#NorthEast Theatre Ensemble

[writemarcus]

Black, Queer, and Here

In a post-‘Moonlight’ world, writers like Michael R. Jackson and Jeremy O. Harris are making the case for LGBTQ stories that go beyond the gay white experience.

BY MARCUS SCOTT

Last month, when Michael R. Jackson’s A Strange Loop earned unanimous praise upon opening at Playwrights Horizons, it was a pivotal moment for me as a spectator. As someone who is also a Black, gay, musical theatre writer, I saw myself and my story onstage for the first time. I guffawed, clapped my hands, snapped along, celebrated the pageantry of Black excellence, and even teared up a bit during the play’s climax.

For the first time I didn’t have to undertake the mental gymnastics all marginalized people are basically required to do once they enter the theatre; to empathize with the white, often male protagonist as default. Not to mention, there was additional apprehension. Any time I saw a story centered on LGBTQ characters, I could usually predict what I was getting myself into: either comedic NutraSweet schmaltz with heart, or a maudlin tragedy where happy endings are laughable and everyone dies in the end.

But this was different. Led by a colossal, virtuoso performance from Larry Owens—not to mention anchored by an all-Black, all-queer ensemble of multitalented, triple-threat featured players—A Strange Loop (now extended through July 28) is a singular, seminal Bildungsroman that casts a subversive, critical third eye on both mainstream and nether regions of the Black gay American experience that had not been shown before.

The show follows Usher (Owens), a young, NYU-educated, overweight Black gay man working as an usher at a long-running Broadway musical and struggling to write a musical about a young, NYU-educated, overweight Black gay man working as an usher at a long-running Broadway musical and struggling to write a musical (hence the loop in the title). A Strange Loop is a visceral, soulful, psychosexual panoramic pièce de résistance that may just be the most radical Off-Broadway musical of its kind. Contextualizing everything from #MeToo, Moonlight, Tyler Perry, Stephen Sondheim’s Company, and second wave feminism, Jackson’s show is a potpourri of popular culture, existentialism, and metafiction—a dazzling coming-of-age artistic journey of self-discovery.

My sentiments for the show have been shared. In a post-show talkback on June 19, “Pose” star Billy Porter joined Jackson, choreographer Raja Feather Kelly, and playwright Branden Jacobs-Jenkins onstage to discuss the musical. The event, which was attended by top names in the theatre community (such as Lin-Manuel Miranda), was presented by Ucross, a prestigious residency program in northeast Wyoming. Porter choked back tears as he began the panel: “To sit up there and see my life onstage, when everybody said that my story wasn’t valid—to see that up there, to see it so brave, and to see it so bold. To see it so truthful, so complicated, so honest, and so unapologetic, has been one of the most wonderful nights for me in the theatre.”

Over the course of the 2018-19 season, I saw 100 shows, and few of them affected me like Jackson’s musical. None of those other shows centered on queer bodies of color. In all fairness, it’s not like a lot of theatres are producing plays by or about queer people of color. And when they do, it’s sanitized, ambiguous, and not complex—for example, Celie and Shug’s neutered romance in The Color Purple.

Earlier this year, in a lively panel about the state of the American play (copresented by American Theatre and Signature Theatre), playwright and director Robert O’Hara wryly offered some insight into the queer POC experience in American theatre. Speaking about the 2017-18 season, O’Hara pondered the state of Broadway, which was littered with prestige London transfers or star-driven assembly line revivals of treasured classics. But he also noticed a third trend: “the amount of gay white men we have on Broadway this year.” Naming Angels in America, The Boys in the Band, and Torch Song, all of which were written by white gay men, O’Hara remarked, “There’s too many white gay people, particularly white gay men and their struggle being white and gay and male. Do we really need that many conversations? To some people, that’s diversity. But to me, that’s just more white folks onstage.”  

Though theatre prides itself on being a space for outcasts, and most of its preeminent artists are gay men, their visibility often comes at the expense of other members of the LGBTQ community. In the theatre, LGBTQ plays have often centered solely on the experience of gay white cis-men and (only recently) cis-women, while people of color war in the margins for mainstream acclaim.

Whether it’s about the gay civil rights movement (Mart Crowley’s seminal The Boys In The Band, Dustin Lance Black’s 8), the HIV/AIDS epidemic (Larry Kramer’s definitive The Normal Heart, Tony Kushner’s iconic Angels in America, William Finn’s neurotic Falsettos) or communal inherited trauma (Moisés Kaufman’s triumphant docudrama The Laramie Project, Matthew Lopez’s Broadway-bound The Inheritance), gay white men have dominated queer stories, creating nuanced characters and becoming the epicenter of the narratives of LGBTQ culture.

Openly gay Black artists like O’Hara and George C. Wolfe have created work about Black queer life over three decades, but their numbers were fewer and far between. The difference now is the sheer volume of diverse queer voices. Some are even calling it a renaissance.

I trace it to the film Moonlight. Released in 2016 to universal acclaim under the helm of director Barry Jenkins, and based on Tarell Alvin McCraney’s unpublished semi-autobiographical play In Moonlight Black Boys Look Blue, Moonlight became the first film with an all-Black cast and the first LGBTQ film to win the Academy Award for Best Picture. The victory was a watershed moment in popular culture, sparking public interest in Black art and queer stories.

Ever since, queer Black theatre artists have begun to storm the proverbial tower in droves: McCraney recently returned to Steppenwolf in Chicago with Ms. Blakk For President, and his Choir Boy had an acclaimed run on Broadway after making the rounds of the nation’s regional theatres. Donja R. Love, an HIV-positive gay Black playwright, saw the world premieres of his queer period dramas Sugar in Our Wounds and Fireflies. Jordan Cooper’s Ain’t No Mo earned an extended and lauded run Off-Broadway at the Public Theater. Hailed as “The Queer Black Savior the Theater World Needs” by Out magazine, Jeremy O. Harris became a literary sensation and enfant terrible of the theatre world after Slave Play and Daddy had their world premieres this past season (Slave Play will transfer to Broadway in September).

What makes these plays radical is their candor, addressing the audience with frank depictions of queer Black life. Most importantly, these are plays that are creating discourse on what artist Lora Mathis calls radical softness, or “the idea that unapologetically sharing your emotions is a political move and a way to combat the societal idea that feelings are a sign of weakness.” In one of the most pivotal scenes in Choir Boy, one of the boys chooses an a cappella rendition of “Love Ballad” (originally by Jeffrey Osborne of L.T.D.) to express his love for another boy, but imagination ends up being the closest he’ll ever get to confessing his feelings. In Sugar in Our Wounds, an enslaved man offers another reading lessons, but the subtext is that of romantic yearning. In Slave Play, an interracial gay couple undergo therapy, in an effort to reconnect. These writers subvert and comment on the oppressive systems that affect disenfranchised and marginalized people without attacking or distancing mainstream audiences.

Not to mention the playwrights who identify as queer but whose plays aren’t chiefly about LGBTQ life: Colman Domingo (Dot), Marcus Gardley (The House That Will Not Stand), Jonathan Norton (My Tidy List of Terrors), Timothy DuWhite (Neptune), Keelay Gipson (#NewSlaves), Korde Arrington Tuttle (clarity), Jirèh Breon Holder (Too Heavy for Your Pocket) and Derek Lee McPhatter (Bring the Beat Back). Chief among these is Branden Jacobs-Jenkins, who was listed among the Top 20 Most-Produced Playwrights of 2018-2019 and has been honored as a two-time finalist for the 2016 and 2018 Pulitzer Prize for Drama, respectively.

