#american national theatre

[kemetic-dreams]

Marian Anderson (1897-1993)

Though she’s considered one of the greatest contralto singers in the world, Anderson was often denied the opportunity to show off her unique vocal range because of her race. However, in 1955, she became the first African American to perform at the Metropolitan Opera, and in 1957, she went on a 12-nation tour sponsored by the Department of State and the American National Theatre and Academy. She documented the experience in her autobiography, My Lord What a Morning. In 1963, she was awarded the Presidential Medal of Freedom. Her last major accomplishment before her death was receiving the Lifetime Achievement Award at the Grammys in 1991.

[ethereal-occultist]

Holy shit I am full on crying. Nye was so good

[do-you-know-this-play]

[tinytimism]

thinking about the correlation between furries becoming a laughingstock and the rise of the american alt right

[sonic-gonzo]

This past Thursday at the ICC Theatre Sydney - THE NATIONAL (010324)

[totallyhussein-blog]

New Heather Raffo play to explore migration at the Arab American National Museum

From the Tigris to the Detroit River, The Migration Play Cycle written by and starring Heather Raffo, is an epic map of a play linking the world’s migration patterns to the daily transactions of our lives. An ambitious theatrical experiment, it invites us to imagine a new relationship to human value, by first unpacking what we value. Uncovering a world where all populations must confront not only global migration, but their own.

Heather Raffo is a singular and outstanding voice in the American theater whose work has been championed by the New Yorker as “an example of how art can remake the world.” Having helped forge a new genre of Arab American theater, she’s spent her career writing and embodying stories of Iraq: from the lives and dreams of Iraqi women in her seminal work 9 Parts of Desire (2003), to the suicidal ideation of an Iraq war veteran in the opera Fallujah (2012), to the restless longings of an Iraqi refugee architect in Noura (2018).

“As an Iraqi American playwright, migration is personal to me.  In 2003, I had over one hundred family members living in Iraq, I now have two cousins left in the country.  In the last decade, my Iraqi relatives have scattered across four continents. My family understands what it means to be rooted to a place for thousands of years, then to scatter in less than ten.  While many audiences feel sympathetic to those impacted by war, the trajectory my family took can be traced to economic factors to which we all contribute.”

The Migration Play Cycle: A New Theatrical Platform by Heather Raffo is a National Performance Network (NPN) Creation & Development Fund Project co-commissioned by the Arab American National Museum and NPN. This project is made possible in part by a grant from the Association of Performing Arts Professionals, made possible through support from The Andrew W. Mellon Foundation.

[wausaupilot]

DCE alumna to receive Artistic Achievement Award

Congratulations Melissa Anderson!

CHICAGO – The Central National Association of Dance Masters announced this week a 1984 graduate of D.C. Everest Senior High School and former student of the Central Wisconsin School of Ballet will be honored with the 2024 Artistic Achievement Award. This recognition will be presented to Melissa Anderson, a ballet artist and educator, at the Annual Awards Banquet on July 25 during the…

[suetravelblog]

Madama Butterfly Slovene National Opera Ljubljana

[kraniumet]

the absolute uncanny valley of hearing wretched svtv4 sentimental music emotional supercut over something that looks identical to vh1’s drag race. twilight zone

[daphnedauphinoise]

Full Length Ballet Performances

Cinderella

Instituto Nacional De Las Bellas Artes 🩰 Russian National Ballet

Coppelia

Paris Opera Ballet 🩰 Bolshoi Ballet Theatre

Don Quixote

The National Ballet Theatre of Ukraine 🩰Teatro alla Scala di Milano Marrinsky Theatre

Giselle

Bolshoi Ballet Theatre 🩰 Polish National Ballet 🩰 The Royal Danish Ballet 🩰 National Opera and Ballet Theatre of Mari El

La Bayadère

National Opera and Ballet Theatre of Mari El.🩰 Bolshoi Ballet Theatre

La Fille Mal Gardée

Serbian National Ballet

La Sylphide

The Royal Danish Ballet

Marguerite & Armand

The Royal Ballet

Mayerling

Stainslavsky Ballet

Nutcracker

The New York City Ballet 🩰Marrinsky Theatre 🩰 National Opera and Ballet Theatre of Marie.El

