la scena non è mai statica: infatti la scenografia si muove ed è stato richiesto ai cantanti di eseguire una precisa partitura di movimenti che segue l’andamento musicale. In questo continuo divenire il racconto procede diventando nuovamente presente”.

Ideato e realizzato dall’Associazione Musicale Europa InCanto, Scuola InCanto è un progetto didattico di avvicinamento alla lirica pensato per gli allievi e gli insegnanti della scuola dell’obbligo con lo scopo di diffondere la conoscenza e l’amore per la musica, l’opera e il teatro in generale.

Il progetto è stato riconosciuto dal MIUR come progetto di eccellenza nell’ambito de “Il Teatro in Classe”, per “la sua valenza didattica e formativa nel divulgare la conoscenza del teatro e della musica a scuola e nel portare direttamente gli alunni all’interno di prestigiosi teatri di tradizione per far vivere loro l’emozione del teatro da protagonisti”.  E, nel 2017, il progetto Scuola InCanto è risultato selezionato come Buona pratica culturale di eccellenza dalla Regione Lazio e incluso nel Catalogo delle Buone Pratiche, attualmente in corso di realizzazione. Per il prossimo anno l’opera prescelta è l’AIDA di Verdi.

Appassionare le nuove generazioni alla lirica, patrimonio storico-culturale comune e identitario per il nostro Paese, è una vera e propria sfida che Europa InCanto porta avanti anno dopo anno con risultati vincenti come testimoniano la sempre crescente adesione al progetto e la straordinaria energia e l’entusiasmo che tutti i partecipanti mettono nelle attività didattiche e nello spettacolo finale, emozionante momento di condivisione e di fruizione collettiva dell’esperienza maturata. Per rendere davvero accessibile a tutti e, in particolare, ai più giovani il mondo dell’opera, Europa InCanto ha sperimentato un originale ed innovativo metodo didattico, capace di fornire gli strumenti utili a comprendere la lirica in tutte le sue componenti: dalla lingua, al canto, dalla musica, alla recitazione, alle arti visive. Questo metodo, che accompagna insegnanti e allievi nel corso dell’intero anno scolastico, prevede diverse fasi di lavoro nelle classi e in teatro ed è basato sul materiale didattico fornito ad ogni partecipante. Il libro, il cd e il dvd interattivo con il karaoke dell’opera costituiscono un prodotto editoriale e musicale unico capace di coniugare alta qualità tecnica ed artistica al divertimento, trasformando l’apprendimento dell’opera in un gioco piacevole ed aggregante.

Scuola InCanto si prefigge l’obiettivo di andare oltre l’incontro nelle classi e nelle scuole, approfondendo la relazione mirata all’interno del tessuto sociale delle città, entrando nelle case e tra le famiglie: i genitori, i nonni, gli amici non saranno solo il pubblico dello spettacolo finale, ma possono partecipare al percorso formativo dei bambini, cantando e imparando insieme a loro. A compimento del percorso, c’è la messa in scena dello spettacolo finale, dove insieme ad artisti professionisti, i veri protagonisti sono i bambini.

IL FLAUTO MAGICO di Wolfgang Amadeus Mozart

Direttore Artistico e  Direttore d’Orchestra: Germano Neri

Riduzione e Adattamento: Nunzia Nigro

Regia: Lisa Capaccioli

Scenografia: Giulia Breno

Costumi: Francesco Morabito

Luci: Michelangelo Vitullo

Maestro di Palcoscenico: Marco Bosco

Maestro Formatore docenti: Giovanni Mirabile 

Assistente alla Regia: Alessandra De Luca

  CANTANTI

Pamina: Maria Rita Combattelli, Costanza Fontana, Claudia Muschio, Marika Spadafino

Tamino: Joseph Dahdah, Francesco Lucii, Matteo Roma, Antonio Sapio

Papageno: Stefano Cianci, Alfonso Michele Ciulla, Giuseppe Zema

Prima Dama e Papagena: Thais Alessia Berardi, Brigitte Canins, Flavia Colagioia, Beatrice Cresti

Seconda Dama e Papagena: Francesca Cucuzza, Alessia Salerno, Silvia Sammarco

Terza Dama: Irida Dragoti, Eva Maria Ruggieri, Giulia Tenuta

Sarastro: Daniele Cusari, Daniele Panza, Davide Procaccini

Monostatos: Nicola Di Filippo, Arda Erol, Simone Lollobattista

Regina della Notte: Francesca Benitez, Giulia Mazzola, Claudia Sasso

NARRATORI\ Papageno: Daniele Aureli, Domenico Bisazza, Lorenzo Menicucci

  ORCHESTRA Europa InCanto

Violini primi: Ivan Cocchia, Valentina Del Re, Daniel Myskin

Violini Secondi: Adamo Fratarcangeli, Adele Napoli, Francesca Sbaraglia

Viole: Raffaele Cocchia, Stefano Lagatta, Ambra Chiara Michelangeli, Roberta Rosato