As writer-activist Darnell L. Moore noted on Twitter: “In the past few months, I’ve witnessed displays of brilliance—Black queer men who have created theatrical works that dig into the complex interior lives of Black characters. Their works disrupt & reimagine all we believe to be true about the limits of Blackness, of gender. They poke at the grounds of Black radical politics by illuminating how the freedom dreams conjured by some of the Blacks often function as nightmares for some others—trans folk, queers, drag queens, the not-respectable. They remind us about the futility of white liberalism. They refuse the white gaze.” He characterized these plays as “Black folks-loving art works” which “preach and sing and lament and celebrate and bear witness and take up arms and push and pull us.”

At the same time, Moore does wonder “how these works might be received if the creators and/or main actors weren’t Black gay men.” He has a point: Queer women, trans, or gender non-binary writers still struggle to be seen, with only a few receiving recognition such as Aziza Barnes (BLKS), Tanya Barfield (Bright Half Life), Tracey Scott Wilson (Buzzer), Nissy Aya (righteous kill, a requiem), and Ianne Fields Stewart (A Complicated Woman).

While many Black artists are generating work that are nuanced and empowering, and even dissecting of the white gaze, there are still just as many works that default towards “enterpainment.” Coined by playwright Aurin Squire in his play Zoohouse, “enterpainment” is a trope that calls for historically oppressed people to be forced into situations where they must put their suffering and victimhood on display for the education and edification of the masses. This exercise in emotional masochism has been at the forefront of many Black plays, with this trope being weaponized and commodified. Many Black characters in general are defined by their pain, and in plays that center on LGBTQ people of color, too often that pain is doubled because of their race and sexual orientation.

The “bury your gays” stereotype is still very much the norm for these plays, including some of the ones mentioned above. For example, in Donja R. Love’s Fireflies, the protagonist is a woman who clings to the memory of the woman she loved who was horribly murdered in the streets. The main character in Chisa Hutchinson’s She Like Girls is a 16-year-old lesbian who is shot and killed at the climax of the play.

Most stories featuring queer characters of color forefront the atrocities that inherently arise from the stigmatization of one’s sexual agency and one’s race. Rather than showcasing the beauty within the full expression of queerness—such as falling in love or (in A Strange Loop) standing up to your parents—too often writers are defaulting to trauma.

But this is part of a larger issue: that of Black artists working within a primarily white system who feel they must commodify their pain for white consumption. And of white producers not feeling like they’re able to challenge artists of color to look deeper, of them thinking of these artists as a single diversity slot or purveyor of issue plays, instead of artists whose careers and ideas need to be invested in. At the live event, Robert O’Hara had some advice for white producers: “You have to be able to live inside the power and the privilege that you have, and also continue to demand the rigor, intellect, and dexterity that the work requires so that it does not just become a play but a [major stepping stone for a] career.”

Recently I ran into Jackson at Musical Theatre Factory’s High Five, a gala hosted at Town Stages; he was being honored that night. Before I could congratulate him, he kindly rebuffed. “There’s still work to be done,” he said as he was greeted by eager patrons and admirers. He’s not wrong. In 2017, Pew found that younger, non-white, and low-income people (lower middle-class people of color) were more likely to self-identify as LGBTQ than whites, debunking the myth that Blacks and Latinos are overwhelmingly homophobic.

Reality is more complex than we give it credit for. And considering that Broadway is in need of new musicals in it’s 2019-20 season, there really is nothing more topical than, to quote A Strange Loop, a “big, Black, and queer-ass Broadway show.”

Marcus Scott is a New York-based playwright, musical writer and journalist. He’s written for Elle, Essence, Out and Playbill, among other publications.

[krispyweiss]

Celebrating David Bowie at Goodyear Theatre, Akron, Ohio, Oct. 15, 2022

Scrote had the material and the performers. Now, he just needed to execute on the Celebrating David Bowie tour.

On Oct. 15, the mononyn music director and company - guitarists and singers Todd Rundgren and Adrian Belew; Spacehog’s Royston Langdon (vocals, keys, acoustic guitar) and Fishbone’s Angelo Moore (vocals, sax, theremin, costumes and pantomime) - utterly slayed the Bowie discography.

And the audience.

Across 31 career-spanning tracks - from Rundgren’s “Space Oddity” to Langdon’s “I’m afraid of Americans” - and 135 minutes of music inside a nearly full, 1,500-seat Goodyear Theatre in Akron, the eight-piece ensemble proved tribute concerts can also honor the artists doing the hat-tipping.

The principals’ personalities were on full display even as they presented Bowie’s songs relatively straightforwardly. The added coda on Belew’s opening “Sound and Vision” and his mashing of “D.J.” and “Boys Keep Swinging” were the only substantial deviations from Bowie’s arrangements.

Playing in front of a silhouette of Aladdin Sane-era Bowie, supporting players Ron Dziubla (sax, keys, guitar, percussion), drummer Michael Urbano and bassist Angeline Saris perched on a riser while the big names took the front of the stage.

Scote, in gold sequins and singer of “Fashion,” and Langdon, all glam even as he dressed in white while making like Ziggy-era Bowie with the mic stand on “Golden Years” and “Let’s Dance,” were omnipresent on stage while their compatriots came and went.

Belew swung his axe in a way that demonstrated why Bowie, Frank Zappa, Talking Heads and King Crimson wanted him in their bands. And he channeled Bowie vocals convincingly on “Starman” and “Fame.”

Focused mostly on singing but playing a little guitar, Rundgren appeared in a yellow leisure suit for “Young Americans” and tattered denims for “All the Young Dudes.” His deepened-by-time voice served the songs well. And when Rundgren held a note in “Live on Mars?” for an inhuman length of time, the Goodyear went bonkers.

The Northeast Ohio audience was partial to Rundgren. But Moore was the hype man; the man with the camp, whether as a clown on “Ashes to Ashes” or a convict in black-and-white stripes on “Station to Station.” He was in the seats for “Rebel Rebel” and dragged a dozen or so female concertgoers on stage to dance to “Suffragette City.”

By the time the cast traded verses on ““Heroes,”” everyone - performers, audience, venue staff - were thus blown away. Both by the quality and the volume of the music, which has Sound Bites’ ears still ringing more than 12 hours later.

Carry the news - Celebrating David Bowie may very well be 2022’s premier tour.

See more photos on Sound Bites’ Facebook page.

Grade card: Celebrating David Bowie at Goodyear Theatre - 10/15/22 - A+

10/16/22

[gardenofkore]

Ref. 1200

Outstanding Universal Value

Brief synthesis

The site of Syracuse and the Rocky Necropolis of Pantalica on the Mediterranean coast of south-eastern Sicily consists of two separate elements, the historic town of ancient Syracuse and the Necropolis of Pantalica. Together these two components form a unique cultural record that bears a remarkable testimony to Mediterranean cultures from the time of the ancient Greek.