Romeo and Juliet

Ural Opera Ballet🩰 Bolshoi Ballet Theatre

Swan Lake

Kirkov Ballet 🩰 St Petersburg Ballet Theatre 🩰 American Ballet Theatre 🩰 Bolshoi Ballet Theatre

The Sleeping Beauty

Staatsballett Berlin 🩰 National Opera and Ballet Theatre of Mari El 🩰 Marrinsky Theatre 🩰 l'Opéra Bastille 🩰Teatro alla Scala 🩰 Bolshoi Ballet Act 1 Bolshoi Ballet Act 2

The Rite of Spring (Le sacre du printemps)

Marrinsky Theatre

I was born in the correct generation because I loved those photos so much, I decided to look up the ballet so I could watch it and there it was ! I have added other full length performances as well and for most of the pieces I have added different ballet companies (if I could find) just because different ballet companies means different choreography ( not always but certain companies are reowned for their distinct style)

Enjoy!

xo Daphne

[spacelazarwolf]

109 years ago today, leo frank, an innocent american jewish man, was lynched.

in 1913, leo frank was arrested for the murder of mary phagan. despite evidence that he was at home at the time of the murder, the jury decided in just four hours that he was guilty and the judge sentenced him to death. all of frank's appeals were rejected. protests erupted outside the governor's mansion when the governor decided to commute frank's sentence from death to life imprisonment, and on august 17th, 1915, a group of 25 men kidnapped frank from the prison hospital where he was recovering from an attempt on his life, drove him 100 miles to mary phagan's hometown, and lynched him. there are several photos of the lynching.

though frank is the only known jewish victim of lynching in america, antisemitism was baked into the nation's history in numerous other ways. during the trial, the prosecuting attorney framed him as a sexual pervert who was both a homosexual and preyed on young girls. this is not the first time a jewish man has been framed as a sexual predatory because of his jewishness. it was simply the culmination of centuries of antisemitism that still persists to this day. (content warning for antisemitic caricatures and one graphic photo of the lynching of leo frank)

leo frank was proven innocent after his death, though many people still insist he was guilty, particularly white supremacists.

a musical called parade about the trial and tragic death of leo frank was written by jewish composer jason robert brown and jewish playwright alfred uhry. it premiered in 1988 and was revived in 2023 on broadway, starring jewish actors ben platt and micaela diamond, where neo nazis protested outside the theatre, claiming the show was "glorifying a pedophile."

as of writing this, tomorrow is the first day of elul, the last month in the jewish calendar culminating in the high holy days, the holiest days of the jewish year. every year, synagogues see an increase in negative attention and antisemitism from their wider communities. we start to receive more hostile phone calls and emails, threats of violence, and this year there was a swatting campaign targeting at least 26 jewish institutions. we are supposed to be using this time to reflect and make amends with the people we've hurt, and instead so much of our time and energy had to go toward ensuring we can even safely walk into our communal spaces.

i don't have the answer for how to fix this or what you as a gentile should do. antisemitism is thousands of years old, and it's not going to stop because some well meaning people on tumblr read all the articles linked in this post. all i know is that jews all over the world are terrified and so, so tired.

[mimi-0007]

FATHER & SON: James Earl Jones with his Father Robert Earl Jones on Stage in the 1962 Production "Moon on a Rainbow Shawl."

Robert Earl Jones (February 3, 1910 – September 7, 2006), sometimes credited as Earl Jones, was an American actor and professional boxer. One of the first prominent Black film stars, Jones was a living link with the Harlem Renaissance of the 1920s and 1930s, having worked with Langston Hughes early in his career.

Jones was best known for his leading roles in films such as Lying Lips (1939) and later in his career for supporting roles in films such as The Sting (1973), Trading Places (1983), The Cotton Club (1984), and Witness (1985).