Violoncello: Fabrizia Pandimiglio, Alice Romano, Riccardo Viscardi

Contrabbasso: Camillo Calarco, Pasquale Pellegrino, Tommaso Spada

Flauti: Leonardo Grittani, Vincenzo Sartoriello, Marialice Torriero

Fagotto: Edoardo Capparucci, Stefania Ferri, Paolo Lamagna

Pianoforte: Jongrey Kwag, Gariele Mantia, Luca Oddo

DIREZIONE DI PRODUZIONE: Matteo Bonotto,

SEGRETERIA DI PRODUZIONE Ndeye Gnima Manga, Francesca Cricco

MAESTRO FORMATORE DOCENTI: Giovanni Mirabile

  TEAM PREPARATORI STUDENTI

Fabio Carrieri, Guendalina Casa, Dayana D’Aluisio, Irida Dragoti, Francesco Finori, Annalisa Ferraro, 

Myra La Rosa, Simone Lollobattista, Christian Moschettino, Giuseppe Nicodemo, Laura Paolillo,

Andrea Tarantino, Stella Ziino

    REGIA di Lisa Capaccioli

“Quella mattina era per me un giorno uguale a tutti gli altri. Come sempre mi preparavo ad affrontare la giornata canticchiando e fischiettando i miei motivetti”. Questo è l’incipit del libro “il flauto magico” scritto da Nunzia Nigro e consegnato ai bambini appartenenti alle classi che aderiscono al progetto Scuola InCanto, libro su cui possono conoscere, insieme agli insegnanti, la storia dell’opera che poi andranno a vedere e di cui canteranno alcune delle più famose arie a teatro. La voce narrante è quella di Papageno e, traendo un efficace spunto da questa suggestione del libro, proprio sul suo racconto si basa l’idea della messa in scena: guardando attraverso gli occhi del Papageno narratore, interpretato da un attore con le stesse fattezze del Papageno cantante, l’opera ha inizio. Lo troviamo così, in un tempo posteriore alla vicenda, a ricordare le proprie avventure e a consegnarcele attraverso la scrittura delle sue memorie in un grande libro alla cui apertura usciranno, come in un sogno, le ambientazioni e i personaggi.  Grazie al suo ricordo tutto si comporrà sotto gli occhi dei nostri piccoli grandi spettatori. Il narratore Papageno sarà il “regista” di ciò che accade sul palcoscenico e ci condurrà nelle scene più significative dell’opera, mostrandocene l’intreccio. Per sottolineare la musica di Mozart la scena non è mai statica: la scenografia si muove ed è stato richiesto ai cantanti di eseguire una precisa partitura di movimenti che segue l’andamento musicale. In questo continuo divenire il racconto procede diventando nuovamente presente.

  NOTE di Germano Neri – Direttore Artistico e Direttore Musicale

L’idea è di ricreare l’ambiente nel quale è nato IL FLAUTO MAGICO, la Kasperliade, genere tipicamente viennese di quel periodo. Commedia fantastica, un genere popolare ma assolutamente non incolto, leggero ma non comico, musicale ma con grande importanza anche della recitazione, un genere in alcuni momenti sentimentale ma mai patetico, qualcosa che oggi non esiste più se non nel genere del musical anglo-americano, erede diretto. Per fare questo abbiamo lavorato nell’asciugare il suono con orchestra e cantanti da tutte le convenzioni ottocentesche restituendo la semplicità d’esecuzione, tipica e originale delle composizioni di Mozart. La scelta di un giovane cast per le rappresentazioni ha dato la freschezza musicale finale affinché la rappresentazione diventi di pregio naturale e assolutamente diretta nel sentire, senza convenzioni, che era esattamente quello che voleva Mozart. I personaggi sono in scena per raccontarci in quel momento quello che succede. E sono lì per viverlo.

[larryland]

Music Haven Concert Series Embarks on 30th Anniversary Season

Music Haven Concert Series Embarks on 30th Anniversary Season

SCHENECTADY, N.Y.—MAY 29, 2019—Central Park is ready, once again, to come alive for the summer, as Music Haven Concert Seriescelebrates its 30th anniversary of “traveling the world one concert at a time.” New this year, the series also adds theater and film as elements in its most ambitious season ever. Seven Sunday global shows are joined this summer by eight additional evenings of diverse…

[fumpkins]

Exploring the Global Landscape of Quantum Technology Research

Leading quantum technology experts from around the world have explored their respective regional and national goals for the future of the field, in a new focus issue of Quantum Science and Technology (QST).