The historic town of ancient Syracuse consists of Ortygia, the historic centre of the city, and today an island that has been inhabited for around 3000 years, and the archaeological area of the Neapolis. Syracuse, the second Greek colony in Sicily was founded by the Corinthians in 743 A.D and described by Cicero as ‘the greatest Greek city and the most beautiful of all’. Syracuse or ‘Pentapolis’ was constructed in five parts, still visible today of which Ortygia is the base of all urbanistic and architectonic developments of successive eras. This area of the property contains traces of the temple of Apollo made in Doric style and the most ancient in Western Greece(6th century B.C.E.), and the temple of Athena, erected for the victory of Gelone over the Carthaginians in 480 A.D., re-used as a church from 6th century C.E. and rebuilt as a Baroque cathedral, in the late 17th century. The Neapolis contains the archaeological remains of sanctuaries and impressive complexes, a theatre, the Latomies, the so-called Tomb of Archimedes and the amphitheatre. Many structures attest to the continuing development of the city through Roman times, from the Byzantines to the Bourbons, interspersed with the Arabo-Muslims, the Normans, Frederick II of the Hohenstaufen dynasty (1197–1250), the Aragons and the Kingdom of the Two Sicilies.

The Necropolis of Pantalica is a rocky outcrop located 40 km. away from Syracuse that contains over 5,000 tombs cut into the rock near open stone quarries. The tombs are spread along a spur over 1200m northeast to southwest and 500m northwest to southeast and most date from the 13th to 7th centuries BC. Associated with the tombs are the remains of dwellings dating from the period of Greek colonisation and other vestiges of the Byzantine notably the foundations of the Anaktoron (Prince’s Palace).

The cultural, architectural and artistic stratification evident in the Syracuse/Pantalica ensemble bears exceptional testimony to the history and cultural diversity of the Syracuse region over three millennia from the ancient Greek period to the Baroque.

Criterion (ii): The ensemble of sites and monuments in Syracuse/Pantalica constitutes a remarkable testimony of the Mediterranean cultures over the centuries.

Criterion (iii): The Syracuse/Pantalica ensemble offers, through its remarkable cultural diversity, an exceptional testimony to the development of civilizations over three millennia.

Criterion (iv): The group of monuments and archaeological sites situated in Syracuse (between the nucleus of Ortygia and the vestiges located throughout the urban area) is the finest example of outstanding architectural creation encompassing several cultural influences (Greek, Roman and Baroque).

Criterion (vi): Ancient Syracuse was directly linked to events, ideas and literary works of outstanding universal significance.

Integrity

The property of Syracuse and the Rocky Necropolis of Pantalica includes all the essential elements that show the Outstanding Universal Value of the property. Each of the three core areas of the property has a substantial buffer zone. Although Syracuse was affected by urbanization and expansion in the second half of the 19th century and even more so in modern times, most of the architectural and monumental developments and structures that date back to its greatest period of splendour are still intact today. All the new developments have taken place outside the recognized areas of historical and archaeological interest.

The most important buildings and structures of the historical centre and the archaeological area (Theatre, Amphitheatre, Monumental Altar of Ieron II, cave of “Orecchio di Dionisio”) are well preserved and the general state of conservation of the majority of the urban and building network has considerably improved due to the protection policies that have been implemented particularly in the last thirty years.

The core area of the Necropolis of Pantalica corresponds to the parts of the site that contain the most important and significant archaeological evidence. Today this area is complete and each element of the rocky villages in the necropolis and in the landscape is perfectly intact and is in an excellent state of conservation.

Authenticity

The authenticity of Syracuse is evident in many of the city’s structures, which retain the same characteristics as during the late Hellenistic period, while other buildings clearly reflect the history of successive cultures over three millennia. The original Hellenistic system and the changes that occurred during the various historical periods have made it possible to clearly distinguish the evidence left in each age and how each culture operated and interacted with the pre-exiting ones.

All restoration works are preceded by meticulous and in-depth research, as well as historical and other subject analyses. They were carried out, as far as possible, maintaining the original characteristics, typologies, building systems and original material according to the most advanced and shared international knowledge in the field of restoration of monuments, under the direct control of technicians and specialist personnel of the Superintendence of Environmental and Cultural Assets.

Despite the fact that the tombs were plundered in different periods, the Rocky Necropolis of Pantalica has a high level of authenticity due to its integrity, good level of conservation and absence of modern developments. It represents an extraordinary landscape as it was in a precise historical period without any significant variations in subsequent times.

Protection and management requirements

The property is protected under the national provisions of the Legislative Decree 42/2004, Code of Cultural Heritage and Landscape, a safeguarding measure that ensures any activity on the site must be authorized by the relevant Superintendence of Environmental and Cultural Assets of Syracuse (peripheral office of the Cultural Heritage and Sicilian Identity).

The areas of the property declared by the State in the past and since 1975 by the Sicilian Region of ‘archaeological interest’ and therefore largely expropriated and registered to the State, are subject to stricter rules for the protection and conservation. The areas registered to the State are managed by the Superintendence Service of Environmental and Cultural Assets of Syracuse. The Region has defined the surface and borders of the Archaeological Park of Syracuse, but this is not instituted as an independent body yet. The Superintendence Service applies the Cultural Heritage Code (Legislative Decree 42 / 2004) and assigns state-owned sites, and operates the tools of government land, protecting and enhancing areas. In addition, the Region proposed a Landscape Territorial Plan that is pending approval. Locally, the General Urban Plan of each municipality, in accordance with the requirements of higher-level tools, identifies the uses of non-state-owned areas and the manner and extent of urban transformation. The activities of the Superintendent are controlled by the Regional Directorate of the Department of Cultural Heritage.

The Department of Cultural Heritage of the Assessorato for Cultural Heritage and Sicilian Identity coordinates the actions within the vast territory, which includes the areas of the city of Syracuse and the Necropolis of Pantalica, through the Superintendence Service of Environmental and Cultural Assets of Syracuse. This Superintendence is responsible for all activities involving the protection for emergency treatment, implementing archaeological research, restoration, enhancement as well as to ensure the use, protection and preservation of cultural heritage. Activities aimed to enhance, promote and protect the landscape are under the responsibility of the Superintendence Service. The Municipalities of Syracuse, Sortino, Ferla and Cassaro have expertise in tourism promotion of the territory and on its roads, at a provincial level.

A Management Plan for the property has been prepared by the Superintendence Service with the involvement of the municipalities. The vision of the Management Plan is to safeguard the cultural heritage and to conserve the stratified urban fabric; to support traditional socio-economic interrelations and cultural production; to improve the quality of life, maintaining mixed uses, increasing security and hygiene, as well as to raise awareness and understanding of heritage resources. Management of the property requires combining conservation processes with the needs of a living and evolving urban landscape.

The necropolis of Pantalica is located in a zone that is distant from all urban areas and industrial facilities, and there are few risks to the site. Syracuse on the other hand is located near a zone of large-scale industries and in a modern urban fabric. This means it is potentially subject to various kinds of risks such as air and noise pollution and illegal development. These risks are currently reduced by environmental protection mechanisms and surveillance.

BY UNESCO

[photos from up to down- left to right: Ear of Dionysius, Catacombs of St. John, Dome aka former Temple of Athena, Necropolis of Pantalica, Greek Theatre of Syracuse]

[arts-midhudson]

The 6th Annual Ulster County Executive’s Arts Awards are coming up (June 5)! Get your tickets today to support the amazing awardees - Arts Organization: Arm of the Sea Theater- is an arts ensemble that fuses visual storytelling with live music in contemporary works of mask and puppet theater. Founded in 1982 by Marlena Marallo and Patrick Wadden, the company's hybrid style channels the evocative power of the arts as a force for joy, insight, and community uplift. Their low-tech devices of theatrical enchantment illuminate relations between humans and the life-support networks of this blue-ocean planet. The creative team includes musicians Eli Winograd, Dean Jones and Juan Basilio Sanchez, designer Jean Whelan, and performers Kira deCoudres, Ernest Goodmaw, Anna Hafner, Sam Shippee, and Soyal Smalls. Arm-of-the-Sea tours its original productions to cultural centers, festivals, and schools throughout the Northeast. They also host a hometown performance event, THE ESOPUS CREEK PUPPET SUITE, each August in Saugerties, NY. #artsmidhudson #togetherwecreate #artsawards #ulstercounty #artsorganization #create #perform #educate #theatre

[wikitopx]

In Roman times Arles was one of Gaul’s most venerated cities, home to more than 30,000 people and furnished with monuments that remain in place today.