Jones was born in northwestern Mississippi; the specific location is unclear as some sources indicate Senatobia, while others suggest nearby Coldwater. He left school at an early age to work as a sharecropper to help his family. He later became a prizefighter. Under the name "Battling Bill Stovall", he was a sparring partner of Joe Louis.

Jones became interested in theater after he moved to Chicago, as one of the thousands leaving the South in the Great Migration. He moved on to New York by the 1930s. He worked with young people in the Works Progress Administration, the largest New Deal agency, through which he met Langston Hughes, a young poet and playwright. Hughes cast him in his 1938 play, Don't You Want to Be Free?.

Jones also entered the film business, appearing in more than twenty films. His film career started with the leading role of a detective in the 1939 race film Lying Lips, written and directed by Oscar Micheaux, and Jones made his next screen appearance in Micheaux's The Notorious Elinor Lee (1940). Jones acted mostly in crime movies and dramas after that, with such highlights as Wild River (1960) and One Potato, Two Potato (1964). In the Oscar-winning 1973 film The Sting, he played Luther Coleman, an aging grifter whose con is requited with murder leading to the eponymous "sting". In the later 20th century, Jones appeared in several other noted films: Trading Places (1983) and Witness (1985).

Toward the end of his life, Jones was noted for his stage portrayal of Creon in The Gospel at Colonus (1988), a black musical version of the Oedipus legend. He also appeared in episodes of the long-running TV shows Lou Grant and Kojak. One of his last stage roles was in a 1991 Broadway production of Mule Bone by Hughes and Zora Neale Hurston, another important writer of the Harlem Renaissance. His last film was Rain Without Thunder (1993).

Although blacklisted by the House Un-American Activities Committee in the 1950s due to involvement with leftist groups, Jones was ultimately honored with a lifetime achievement award by the U.S. National Black Theatre Festival.

Jones was married three times. As a young man, he married Ruth Connolly (died 1986) in 1929; they had a son, James Earl Jones. Jones and Connolly separated before James was born in 1931, and the couple divorced in 1933. Jones did not come to know his son until the mid-1950s. He adopted a second son, Matthew Earl Jones. Jones died on September 7, 2006, in Englewood, New Jersey, from natural causes at age 96.