The first five articles in the collection, covering Australia, Japan, the United States, Canada and the European Union, are published today. They are written by the leading researchers involved in each country or region’s initiative.

QST’s Editor-in-Chief, Dr Robert Thew from the University of Geneva, said: “This collection brings together insights from leaders in the field across the globe, including Europe, Canada, Japan, Australia and the US, providing an unprecedented view of the quantum technology landscape around the world.

“During the last couple of decades, the interest, and along with it the financial investment, in quantum technology research has been steadily ramping up. There are a wide range of potential application areas: quantum computing and simulations; quantum communication, and sensing and metrology.

“Nonetheless, this has remained a primarily academic pursuit until the last few years. We have now started to see a shift towards development of products and applications, which is garnering increasing interest from industry. Companies and governments are starting to realise the scale of the impact these technologies may have for modern society.

“The aim of this collection is to provide insight into this global pursuit for quantum technology research breakthroughs and dominance. It also provides a fascinating perspective into how each of these regions have evolved, the decisions behind launching their respective initiatives, and their aspirations for future research and development.”

Written in an accessible style, the articles focus on the country or region’s history of supporting research in quantum technology; why now is the right time to heavily fund this area; and the future outlook on the field and the benefit to their various regions as a consequence of this investment.

The researchers who contributed, and their respective articles, are:

Tara Roberson and Andrew White (Australia) ‘Charting the Australian quantum landscape’Ben Sussman, Paul Corkum, Alexandre Blais, David Cory, and Andrea Damascelli (Canada) ‘Quantum Canada’Tommaso Calarco, Jürgen Mlynek, Matyas Kovacs, Max Riedel, and Peter Zoller (European Union) ‘Europe’s Quantum Flagship initiative’Yoshihisa Yamamoto, Masahide Sasaki, and Hiroki Takesue (Japan) ‘Quantum Information Science and Technology in Japan’Michael G. Raymer and Christopher Monroe (United States) ‘The U.S. National Quantum Initiative’

Further perspectives from the UK and China will appear in 2019.

New post published on: https://www.livescience.tech/2019/02/25/exploring-the-global-landscape-of-quantum-technology-research/

[larryland]

COMPANY

STARRING AARON TVEIT AS “BOBBY”

  RAGTIME

STARRING:

ELIZABETH STANLEY AS “MOTHER”

DARNELL ABRAHAM AS “COALHOUSE”

ZURIN VILLANUEVA AS “SARAH”

  KUNSTLER

STARRING:

JEFF McCARTHY AS “KUNSTLER”

  THE BIRDS

STARRING:

KATHLEEN McNENNY AS “DIANE”

SASHA DIAMOND AS “JULIA”

CHRISTOPHER INNVAR AS “NAT”

OBIE AWARD WINNER ROCCO SISTO AS “TIERNEY”

  TAKING STEPS

STARRING:

CLAIRE BROWNELL AS “ELIZABETH”

MILES G. JACKSON AS “TRISTAM”

RICHARD HOLLIS AS “ROLAND”

MATTHEW GREER AS “LESLIE”

HELEN CESPEDES AS “KITTY”

(New York – May 9, 2017) Barrington Stage Company (BSC), the award-winning theatre in Downtown Pittsfield, MA, under the leadership of Artistic Director Julianne Boyd and Managing Director Michele Weathers, is proud to announce initial casting for the 2017 season.

The 2017 BSC season will begin with Kunstler, starring Jeff McCarthy (Broadway’s Chicago, BSC’s Broadway Bounty Hunter) as the titular character, with Erin Roché (Measure for Measure, The Old Globe) as “Kerry”. Kunstler is written by Jefferson Award winner and Emmy Award nominee Jeffrey Sweet, and directed by Meagen Fay. Performances begin May 18, with opening night set for May 21, and for a run through June 10.

The Birds will star Kathleen McNenny (Broadway’s The Father) as “Diane,” Sasha Diamond (BSC’s peerless) as “Julia,” Christopher Innvar (Broadway’s The Snow Geese, BSC’s Much Ado About Nothing) as “Nat,” and Obie Award winner Rocco Sisto (The Light Years at Playwrights Horizons) as “Tierney.” Written by Conor McPherson and directed by BSC Artistic Director Julianne Boyd, The Birds begins previews June 15 and opens on June 18, for a run through July 8.