On a multi-site pass, you can quench your thirst for Roman wonders and then be amazed by the works of art they left behind at the city’s museum. Much later, Arles was where Vincent van Gogh spent a year in 1888, completing many masterpieces of scenes you can visit around the city. You can also attack the legendary Camargue, the land of wild horses, fight the bulls as well as the widescreen lagoon and salt pan sweeping out the Mediterranean. Discover the best things to do in Arles.

[toc]

1. Amphitheatre

Arles’ marquee attraction is the oval arena where for more than 400 years the ancient populace would have been entertained by gladiators and chariot races.

It was modeled on Rome’s Coliseum and was built a couple of decades after in 90AD. When you come, note the clever touches, like stairways regularly spaced around the arena to manage the flow of spectators in and out.

The arena is still part of the city’s cultural life, holding bullfights and concerts. Outside, you can see the towers, and these are medieval traces from the time arena like a castle, containing more than 200 houses.

2. Theatre

Arles’ theatre is still a performance venue, more than 2,000 years after it was constructed. The lower tiers of the caves are all still here, and in Roman times this would have had additional terraces and been able to seat as many as 10,000 spectators.

On the left side of the stage, the south tower gives an indication of how high the cave would have been.

Behind the stage are two columns, labeled “Les Deux Veuves” (The Two Widows) and they are part of what would have been a gigantic backdrop that included a three-meter-high statue of Augustus.

At Arles’ Museum, you can see a large model of what the theatre would have looked like in its heyday, and how the two columns would have fitted into the scaenae frons.

3. Musée de l’Arles et de la Provence Antiques

The ideal complement to your tour of Arle's ancient monuments in this museum where many of the artifacts recovered from these archaeological sites render life in Roman Arles in sparkling detail.

It is a playground for amateur historians, filled with early Christian sculptures, mosaics, sarcophagi and decorative pieces from buildings such as theaters. One of the newer exhibits will set your pulse racing; a Gallo-Roman barge discovered in the Rhône in 2004 and now on show surrounded by its cargo of amphorae.

You’ll also be awed by the statue of Augustus that once stood in the theatre’s scaenae frons. It measures more than three meters, with a torso found in 1750 an ahead unearthed nearly a century later in 1834!

4. Van Gogh Heritage

Vincent van Gogh came to Arles in 1888 and lived here for a year, at a time when his mental health was deteriorating. As we’ll see, he completed some of his most acclaimed paintings in the city, like The Night Café, Café Terrace at Night and Van Gogh’s Chair.

But it was also where he mutilated his left ear. The tourist office organizes a Van Gogh walk, which will show you around all the places you may have known from the 300 paintings he made in the city.

On the itinerary is the Fondation Van Gogh, which tells the story of his time in Arles and how his style changed, and holds temporary exhibitions of his work.

5. Church of St. Trophime

This church on Place de la République belongs to the city’s UNESCO site, and you’ll know why when you get close to the western portal. Here you’ll be met by one of the most celebrated sets of Romanesque sculpture, carved no later than the 1100s.

They show all sorts of biblical scenes like the Apocalypse and the Gospel of St. Matthew. If you look up at tympanum, you can identify Jesus sitting above 12 apostles, below about 40 angels in battle.

The interior has early-Christian sarcophagi, 13th-century plaques, and epitaphs, baroque paintings, and nine Aubusson tapestries from the 17th century.

6. Cloister at St. Trophime

The church’s cloister was built at the same time and deserves a separate entry as it’s one of Arles’ indispensable sights. This part of the church was for the church’s canons, whose routine resembled that of monks, removed from life in the city.

The most captivating part is the northern and eastern galleries of the cloister, built much earlier than the southern and western ones: This is because work was halted when Counts of Provence chose Aix as their seat of power instead of Arles.

You have to study every pillar in detail as each one tells a story, whether it’s Jesus’ empty tomb after the transfiguration, Moses meeting God by the burning bush or St. Stephen being stoned.

7. Thermes de Constantin

In the early 300s, Emperor Constantine lived in Arelate, and these baths were built around that time although there’s no proven connection to the man himself. They were excavated in the 19th century and are seen as one of the most complete Roman bathing complexes surviving in France.

The caldarium (hot bath) is probably the most interesting part, suspended over the hypocaust that used to heat it, with three pools one of which is walled by a semi-circular apse with windows.

This room connects with the tepidarium (warm bath) and the laconicum (hot room). The baths aren’t extensive but will fill you in about another aspect of daily life in Roman Arles.

8. Montmajour Abbey

Minute's northeast of Arles is a medieval monastery set on what used to be an island. There are several sections to the complex, the oldest being a hermitage cut from the rock in the 1000s, and this is accompanied by a 12th-century cloister and the fortified monastery of Saint-Pierre, which dates to the 14th century.

This final ensemble features the Pons de l’Orme tower, 26 meters high and fitted with crenellations to help defend the monastery against the Free Company, a mercenary army that plundered Italy and southern France in the 1300s.

As the surrounding terrain was marshy, this former island was used as a cemetery: In many instances, tombs were hewn from the rock, and these cavities are still visible at this site.

9. Alyscamps painted by Van Gogh and Gauguin

In a city less complete with ancient wonders and graveyards, Alyscamp will be a top attraction, but in Arles, it is on the side of many tourists. Starting in the Gallo-Roman period it was one of the occidental ancient world’s eminent cemeteries.

Like the Roman style, it was placed along the Aurelian Way just before it entered the city and was a coveted burial site where sarcophagi were moved from across Europe to be buried there.

By the 300s there were thousands of tombs, three layers deep. Van Gogh and Paul Gauguin had a compelling and attractive companion in Arles, and Alyscamp was the first place they drew side by side.

10. Place de la République

Arles Town Hall is located on this solemn square, as well as the Saint-Trophime and Sainte-Anne churches, facing each other. But after leaving Saint-Trophime, you will find your attention drawn to the monument in the middle of the square.

This is a Roman obelisk that originally stood in the spine (the long central barrier) in Arelate’s circus. It was found in the 1300s and erected here on a plinth in the 17th-century.

The stone for the obelisk has traveled a long way when you consider the time it was erected and that it measures more than 15 meters. It’s made of a specific type of granite found in Asia Minor, and most likely Ancient Troy.

More ideals for you: Top 10 things to do in Vincennes

From : https://wikitopx.com/travel/top-10-things-to-do-in-arles-706542.html

[cynthiajayusa]

Top 10 of the Week

HOST – Jay Leno

The Late-night TV legend will be revving up fans with his automotive exploits, and continues to deliver material that remains relevant, family friendly and full throttle funny. From best-selling author to corporate speaker and philanthropist, this beloved funnyman, who hosted NBC’s The Tonight Show with Jay Leno for over 20 years, keeps comedy fans clamoring for more.