THEATRE

1945 The Hasty Heart (Blossom) Hudson Theatre, Broadway

1945 Strange Fruit (Henry) McIntosh NY theater production

1948 Volpone (Commendatori) City Center

1948 Set My People Free (Ned Bennett) Hudson Theatre, Broadway

1949 Caesar and Cleopatra (Nubian Slave) National Theatre, Broadway

1952 Fancy Meeting You Again (Second Nubian) Royale Theatre, Broadway

1956 Mister Johnson (Moma) Martin Beck Theater, Broadway

1962 Infidel Caesar (Soldier) Music Box Theater, Broadway

1962 The Moon Besieged (Shields Green) Lyceum Theatre, Broadway

1962 Moon on a Rainbow Shawl (Charlie Adams) East 11th Street Theatre, New York

1968 More Stately Mansions (Cato) Broadhurst Theatre, Broadway

1975 All God's Chillun Got Wings (Street Person) Circle in the Square Theatre, Broadway

1975 Death of a Salesman (Charley)

1977 Unexpected Guests (Man) Little Theatre, Broadway

1988 The Gospel at Colonus (Creon) Lunt-Fontanne Theatre, Broadway

1991 Mule Bone (Willie Lewis) Ethel Barrymore Theatre, Broadway

FILMS

1939 Lying Lips (Detective Wenzer )

1940 The Notorious Elinor Lee (Benny Blue)

1959 Odds Against Tomorrow (Club Employee uncredited)

1960 Wild River (Sam Johnson uncredited)

1960 The Secret of the Purple Reef (Tobias)

1964 Terror in the City (Farmer)

1964 One Potato, Two Potato (William Richards)

1968 Hang 'Em High

1971 Mississippi Summer (Performer)

1973 The Sting (Luther Coleman)

1974 Cockfighter (Buford)

1977 Proof of the Man (Wilshire Hayward )

1982 Cold River (The Trapper)

1983 Trading Places (Attendant)

1983 Sleepaway Camp (Ben)

1984 The Cotton Club (Stage Door Joe)

1984 Billions for Boris (Grandaddy)

1985 Witness (Custodian)

1988 Starlight: A Musical Movie (Joe)

1990 Maniac Cop 2 (Harry)

1993 Rain Without Thunder (Old Lawyer)

TELEVISION

1964 The Defenders (Joe Dean) Episode: The Brother Killers

1976 Kojak (Judge) Episode: Where to Go if you Have Nowhere to Go?

1977 The Displaced Person (Astor) Television movie

1978 Lou Grant (Earl Humphrey) Episode: Renewal

1979 Jennifer's Journey (Reuven )Television movie

1980 Oye Ollie (Performer) Television series

1981 The Sophisticated Gents (Big Ralph Joplin) 3 episodes

1982 One Life to Live

1985 Great Performances (Creon) Episode: The Gospel at Colonus

1990 True Blue (Performer) Episode: Blue Monday

[theabigailthorn]

Have you considered moving to america? you know there are a lot of blond americans in america, and most of them would be absolutely enchanted by a tall lady with a fancy-pants british accent

I've thought about it, for career reasons rather than romance!

It's a difficult question. If I were to move to the US, right now L.A. would be the place to go: I have contacts there and I'm developing projects there. It's likely I'd be able to have a better standard of living out there too. There's also the political angle: if the Conservatives win the next British election there's a nonzero chance I'll have to leave the country because if they pass a national bathroom law and I can't use a women's toilet, I can't go to work on a set or in a theatre! I know the US is worse in a lot of places, but at least over there some politicians are standing up for trans people, some politicians are trans, some cities are refusing to comply with discriminatory laws... There seems to be a better line of defence over there, in some places? The sorts of places I would be going to live anyway. It feels like in the US the extremes are more extreme: some states are worse than Britain, but some are actually better. I think the US entertainment industry is in some ways ahead of the UK on trans issues - I've had British people straight up refuse to work with me cause I'm trans even though that's illegal, and string me along for ages cause they think I'll be a diversity checkbox for them. Whereas in my (admittedly limited) experience American producers are more willing to give me a shot and don't see my transness as an obstacle. The producers of [SUPER REDACTED] are American and they gave me that role even though the character is written as cis and cis women auditioned alongside me! I thanked one of them like, "Hey, this sort of thing has never been done and it's not the sort of thing trans people are usually allowed anywhere near!" and she was like, "Bwuh? You nailed the audition, why wouldn't we give it to you?" I said to her at the wrap party, "The idea that a trans woman could be a [PERFORMER OF THIS TYPE] has not yet entered the minds of anyone outside this room, and when it does it's going to be a gamechanger for all of us." See also Nebula! I pitched Dracula's Ex-Girlfriend to them and they greenlit it 15 days later. Contrastingly, I emailed a pitch deck and pilot episode for a trans-led TV series to a bunch of British production companies back in August and a lot of them haven't even read it yet. I like working for Americans because they just seem to get it on a level that a lot of Brits don't, yet.

On the other hand!

The entire US entertainment industry is about to move to Britain! So, maybe the smart career move is to stay. My family are here, my home is here, and despite everything I do love this country. I would be sad to leave. But we'll see. The next few years are likely to be a little... unusual. My plan right now is to have one foot in both countries, and then perhaps at some point the acting industry will make the decision for me.

[opencommunion]

The producer, artistic director, and an educator at The Freedom Theatre in Jenin were kidnapped alongside over 100 other Palestinians today (13 Dec 23). The Freedom Theatre is a hub of cultural resistance and artistic community in the occupied West Bank.