  Christopher Innvar

Kathleen McNenny

Rocco Sisto

Sasha Diamond

Starring in a new production of Ragtime is Elizabeth Stanley (Broadway and BSC’s On the Town) as “Mother,” Darnell Abraham (Side Show, The Media Theatre) as “Coalhouse,” Zurin Villanueva (Broadway’s Shuffle Along) as “Sarah,” J. Anthony Crane (Broadway’s The Country House) as “Tateh,” Hunter Ryan Herdlicka (Broadway’s A Little Night Music) as “Younger Brother,” Anne L. Nathan (Broadway’s It Shoulda Been You) as “Goldman,” Lawrence E. Street (Broadway’s Urinetown) as “Booker T. Washington,” Matt Gibson (Broadway’s Gypsy) as “Willie Conklin,” Allen Kendall (Broadway’s Amazing Grace) as “JP Morgan,” Joe Ventricelli (Sleep No More) as “Houdini,” Eric Jon Malhum (Broadway’s Wicked) as “Ford,” Leanne A. Smith (Rock of Ages, Norwegian Cruises) as “Evelyn Nesbit,” and John Little (Cabaret National Tour) as “Grandfather.”

  Elizabeth Stanley

Darnell Abraham

J. Anthony Crane

Zurin Villanueva

Rounding out the ensemble will be Robb Sherman (“Younger”), Allison Blackwell (Broadway’s A Night with Janis Joplin), Christin Avante’ Byrdsong (Figaro! 90210 at The Duke on 42nd Street), Alex Nicholson (Twelfth Night, The Theatre Project), Danielle James (“True Blood”), Frances Evans, and Elliot Trainor. Ragtime features a book by Terrence McNally, lyrics by Lynn Ahrens, and music by Stephen Flaherty, with direction from Helen Hayes Award winner Joe Calarco, choreography by Karma Camp, and musical direction by Darren Cohen. Ragtime begins previews June 21, opens June 24, and closes on July 15.

  The 2017 season will continue with the laugh-out-loud but rarely staged comedy, Taking Steps, featuring Claire Brownell (Broadway’s The 39 Steps) as “Elizabeth,” Miles G. Jackson (BSC’s Tribes) as “Tristam,” Richard Hollis (Broadway’s The Curious Incident of the Dog in the Night Time) as “Roland,” Matthew Greer (Broadway’s The Real Thing) as “Leslie,” and Helen Cespedes (Broadway’s The Cripple of Inishmaan) as “Kitty.” Written by Olivier and Tony Award winner Alan Ayckbourn, with direction from Tony Award nominee Sam Buntrock (Broadway’s Sunday in the Park with George), Taking Steps will begin performances July 20 and open July 23, for a run through August 5.

  Aaron Tveit (Broadway’s Catch Me If You Can, Next to Normal), who returns to BSC after previously playing “Matt” in the 2007 production of Calvin Berger, will star as “Bobby” in Company, along with Ellen Harvey (Broadway’s Present Laughter) as “Joanne,” Lawrence Street (Broadway’s Urinetown) as “Harry,” Jeanette Bayardelle (Broadway’s The Color Purple) as “Sarah,” Kate Loprest (Broadway’s First Date) as “Susan,” Paul A. Schaefer (Broadway’s The Phantom of the Opera) as “Peter,” Jane Pfitsch (Broadway’s Cabaret) as “Jenny,” James Ludwig (Broadway’s Spamalot) as “David,” Lauren Marcus (Little Shop of Horrors, Sharon Playhouse) as “Amy,” Joseph Spieldenner (Broadway’s Les Misérables) as “Paul,” Peter Reardon (BSC’s All My Sons) as “Larry,” Nora Schell (Spamilton, Triad Theater) as “Marta,” and Rebecca Kuznick (BSC’s Fiddler on the Roof) as “Kathy.” Featuring a book by George Furth, music and lyrics by Stephen Sondheim, with choreography by Jeffrey Page, music supervision by Darren Cohen, music direction by Alex Shields, and direction by Julianne Boyd, Company will begin previews on August 10 and is set to open August 13 for a run through September 2.

  The 2017 Barrington season will also include SPEECH & DEBATE by Tony Award winner and Pulitzer Prize finalist Stephen Karam and directed by Jessica Holt. Speech and Debate begins previews July 13, with an opening set for July 16, and will run thought July 29. This by Obie Award winner Melissa James Gibson and directed by Christopher Innvar begins previews on August 3, officially opens on August 6, and will run through August 27. The 2017 season will conclude with Gaslight (Angel Street) by Patrick Hamilton and directed by Louisa Proske. Gaslight begins previews October 4, opens October 8 and runs through October 22.