Wed, January 2; 8pm; Kravis Center for the Performing Arts (701 Okeechobee Boulevard West Palm Beach); Tix: Start at $29; Kravis.org.

DRAG QUEEN CHRISTMAS – The Naughty Tour

Murray & Peter Present a hilarious evening of holiday performances featuring contestants from Ru Paul’s Drag Race on VH1 including: Aja, Monet, Thorgy, Shea, Raja, Latrice and hosted by Miz Cracker.  All ages welcome, but performance includes Adult comedy.

Sat, December 29; 8pm; The Parker Playhouse (707 Northeast 8th Street, Fort Lauderdale) Tix: $24-$57 (GA), with VIP available for meet and greet.

ICONIC – Forbidden Broadway

New Season — New Victims — New Laughs! The fall-down funny musical roast of Broadway that has picked up 9 Drama Desk Awards, a Special Tony, an Obie, a Lucille Lortel and Drama League Award, returns with a blast featuring outrageous costumes, hilarious rewrites of the songs you know, and dead-on impressions by a stellar cast! Whether you’re a seasoned theatre-goer or new to Broadway, this show is your one-stop ticket to non-stop laughs.

2 South Florida stops: Dec 27-31; Kravis Center for the Performing Arts (701 Okeechobee Boulevard, West Palm Beach); Tix: $35; Kravis.org, and Jan 3 & 4; Aventura Arts & Cultural Center (3385 NE 188th Street, Aventura); Tix: $40-$45; aventuracenter.org.

COMEDIAN – Fortune Feimster New Year’s Eve

Fortune made her national TV debut in 2010 on NBC’s Last Comic Standing, where she finished as a semi-finalist. Fortune was a full-time writer and roundtable regular on the E! Network’s popular late night talk show, “Chelsea Lately,” with Chelsea Handler. She’s was also a cast member on the second season of Handler’s scripted series, “She is also a highly accomplished sketch comedian and improv artist, and is an alumna of the prestigious Groundlings Sunday Company.

Mon, December 31; 7pm; Palm Beach Improv (550 S Rosemary Ave. Suite 250, West Palm Beach); Tix: $30-$65; PalmBeachImprov.com.

COMEDIAN – Tiffany Haddish

The stand-up and comedic actress broke through with a star-making turn in last year’s “Girls Trip” film. Ring in the new year with her unflinching candor, disarming authenticity and no-holds-barred comedy.

Mon, December 31; 9pm; James L. Knight Center (400 SE Second Ave. Miami); Tix: $47.50; jlkc.com.

CIRQUE – Dreams Holidaze

The international cast of theatrical artists, singers and dancers perform original music and seasonal favorites in a holiday-themed wonderland set. Experience elaborate costumed characters, including snowmen, penguins, candles, reindeer, toy soldiers, gingerbread men, Santa Claus and ornaments creating illusions and gravity-defying feats.

Fri, December 28; 7:30 pm; James L. Knight Center (400 SE Second Ave., Miami); Tix: $33-$97; jlkc.com.

AZUCAR – Celia Cruz All Stars

The ensemble celebrates the Queen of Salsa’s repertory with reinterpretations of the icon’s influential hits. Expect to hear “La Negra Tiene Tumbao,” “Quimbara,” “Usted Abusó,” “La Vida Es un Carnaval” and “Bemba Colorá.”

Fri, December 28; 8pm; Miramar Cultural Center (2400 Civic Center Place, Miramar); Tix: $35-$60; Miramarculturalcenter.org.

IMPERSONATION – Simply Streisand

“The next best thing to seeing Streisand herself” is how the New York Post described Carla DelVillaggio. She is a multiple-award winning tribute artist, who has entertained across the country from Miami to Las Vegas to New York City. Described as “funny,” “charismatic,” “can improvise on the spot,” “creates the perfect illusion as Streisand,” “has Streisand’s signature phrasing, timing and vocal mannerisms”… critics continue to rave about DelVillaggio’s performances.

Sat & Sun, December 29 & 30; Delray Beach Playhouse (950 Lake Shore Drive, Delray Beach); Tix: $35; delraybeachplayhouse.com.

GIRL GROUP – Sister Sledge

Celebrate New Year’s Eve with the iconic female group that broke through with the 1979 album “We Are Family.” The Grammy-nominated act has since performed at the White House, the U.K.’s Glastonbury music festival and for Pope Francis in Philadelphia. Their hits include “We are Family,” “He’s the Greatest Dancer,” “Lost in Music” and “Thinking of You.” Miami-based DJ Katrella gets the party started, with a champagne toast following the concert.

Mon, December 31; 10pm; Seminole Casino Coconut Creek (5550 NW 40th St., Coconut Creek); Tix: $95; seminolecoconutcreekcasino.com.

MOVIE – Holmes & Watson

This is a humorous take on Sir Arthur Conan Doyle’s classic mysteries featuring Sherlock Holmes and Doctor Watson. This adventure/comedy/crime/mystery is 89 minutes in length and stars Will Ferrell, John C. Reilly, Ralph Fiennes, and Lauren Lapkus.

Premieres Dec 28, rated PG-13.

source https://hotspotsmagazine.com/2018/12/21/top-10-of-the-week-18/ from Hot Spots Magazine https://hotspotsmagazin.blogspot.com/2018/12/top-10-of-week_24.html

[demitgibbs]

Top 10 of the Week

HOST – Jay Leno

The Late-night TV legend will be revving up fans with his automotive exploits, and continues to deliver material that remains relevant, family friendly and full throttle funny. From best-selling author to corporate speaker and philanthropist, this beloved funnyman, who hosted NBC’s The Tonight Show with Jay Leno for over 20 years, keeps comedy fans clamoring for more.

Wed, January 2; 8pm; Kravis Center for the Performing Arts (701 Okeechobee Boulevard West Palm Beach); Tix: Start at $29; Kravis.org.

DRAG QUEEN CHRISTMAS – The Naughty Tour

Murray & Peter Present a hilarious evening of holiday performances featuring contestants from Ru Paul’s Drag Race on VH1 including: Aja, Monet, Thorgy, Shea, Raja, Latrice and hosted by Miz Cracker.  All ages welcome, but performance includes Adult comedy.

Sat, December 29; 8pm; The Parker Playhouse (707 Northeast 8th Street, Fort Lauderdale) Tix: $24-$57 (GA), with VIP available for meet and greet.

ICONIC – Forbidden Broadway

New Season — New Victims — New Laughs! The fall-down funny musical roast of Broadway that has picked up 9 Drama Desk Awards, a Special Tony, an Obie, a Lucille Lortel and Drama League Award, returns with a blast featuring outrageous costumes, hilarious rewrites of the songs you know, and dead-on impressions by a stellar cast! Whether you’re a seasoned theatre-goer or new to Broadway, this show is your one-stop ticket to non-stop laughs.

2 South Florida stops: Dec 27-31; Kravis Center for the Performing Arts (701 Okeechobee Boulevard, West Palm Beach); Tix: $35; Kravis.org, and Jan 3 & 4; Aventura Arts & Cultural Center (3385 NE 188th Street, Aventura); Tix: $40-$45; aventuracenter.org.

COMEDIAN – Fortune Feimster New Year’s Eve

Fortune made her national TV debut in 2010 on NBC’s Last Comic Standing, where she finished as a semi-finalist. Fortune was a full-time writer and roundtable regular on the E! Network’s popular late night talk show, “Chelsea Lately,” with Chelsea Handler. She’s was also a cast member on the second season of Handler’s scripted series, “She is also a highly accomplished sketch comedian and improv artist, and is an alumna of the prestigious Groundlings Sunday Company.