Join me in calling on theatre institutions to demand the immediate release of these kidnapped artists. Here's the email I'm sending; feel free to copy but please adjust the phrasing to avoid spam filters: "Today in Jenin refugee camp, The Freedom Theatre's artistic director Ahmed Tobasi, producer Mustafa Sheta, and acting teacher Jamal Abu Joas were taken hostage by the Israeli army alongside over one hundred other Palestinian civilians. This follows the murder of three Freedom Theatre artists in the last few weeks: Yamen Jarrar (17), Jehad Naghniyeh (26), and Mohammed Matahen (30). The global theatre community must stand up in support of artists persecuted by the occupation regime. There is extensive documentation of torture in Israeli occupation detention centers. I urge [name of organization] to issue a public statement demanding the immediate release of these hostages. Here's a recent article about The Freedom Theatre's work with traumatized children: [AJ link above]" I'm also adding a brief statement from my perspective as a theatre artist, expressing my disappointment in my local and national theatre scene for its silence. If you're a theatre artist or theatre-goer I encourage you to do the same! The international and US institutions I'm emailing: International Society for the Performing Arts - dbaile@ispa.org, mdriscoll@ispa.org, rjohnson@ispa.org, zcheng@ispa.org International Theatre Institute - info@iti-worldwide.org, hessa@cpo.fujairah.ae International Amateur Theatre Association - secretariat@aitaiata.net Theatre Without Borders - info@theatrewithoutborders.com ASSITEJ - president@assitej-international.org, sg@assitej-international.org, chris@assitej-international.org International Federation for Theatre Research - marcus.tan@nie.edu.sg IDEA- info@idea-austria.org International Schools Theatre Association - office@ista.co.uk, tom@ista.co.uk, helen@ista.co.uk, keriann@ista.co.uk Theatre for Young Audiences USA - info@tyausa.org, sbfala@gmail.com, saramorgulis@gmail.com American Association of Community Theatre - quiana@aact.org, david@aact.org, dvancleave@aact.org American Theatre Wing - mailbox@americantheatrewing.org, rachel@americantheatrewing.org American Theatre Magazine - rwkendt@tcg.org, ksmith@tcg.org, apierson@tcg.org, jpierce@tcg.org American Alliance for Theatre and Education - heidischo@gmail.com American Society for Theatre Research - president@astr.org, info@astr.org Theater of War - marjolaine@theaterofwar.com, bryan@theaterofwar.com Actors' Equity - jrice@actorsequity.org, kshindle@actorsequity.org, wcarter@actorsequity.org, abundonis@actorsequity.org The Broadway League - league@broadway.org PEN America - info@pen.org, education@pen.org Please also email organizations where you live, and any personal contacts in the performing arts. You can also tag organizations in the comments of The Freedom Theatre's posts on ig @.thefreedomtheatre

[totallyhussein-blog]

The journey of a thousand miles begins with a single step

After the U.S. invaded Iraq 20 years ago, Iraqi American playwright and actor Heather Raffo created and starred in an acclaimed play “Nine Parts of Desire” about the lives of Iraqi women. 

She’s returned to the subject on film and through a distinctly American lens, setting a new version in Michigan. Jeffrey Brown of PBS went there to see the work for the PBS arts and culture series, CANVAS.

Uprooted after her father’s death during the pandemic, an Iraqi American woman attempts to grieve at the site of the oldest Iraqi Church in North America. 

What starts in profound isolation, becomes communal as Iraqi women, ordinary and extraordinary, come to her in spirit and ancestry with their personal stories of love and resilience. 

Together, they offer a celebration of the Iraqi female experience and an explicit warning – the divisions Iraq endured are not unique, Iraq is a bellwether for America now.

Nearly 20 years ago, 9 Parts of Desire premiered to widespread acclaim on London stages and Off-Broadway, later becoming a global theatrical phenomenon. 

Now, Heather Raffo adapts her multi-award-winning solo play about Iraqi women for the screen and for our current time. 

From Iraq to Michigan, Raffo transforms into a wide cross-section of Iraqi women in her inspiring exploration of love and grief within countries undone by division, violence and loss.

Nine Parts, a film by Mike Mosallam, Heather Raffo and Nilou Safinya is streaming now on PBS.