  Additional casting and creative team for all productions will be announced shortly.

  Performance schedules for all productions are available by visiting www.barringtonstageco.org.

  Both single tickets and 2017 season passes are now on-sale and available at www.barringtonstageco.org or by calling 413-236-8888 or visiting the MainStage box office (30 Union Street, Pittsfield, MA 01201). Tickets range from $25 to $69.

In addition to the previous announced 2017 productions, BSC is also proud to announce the following events for their 2017 season:

  From August 30-September 3, Broadway veteran Ed Dixon (Anything Goes, Mary Poppins) brings his one-man show, Georgie: My Adventures with George Rose, to the St. Germain Stage, directed by Eric Schaeffer (Follies). The performance schedule for Georgie is as follows: August 30-September 2, 7:30pm; September 2-3, 3:00pm.

  Two-time Tony Award-winner William Finn returns by popular demand with the next generation of talented musical theatre writers in Songs by Ridiculously Talented Composers and Lyricists You Probably Don’t Know But Should…They share a concert of their newest songs with the help of four extraordinary singers, ridiculously talented in their own right. A funny, charming and insightful evening, narrated by Mr. Finn! Concerts will take place June 9 and 10 at 8pm. Tickets range from $30-40.

  On Monday, July 31, 2017 at 7pm, BSC will present Nobody Does It Like Me…The Music of Cy Coleman. Straight from Broadway’s Wicked, the multiple Emmy and Tony-nominated Michele Lee spotlights the music of Cy Coleman (Sweet Charity, Barnum and City of Angels). Including songs from their musical Seesaw, Ms. Lee infuses the evening with stories that tickle the funny bone to ballads that cut deep into the soul. With music director extraordinaire Ron Abel, it’s easy to see how “Nobody Does It Like” Michele Lee. Tickets range from $40-50. VIP tickets, which include premium seating, a post-show reception, and a meet-and greet, are available for $75.

  After many summers of blowing the roof off of our cabaret, on Sunday, September 3, 2017 at 8pm, Joe Iconis and his tribe of musical theater misfits return to the Mainstage for a special one-night-only concert— Joe Iconis and Family TAKE OVER! These musical mavericks will make it clear why The New York Times calls them “The Future of Musical Theatre” with songs about anything and everything that makes you laugh, cry, scream, or drink. Come see what happens when The Family gets out of the basement and is set loose on the Mainstage for our final blowout of summer! Tickets range from $35-45.

  The 2017 Youth Theatre Program production will be BYE BYE BIRDIE. The winner of four Tony Awards, including Best Musical, BYE BYE BIRDIE features a book by Michael Stewart, lyrics by Lee Adams and music by Charles Strouse. BYE BYE BIRDIE, BSC’s 20th Youth Theatre production, will be directed and choreographed by Julianne Katz (Crazy For You at Lincoln Center, Assistant Choreographer).

ABOUT BARRINGTON STAGE COMPANY

  Barrington Stage Company is a professional award-winning Equity regional theatre located in the heart of the Berkshires, in Pittsfield, MA.  It was co-founded in 1995 by Artistic Director Julianne Boyd and has a three-fold mission: to present top-notch, compelling work; to develop new plays and musicals; and to find fresh, bold ways of bringing new audiences into the theatre—especially young people. Barrington Stage garnered national attention in 2004 when it premiered William Finn and Rachel Sheinkin’s musical hit The 25th Annual Putnam County Spelling Bee which later transferred to Broadway where it won two Tony Awards. In 2009, Mark St. Germain’s Freud’s Last Session ran more than ten weeks on Stage 2 and later moved Off Broadway and played for two years. St. Germain’s Becoming Dr. Ruth (which premiered at BSC as Dr. Ruth, All the Way in 2012) played Off Broadway at the Westside Theatre in fall 2013. BSC’s all-time record-breaking musical, On the Town, was originally produced at BSC in 2013.  In 2014, it opened on Broadway with BSC as a co-producer, where it was nominated for four Tony Awards including Best Musical Revival.  In 2016, Barrington Stage swept the​ first Annual Berkshire Theatre Awards by winning 20 out of the 25 awards.  In 2016, BSC produced three World Premieres; Presto Change-O, Broadway Bounty Hunter, and American Son, which won the Laurents/Hatcher Award for Best New Play.