Mon, December 31; 7pm; Palm Beach Improv (550 S Rosemary Ave. Suite 250, West Palm Beach); Tix: $30-$65; PalmBeachImprov.com.

COMEDIAN – Tiffany Haddish

The stand-up and comedic actress broke through with a star-making turn in last year’s “Girls Trip” film. Ring in the new year with her unflinching candor, disarming authenticity and no-holds-barred comedy.

Mon, December 31; 9pm; James L. Knight Center (400 SE Second Ave. Miami); Tix: $47.50; jlkc.com.

CIRQUE – Dreams Holidaze

The international cast of theatrical artists, singers and dancers perform original music and seasonal favorites in a holiday-themed wonderland set. Experience elaborate costumed characters, including snowmen, penguins, candles, reindeer, toy soldiers, gingerbread men, Santa Claus and ornaments creating illusions and gravity-defying feats.

Fri, December 28; 7:30 pm; James L. Knight Center (400 SE Second Ave., Miami); Tix: $33-$97; jlkc.com.

AZUCAR – Celia Cruz All Stars

The ensemble celebrates the Queen of Salsa’s repertory with reinterpretations of the icon’s influential hits. Expect to hear “La Negra Tiene Tumbao,” “Quimbara,” “Usted Abusó,” “La Vida Es un Carnaval” and “Bemba Colorá.”

Fri, December 28; 8pm; Miramar Cultural Center (2400 Civic Center Place, Miramar); Tix: $35-$60; Miramarculturalcenter.org.

IMPERSONATION – Simply Streisand

“The next best thing to seeing Streisand herself” is how the New York Post described Carla DelVillaggio. She is a multiple-award winning tribute artist, who has entertained across the country from Miami to Las Vegas to New York City. Described as “funny,” “charismatic,” “can improvise on the spot,” “creates the perfect illusion as Streisand,” “has Streisand’s signature phrasing, timing and vocal mannerisms”… critics continue to rave about DelVillaggio’s performances.

Sat & Sun, December 29 & 30; Delray Beach Playhouse (950 Lake Shore Drive, Delray Beach); Tix: $35; delraybeachplayhouse.com.

GIRL GROUP – Sister Sledge

Celebrate New Year’s Eve with the iconic female group that broke through with the 1979 album “We Are Family.” The Grammy-nominated act has since performed at the White House, the U.K.’s Glastonbury music festival and for Pope Francis in Philadelphia. Their hits include “We are Family,” “He’s the Greatest Dancer,” “Lost in Music” and “Thinking of You.” Miami-based DJ Katrella gets the party started, with a champagne toast following the concert.

Mon, December 31; 10pm; Seminole Casino Coconut Creek (5550 NW 40th St., Coconut Creek); Tix: $95; seminolecoconutcreekcasino.com.

MOVIE – Holmes & Watson

This is a humorous take on Sir Arthur Conan Doyle’s classic mysteries featuring Sherlock Holmes and Doctor Watson. This adventure/comedy/crime/mystery is 89 minutes in length and stars Will Ferrell, John C. Reilly, Ralph Fiennes, and Lauren Lapkus.

Premieres Dec 28, rated PG-13.

from Hotspots! Magazine https://hotspotsmagazine.com/2018/12/21/top-10-of-the-week-18/ from Hot Spots Magazine https://hotspotsmagazine.tumblr.com/post/181380735260

[earlrmerrill]

Vocal Music Instructor

This tenure track instructor position is a 10-month (175 days) assignment which will consist primarily of classes in voice and choral ensemble work.  (A full-time tenure track position to begin instruction Fall 2018)

Citrus Community College

About Citrus College: Celebrating over 100 years of service, Citrus College is located in Glendora in the foothills of the San Gabriel Mountains, approximately twenty-five miles northeast of metropolitan Los Angeles. The college has the distinction of being the oldest community college in Los Angeles County and the fifth oldest in the state.

Citrus College was founded in 1915 under the leadership of Dr. Floyd S. Hayden, who helped bring the community college movement to California. From 1915 to 1961, the college was operated by the Citrus Union High School District. In July 1961, the Citrus Community College District was created to include the Azusa and Glendora unified school districts. In 1967, the district expanded to include the Claremont, Duarte and Monrovia school districts.

Today, Citrus College occupies a 104-acre campus. The college is currently experiencing a major facilities expansion project that will change the look of the campus. The college enrolled 27 students in 1915 and currently the college serves more than 19,000 students annually. Classes are offered on a 16-week calendar (fall and spring semesters), as well as in a variety of non-traditional scheduling options -- winter intersession, evenings, summer sessions, and optional class formats, such as online education courses.

Mission Statement Citrus College provides innovative educational opportunities and student support services that lead to the successful completion of degrees, transfer, career/technical education and basic skills proficiency. The college fosters personal and professional success through the development of critical thinking, effective communication, creativity, and cultural awareness in a safe, accessible and affordable learning community. In meeting the needs of our demographically diverse student population, we embrace equity and accountability through measurable learning outcomes, ethical data-driven decisions and student achievement.

Accreditation Citrus College is accredited by the Accrediting Commission for Community and Junior Colleges, Western Association of Schools and Colleges, 10 Commercial Blvd., Suite 204, Novato, CA 94949, (415) 506-0234), an institutional accrediting body recognized by the Council for Higher Education Accreditation and the U.S. Department of Education. Additional information about accreditation, include filing of complaints against member institutions can be found at www.accjc.org.

Position Summary: This tenure track instructor position is a 10-month (175 days) assignment which will consist primarily of classes in voice and choral ensemble work. Course load will include such courses as beginning, intermediate, and advanced level voice classes and assorted vocal ensemble classes with performance component. Based on the candidate's strengths, other classroom assignments will be selected from music fundamentals, vocal jazz, piano class and our private instruction/applied music program. Active student recruitment activities and contribution to the excellence of the Music Department are essential. This assignment will include day, evening, and weekend responsibilities.

This position is contingent upon funding and final Board approval.

Salary Placement: Salary to be determined by the candidate's proper placement on the current Faculty Salary Schedule which is based on education and experience, and can be found at the Citrus College website. Maximum step placement on the Faculty Salary Schedule for newly hired instructors is Step 6.

Essential Duties and Responsibilities:

Maintain professional and ethical academic standards.

Provide class instruction in accordance with established course outlines.

Inform students concerning course requirements, evaluation procedures and attendance requirements.

Maintain necessary attendance, scholastic, and student records and submit them in accordance with published deadlines.

Prepare and grade class assignments and examinations according to curriculum standards set by the District.

Involve technology in the learning process when appropriate.

Teach students with diverse backgrounds.

Participate actively in staff development and professional growth programs.

Participate in recruitment activities.

Meet obligation with regard to grade reporting, scheduled classes, required office hours, and other directions provided by the dean of visual and performing arts.

Active involvement in all aspects of program design, implementation, and evaluation.

Meet all requirements of course curricula including, but not limited to, conducting rehearsals and performances; teaching and instructing; providing artistic leadership; planning and implementing outreach activities with regard to recruitment and department visibility.

Participation in combined department productions.

Perform other professional duties as assigned.

Knowledge, Skills and Abilities:

Ability to communicate effectively, in English, with a diverse population both orally and in writing.

Ability to work effectively as a member of the instructional team.

Willingness to participate in the online education program.

Willingness to develop and assess student learning outcomes.

Evidence of computer literacy and experience with standard computer software on Microsoft Windows platform (Word, Excel, PowerPoint, Canvas or similar).

Willingness to use and promote technology-mediated instructional techniques.

Possess excellent organization skills.

Minimum Qualifications:

Demonstrated understanding of, sensitivity to, and respect for the diverse academic, socioeconomic, ethnic, religious, cultural background, disability, and sexual orientation of community college students, faculty, and staff; AND

Possession of a master's degree in music OR

Possession of a bachelor's degree in music AND a master's degree in humanities OR

The equivalent.

---------------------------------

EQUIVALENCY: If you will be requesting equivalency for this position, please complete the Faculty Equivalency Guidelines and Request Form, which may be found by visiting the Citrus College website (http://ift.tt/1VURi1L) and clicking the A-Z index for the Employment Opportunities (faculty and staff) link. If you have any questions, please feel free to contact our office at (626) 914-8550.

Preferred Qualifications:

Possession of a master's degree in music.

Experience in directing/conducting choirs or vocal ensembles.

Experience in teaching voice classes.

Experience teaching piano classes.

Experience as a private vocal coach or vocal teacher.

Evidence of broad knowledge of classical and contemporary vocal repertoires.

Experience in "show choir" musical direction.

Experience as a musical director for musical theatre productions.

Experience as a professional musician.

COVER LETTER: REQUIRED - Your cover letter must, at a minimum, address/demonstrate the following:

a) your experience as a private vocal coach or vocal teacher; b) your experience in "show choir" musical direction; c) your experience as a musical director for musical theatre productions; and, d) your experience as a professional musician.

"CITRUS COLLEGE IS AN EQUAL OPPORTUNITY EMPLOYER." It is the policy of the District not to discriminate against and to encourage a diversity of applicants based on national origin, religion, age, sex or gender, race, color, medical condition, ancestry, sexual orientation, marital status, physical or mental disability, use of family and medical care leave, genetic information, military or veteran status, gender identity, gender expression, or because he or she is perceived to have one or more of the foregoing characteristics, or based on association with a person or group with one of more of these actual or perceived characteristics.

Special Instructions to Applicants: Applications are considered legal documents, and as such, all areas of the application must be completed or your application packet will be considered incomplete, and will not be moved forward. While it may be appropriate in some areas of your application to use "NA" (not applicable), do not use terms such as "see resume" or "see attached". When listing your work experience, please specify the beginning and end dates for each job you held and describe your experience.

Applicants are responsible for ensuring that all required documents, and those additional documents you choose to include, are attached BEFORE clicking the "Finished Attaching Documents" button and confirming. It is advisable to attach "Optional" documents first, and then "Required" documents once you are ready to click on the "Finished Attaching Documents" button and confirming.

Application and Supplemental Questionnaire must be complete. A resume will not substitute for a fully completed employment application and supplemental questionnaire. Incomplete applications will be rejected. When listing your work experience, please specify the beginning and end dates for each job you held and describe your experience.

Additional documents CANNOT be added to your electronic application packet once you click on "Finished Attaching Documents" and receive your confirmation number; so, please be sure you have all documents you will upload handy and in an electronic format. THE APPLICANT TRACKING SYSTEM WILL NOT ACCEPT DOCUMENTS LARGER THAN 2MB. IF YOUR DOCUMENTS DO NOT UPLOAD, PLEASE RESIZE. If you do not have all your documents handy at the time you are applying for the position, we advise you to click on "Finish Attaching Documents Later". Be sure, however, to finish attaching your documents BEFORE the close or first consideration date for the position. Please remember, you will NOT be able to attach additional documents after you have selected "Finished Attaching Documents" and have received a confirmation number, and you will not be able to apply for a position after the position has closed.

Please note: should an applicant apply for a position more than once, only the most recently received application packet will be the one screened for completeness. All others will be deemed inactive, and will not be considered, regardless of completeness.

We regret we are unable to accept faxed, emailed, mailed, or hand delivered application materials outside the online Applicant Tracking System (ATS). Only application materials submitted through this electronic format will be accepted. Exception: The Citrus College Form 101 must be mailed or hand delivered to the Director of Human Resources in a sealed, confidential envelope.

Reasonable accommodations will be provided to candidates with verified disabilities. Accommodation requests should be made at the time the interview appointment is scheduled.

All employees within the bargaining unit are required to pay dues as a member of the exclusive representative or pay an agency fee.

About Transcripts:

Candidates must upload copies of all transcripts (need not be official at the time of application) which prove sufficient for verifying minimum qualifications for this position.

Official transcripts will be required at the time of the job offer.

Transcripts must be from the awarding institution, and must show that the degree has been awarded (or conferred) and the year.

Degree(s) must be earned (or conferred) from accredited institution(s) or an equivalent foreign institution by the first consideration date for this position.

All degrees must be verifiable on a legible transcript by the indicated first consideration date for this position.

Foreign transcripts must be transcribed in English AND evaluated for U.S. equivalency by a bona fide U.S. evaluation service.

Selection Procedure:

A selection committee will review application packages of those candidates who have met the minimum qualifications for this position, and will select a limited number of qualified candidates for an interview.

Each candidate may be asked to make a presentation on a topic of the selection committee's choice. The candidate will be informed of the topic when an interview appointment is scheduled.

Each candidate may be asked to provide a sample of his or her writing ability just prior to the interview.

Travel costs must be borne by the applicant.

Final candidates for faculty, management, and supervisor/confidential positions may be interviewed by the Superintendent/President.

If selected as a finalist, the candidate permits the District to contact the current and former employer(s) to investigate past employment history.

For full application instructions and position description, visit https://employment.http://ift.tt/2CUcktYCentral?quickFind=51682s

Article source here:Arts Journal

[adgradlife]

Diploma 101: A Graduation Guide

With graduation fast approaching, many students find themselves searching through different pages on UT websites trying to find important information about dates, times, dress codes and more for commencement ceremonies. Here at TAPR, we’ve condensed all the graduation information for Moody undergraduate, master’s and Ph.D. students into one place. Everything you need to know about graduation is right here in this article. Congratulations, and Hook ’Em!

Undergraduate Students

The Ceremony Undergraduate Commencement Ceremony Frank Erwin Center Friday, May 19, 2017 at 3:30 p.m. Keynote Speaker: Brian Jones, College Football Analyst for CBS Sports

Students should arrive at the Frank Erwin Center between 2:15 p.m. and 3:00 p.m., and enter at the Red River Street Entrance. The ceremony will begin promptly at 3:30 p.m.

Tickets are not required for students or guests.

Important Note: bags larger than 12 inches in any dimension will not be allowed into the Frank Erwin Center

The ceremony will be broadcasted live here.

Regalia Academic Regalia, consisting of a cap, gown, crimson tassel and crimson sash, is required to be worn to participate in the graduation ceremony. This attire may be purchased at the University Co-op. The Bachelor’s cap and gown package is $56.99, and the Bachelor’s satin stole is an additional $21.00, and can be selected in the color of your school or college.

Registration Students wishing to participate in the Moody College of Communication Commencement Ceremony must have applied to graduate prior to April 3, 2017.

Students completing their degree requirements in the summer have the option of walking the stage during the commencement ceremony as well. These students should see their advisor to complete a Request to Walk Application.