  FOR MORE INFORMATION, VISIT

WWW.BARRINGTONSTAGECO.ORG

Barrington Stage Announces Initial Casting for 2017 Season COMPANY STARRING AARON TVEIT AS “BOBBY”   RAGTIME STARRING: ELIZABETH STANLEY AS “MOTHER” DARNELL ABRAHAM AS “COALHOUSE” …

[larryland]

by Roseann Cane

As Barrington Stage Company‘s production of Into the Woods opens, we’re presented with a group of fairy-tale familiar characters, including Cinderella (Amanda Robles); Jack (the Beanstalk climber, played by Clay Singer); Little Red Riding Hood (Dorcas Leung), and Rapunzel (Anna Tobin). A dapper narrator (Thom Sesma) draws us into their world, where we also meet The Baker (Jonathan Raviv) and The Baker’s Wife (Mara Davi), as well as an ugly, terrifying old Witch (Mykal Kilgore).

  All of these characters are driven by wishes. Cinderella yearns to attend the king’s festival, just like her wicked stepmother and stepsisters, who cruelly mock her. Jack’s beloved cow, Milky White (a puppet brilliantly designed by Brandon Hardy), is unable to provide milk, and Jack’s desperate mother (Leslie Becker) forces him to sell her; his wish is to find a way to get Milky White back. Little Red wishes to buy bread to bring to her grandmother, introducing us to The Baker and his Wife, who poignantly wish to have children. The Witch reveals to the couple that their inability to have children is the result of a curse she put on the Baker’s father for stealing her vegetables. However, she will lift the curse if the couple bring her four ingredients: a cow as white as milk, a cape as red as blood, hair as yellow as corn, and a slipper pure as gold.

  Thus the familiar stories intersect, and the characters enter the woods to learn how to make their wishes come true. By the end of Act I, it seems that they have. In Act II, they learn of the darkness and the danger in the woods, and the very mixed blessings of fulfilling their wishes.

  Joe Calarco has assembled a splendid ensemble of actors to bring life to this Sondheim masterwork, into which one may find meaning on personal (understanding the unconscious, the effects parents have on their children, the meaning of love and family, the ambivalence that informs every choice we make) and global (the responsibilities inherent in human connectedness, the consequences of ethical behavior)  planes. 

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Mykal Kilgore, as the ugly witch who eventually transforms from a hideous crone into a regal golden beauty, commands the stage in the best sort of way, with solid presence, a startling performance, and a powerfully beautiful voice. To be sure, a strong ensemble is crucial to the success of Into the Woods, and every member of this dazzling cast shines. Thom Sesma’s Narrator/Mysterious man (some cast members play double roles) brings us two completely different figures who, not incidentally, serve a similar purpose in providing guidance to audience and, later, to characters in the play. Dorcas Leung’s Little Red Riding Hood is a hoot, a tough cookie under a cloak. As Cinderella, Amanda Robles is tender and moving, with a silvery singing voice that, at times, seemed not to enunciate clearly, but gave a lovely performance nonetheless. Clay Singer is a charmingly innocent Jack whose love for his cow is palpable, as is his obedient understanding and love for his mother (the lovely Leslie Becker, who crafted two additional, memorable roles, Granny and the Giant’s Wife, with equal aplomb). Raviv and Davi, the Baker and his Wife, movingly embody their complex relationship as well as the metamorphosis of their partnership.

  The music is stunning and often as surprisingly deep as the woods; Darren R. Cohen’s musical direction and conducting were very satisfying. Choreography by Mayte Natalio was elegant and inventive, and Jen Caprio’s costumes were delightfully clever. Into the Woods makes strong demands of the sound designer (Matt Kraus) and lighting designer (Sherrice Mojgani), and Kraus and Mojgani did the production proud. Brian Prather’s scenic design was beautifully executed, and I loved how his set’s journey into expressionism complemented the production.

  Into the Woods is not appropriate for young children, and I was pleased to note that Barrington Stage had lobby signs expressing just that, even though some theatergoers did have young ones in tow. Please know that it can be very scary for kids. It is also a long show, two hours and 45 minutes (including intermission). I have no doubt that some of my fellow Sondheim fans will be displeased with my opinion that the show would benefit from some judicious cutting, if only by the master himself. That is not likely to happen. Nevertheless, the show is an important one, and gratifyingly provocative. I’d encourage you to see it while you can.

  Barrington Stage Company presents Into the Woods, Music and Lyrics by Stephen Sondheim, Book by James Lapine, Originally directed on Broadway by James Lapine, Orchestrations by Jonathan Tunick, Directed by Joe Calarco, Musical Direction by Darren R. Cohen, Choreographed by Mayte Natalio. Set design by Brian Prather, costume design by Jen Caprio, sound designer by Matt Kraus, puppet design by Brandon Hardy, lighting design by Sherrice Mojgani, wig, hair, and make-up design by J. Jared Janas, production stage manager Renee Lutz, assistant stage manager Patrick David Egan. CAST: Zoë Aarts as Lucinda, Leslie Becker as Jack’s Mother/Giant’s Wife, James Cella as The Steward, Sarah Dacey Charles as Cinderella’s Stepmother/Granny/Cinderella’s Mother, Mara Davi as The Baker’s Wife, Mykal Kilgore as The Witch, Dorcas Leung as Little Red Riding Hood, Pepe Nufrio as Rapunzel’s Prince, Megan Orticelli as Florinda, Jonathan Raviv as The Baker, Amanda Robles as Cinderella, Thom Sesma as Narrator/Mysterious Man, Clay Singer as Jack, Anna Tobin as Rapunzel, and Kevin Toniazzo-Naughton as Cinderella’s Prince/The Wolf.

Into the Woods runs June 19-July 13, 2019, at Barrington Stage Company’s Boyd-Quinson Mainstage, 30 Union Street in Pittsfield, MA. Barrington Stage Box Office: 413-236-8888 or online at www.barringtonstageco.org.

*Children under the age of 5 are not permitted in the theatre.

  REVIEW: “Into the Woods” at Barrington Stage by Roseann Cane As Barrington Stage Company's production of Into the Woods opens, we’re presented with a group of fairy-tale familiar characters, including Cinderella (Amanda Robles); Jack (the Beanstalk climber, played by Clay Singer); Little Red Riding Hood (Dorcas Leung), and Rapunzel (Anna Tobin).

[larryland]

Review by Gail M. Burns

“You just sit there going, ‘This is our country as we know it.’ Black people are crying out that their lives matter. Women are saying, ‘I can never go back to before.’ Immigrants are saying, ‘What is wrong with this country?’ These are all lyrics from the show, and they’re all words from the television today…it really makes you think about where we are as a country and where we need to be and how do we get there.”

– Lynn Ahrens, lyricist for Ragtime, in a recent interview in The Interval

Immigrants are being openly discriminated against. Violence against black people goes unpunished. Women are fighting for their rights. The rich are getting richer. Workers are struggling for fair pay. Welcome to 1906.

That was the year that the house in New Rochelle, NY, owned by novelist E. L. Doctorow in the mid-1970’s, was built. And it was in that house he wrote Ragtime, named one of the best novels of the 20th century, which provides the source material for this musical.

At Barrington Stage director Joe Calarco and scenic designer Brian Prather have set this production in the attic of that handsome home in New Rochelle, NY. The stories that the mementos there provoke are at once immediate and of another time. They “hold the mirror up to nature” and we clearly see our reflection in our ancestors’ lives.

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While Ragtime centers on three families – upper-middle-class white, immigrant, and black – it takes sweeping in the glances at America as a whole. Fictional characters mingle with real-life notables – Emma Goldman (Anne L. Nathan), Harry Houdini (Joe Ventricelli), J.P. Morgan (Allen Kendall), Booker T. Washington (Lawrence E. Street), Evelyn Nesbit (Leeane A. Smith), Henry Ford (Eric Jon Mahlum) – as they tell the story of our very recent past.

The upper-middle class white family do not have names, except for the youngest member, a little boy called Edgar (Elliot Trainor), which was Doctorow’s given name. Otherwise they are Mother (Elizabeth Stanley) who grows from a complacent wife to a more worldly woman aware of issues beyond her family sphere; Father (David Harris) a munitions manufacturer with a penchant for travel and a narrow view of the world; Mother’s Younger Brother (Hunter Ryan Herlicka) who is searching for something; and Grandfather (John Little) who is sadly underutilized after having one funny line in the opening number.

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Father takes off for the Arctic with Admiral Peary and Mother makes an alarming discovery in her flower bed that brings the family in contact with a young black washerwoman named Sarah (Zurin Villanueva) and her estranged lover Coalhouse Walker, Jr. (Darnell Abraham). Coalhouse is a successful musician, successful enough to buy himself a Model T Ford and set off to the suburbs to locate and reunite with Sarah, but their happiness is short-lived. Enraged, Coalhouse seeks revenge in a most violent and dramatic manner.

A Jewish widower from Latvia named Tateh (J. Anthony Crane) arrives in America on a “rag ship,” determined to make a new and better life for him and his Little Girl (Frances Evans). Tateh’s story is the one with a happy ending, although his early trials as an immigrant speak volumes about how Americans assimilate newcomers then, and now.

Elizabeth Stanley is her usual luminous self as Mother. I was interested in costume designer Sara Jean Tosetti’s choice to have her put on and remove her corset on stage, a poignant symbol of women’s literal bodily liberation from painful constraints more than a decade before the 19th amendment passed. Mother is a traditional woman of her time and socio-economic status, but she finds her voice and her backbone (hence no more need for a corset) during the course of the play, and she finds it through her mothering instincts.