Parking Parking is available in UT parking garages and surface lots, labeled on this map. Parking is free and on a first-come, first-serve basis. All UT garages and lots marked “C” are available for parking during commencement activities. There will be construction around the Frank Erwin Center.

Photography FLASH Photography will be photographing the commencement ceremony, including taking photos of each graduate. Complimentary proofs will be mailed to each graduate within a week of the ceremony. Signing up ahead of time is not necessary.

Helpful Links Spring 2017 Moody College of Communication Commencement Ceremony Home Page Webcast of Commencement Ceremony Student Advising Office’s Graduation FAQ Map of UT Parking Garages and Surface Parking Lots

For questions about the Commencement Ceremony, contact the Student Advising Office at (512) 471-1553.

Graduate Students

The Ceremony Graduate School (Master's Degree Candidates) Bass Concert Hall, Performing Arts Center (Google Map) May 20, 2017, 9 a.m. Master’s student check in starting at 7 a.m. at the lobby of McCullough Theatre (Google Map), located on the northeast side of Bass Concert Hall.

If you arrive after 8:15, you will not be able to sit with your college/school. You will be seated backstage.

Graduate School (Doctor’s Degree Candidates) Bass Concert Hall, Performing Arts Center (Google Map) May 20, 2017, 12 p.m.

Doctoral student check in starting at 10 a.m. at the lobby of McCullough Theatre (Google Map), located on the northeast side of Bass Concert Hall.

If you arrive after 11:15 a.m., you will not be able to sit with your college/school. You will be seated backstage.

Both ceremonies last about two hours and will be livestreamed. Each graduate/candidate will have his or her name read aloud, will be hooded, and will walk across the stage.

Registration In order to participate in either convocation on May 20, 2017, you must be registered to participate no later than May 15, 2017. Only students who have completed all degree requirements are eligible to register. Click here to register to participate.

Regalia Regalia (a cap and gown) is required to participate in convocation. They may be acquired at the University Co-op. The Master’s cap and gown package is $65.99, with an additional Master’s hood for $27.00. The Complete Official UT Doctoral Outfit with Tam is $250.98.

Tickets and Seating Seating is limited, so all guests must have a ticket to enter the Bass Concert Hall. Master’s candidates receive four (4) guest tickets, while doctoral candidates receive five (5) guest tickets.

Tickets are for general admission and seating is available on a first come, first-seated basis.

Students with extra tickets can give them to other students participating in the same ceremony, or they can return them to the Graduate School. Any leftover tickets will be available at the will call table once the doors open for each ceremony. If a student is unavailable to pick up their own tickets, they may send a proxy. The proxy must know the student's EID in order to claim the tickets.

Tickets can be picked up at the Graduate School in MAI 101 from Monday, April 3, 2017 until Friday, May 19, 2017. The Graduate School is open from 8 am - 5 pm.

Guests and Parking Guests may enter Bass Concert Hall through the main entrance on 23rd Street, facing Darrell K. Royal-Texas Memorial Stadium. Doors open for guests of the Master’s ceremony at 8:15 a.m. and for guests of the Doctoral ceremony at 11:15 a.m.

Free parking will be available in all university parking garages as well as on most surface lots.

More Info If you’re looking for more information regarding the graduate convocation ceremonies, check out these sources.

2017 Commencement Homepage

Graduate School Convocation Page

Full Convocations Schedule

Graduate FAQs

Contact Master’s or Doctoral students should contact Danielle Thoma (512-232-3624) with any issues.

Undergraduate and Graduate Students

University-Wide Commencement

May 20, 2017

Students of all disciplines come together for a university-wide commencement at the Tower.

Seating

5 p.m. Commencement seating area opens

Schedule

6:30 p.m. The University of Texas Steel Pan Ensemble Performance 7 p.m. Tower Carillon Concert 7:20 p.m. Commencement Concert 8 p.m. Grand Procession of Degree Candidates Commencement Ceremony Commencement Address: Chief David O. Brown, Retired Presentation of Degree Candidates Conferring of Degrees Grand Finale

[larryland]

Join us as NorthEast Theatre Ensemble’s production of A Streetcar Named Desire takes up residence in the courtyard of Albany Distilling Company. Directed by Dr. Krysta Dennis.

Tennessee Williams’ tale of alienation and loneliness in New Orleans’ sultry, sweltering summer heat will come alive in the warmth of downtown Albany’s summer, with cocktails available from the distillery to keep audiences…

[larryland]

NorthEast Theatre Ensemble Brings Tennessee Williams’ “The Glass Menagerie” to Schenectady

NorthEast Theatre Ensemble Brings Tennessee Williams’ “The Glass Menagerie” to Schenectady

Site-specific performance at Brouwer House Creative

NorthEast Theatre Ensemble has set their sights on the Stockade for their latest site-specific venture, Tennessee Williams’ The Glass Menagerie. The production is directed by long-time theatre matriarch of the Capital Region, Sandra Boynton.

For a play rooted more in memory than in realism, Brouwer House proves ideal. A relic of long ago, it is…

[larryland]

NorthEast Theatre Ensemble Casting Lord Caversham in "An Ideal Husband"

NorthEast Theatre Ensemble Casting Lord Caversham in “An Ideal Husband”

NorthEast TheatNETEre Ensemble is looking for a 50-70’s man to play Lord Caversham in our site specific production of An Ideal Husband.  Lord Caversham is a high born English Lord In Parliament who disapproves of his son’s somewhat lazy lifestyle. Performances will be held a Ten Broeck Mansion.

Please contact us at info@northeasttheatreensemble.com

Dates and rehearsals: February 11th: Act I Part…

[larryland]

NorthEast Theatre Ensemble Seeking Actor NorthEast Theatre Ensemble- Seeking Actor, Male, 20's - 30's- Any ethnicity. Must be available for evening tech and performances in Schenectady, October 20-31. Rehearsals begin October 15. Email photo and resume to info@northeasttheatreensemble.com to apply.

[larryland]

NorthEast Theatre Ensemble Presents "The Little Foxes"

NorthEast Theatre Ensemble Presents “The Little Foxes”

NorthEast Theatre Ensemble presents The Little Foxes, Lillian Hellman’s classic tale of greed set in a small Alabama town at the turn of the last century. Lillian Hellman?s riveting drama captures the story of a Southern family whose selfish pursuit of the American Dream ends up destroying them and those they love. The Hubbards are bound together by blood, but ripped apart by disparate desires.…

[larryland]

NorthEast Theatre Ensemble Auditions for "The Little Foxes"

NorthEast Theatre Ensemble Auditions for “The Little Foxes”

NorthEast Theatre Ensemble announces auditions for Lillian Hellman’s classic tale of greed, The Little Foxes, directed by Krysta Dennis, with Suzanna Bornn assistant directing. Where: Siena College, 107 Foy Hall When: August 7th & 8th, 7:30 p.m. This is a site-specific production, performances will take place at Ten Broeck Mansion, performance dates November 17, 18 & 19 and November 24, 25 & 26.…

[larryland]

NorthEast Theatre Ensemble Presents "The Women"

NorthEast Theatre Ensemble Presents “The Women”

NorthEast Theatre Ensemble Presents The Women by Clare Boothe Luce Written in 1936, The Women is a classic icon of the era-fashionable, funny and dark. When Mary Haines finds out that her husband is keeping a mistress, the younger more beautiful Crystal, she begins to learn what it’s like to stand up for herself. In a climate clouded by the rules, gossip, and artifice of Manhattan’s high society,…