Sarah, also, is a traditional woman, who longs for all that Mother has – a home, a husband, a family – but as Villneueva plays her she has internalized all the racial and gender hatred the world has heaped on her and vanished into herself. When she finds that her dream is within reach, she fights bravely for it, and pays the ultimate price. Villaneuva is a beautiful, willowy woman with a smile to melt your heart.

The final number of Act I is powerfully led by Allison Blackwell, in role designated only as Sarah’s Friend. It is a tour de force that will leave you in tears.

The two famous women in the show are the unconventional ones. Evelyn Nesbit (1884-1967) was the “It Girl” of the time. Having clawed her way up from poverty as to become America’s first super-model and then an actress, she became international celebrity when her insane millionaire husband killed the famous architect who had deflowered her, resulting in the “Trial of the Century.” There is no need to cast an actor who looks like Nesbit since few alive today know of her, but I was interested that Calarco cast the Barbie blonde Smith, who is very much America’s current version of feminine pulchritude, when Nesbit was a brunette beauty.

Booker T. Washington

Henry Ford

J.P. Morgan

Emma Goldman

Evelyn Nesbit, wearing even less.

Nathan’s performance as Emma Goldman (1869-1940), the firebrand anarchist, is a stand out, and indeed she often seems to be the only character on stage whose world views make sense.

Abraham has the real star turn as the mercurial Coalhouse Walker, Jr. The role demands a strong triple-threat who can be convincing as a loving partner and father, as well as a cold-blooded killer out for revenge. Abraham delivers on all fronts.

Crane is also strong as Tateh. Parenthood and the succession of generations is an important theme in Ragtime, and Tateh’s relationship with his daughter is at the heart of the show. Crane is at his strongest in his powerful number in response to a threat against his daughter in Act I.

Child roles are often doubled, but Calarco has elected to have the same three children play the roles at all performances, and they do a fine job. Trainor has the most demanding role, and he brings to it the open enthusiasm of a rising sixth grader. A third generation Berkshire thespian, Trainor’s grandfather performed on the stage of the Union Street Theatre before it was acquired by Barrington Stage.

Ragtime is a powerful show. This is the third production I’ve seen and reviewed and I was still moved to tears on several occasions. Flaherty’s music will stick in your head and Terrence McNally’s book is full of moments that truly shock. There is violence and gunfire in the show, so if those things upset you stay home, but that would be the only reason to miss this glorious production.

The Barrington Stage Company production of Ragtime runs June 21-July 15 on the Boyd-Quinson Main Stage at 30 Union Street in Pittsfield, MA. Book by Terrence McNally; music by Stephen Flaherty; lyrics by Lynn Ahrens; directed by Joe Calarco, choreographed by Shea Sullivan; musical direction by Darren R. Cohen; orchestration by William David Brohn. Scenic Design by Brian Prather; Costume Design by Sara Jean Tosetti; Lighting Design by Chris Lee; Sound Design by Ed Chapman; Hair & Wig Design by Dave Bova & J. Jared Janas; Production Stage Manager Renee Lutz.

Cast: Darnell Abraham as Coalhouse Walker, Jr., Allison Blackwell as Sarah’s Friend/Ensemble, J. Anthony Crane as Tateh, Frances Evans as the Little Girl, Matt Gibson as Willie Conklin/Ensemble, David Harris as Father, Hunter Ryan Herlicka as Younger Brother, Allen Kendall as J. P. Morgan/Ensemble, John Little as Grandfather/Ensemble, Eric Jon Mahlum as Henry Ford/Ensemble, Anne L. Nathan as Emma Goldman, Marie Putko as Kathleen/Brigit/Ensemble, Leeane A. Smith as Evelyn Nesbit/Ensemble, Elizabeth Stanley as Mother, Lawrence E. Street as Booker T. Washington/Ensemble, Elliot Trainor as Edgar, Joe Ventricelli as Harry Houdini/Ensemble, Zurin Villanueva as Sarah, Spencer-Mathias Reed as Coalhouse Walker III. Additional Ensemble: Christin Byrdsong, Danielle Lee James, and Alex Nicholson.

The show runs two hours and forty-five minutes with one intermission and is suitable for ages 8 and up. For tickets call 413-236-8888 or visit https://barringtonstageco.org/single-tickets/.

REVIEW: “Ragtime” at Barrington Stage Review by Gail M. Burns “You just sit there going, ‘This is our country as we know it.’ Black people are crying out that their lives matter.