Phillip edward van lear biography sample
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Displaying items by tag: Phillip Edward Van Lear
From the minute I stepped into Windy City Playhouse’s colorful, elegant the stage area designed by Courtney O’Neill with fantastic lights and sounds by Thomas Dixon, I knew I was in for a treat.
King Liz is named for the beautiful, sexy and high-powered sports agent Liz Rico played superbly with real gusto and stage presence galore by Lanise Antoine Shelley.
Liz Rico is a woman who grew up in the projects, overcame great poverty and rose to the top of a male dominated industry. Rico, one of the best sports agents in the business, is about to be promoted to the head of her firm by her retiring boss Mr. Candy (Frank Nall).
Mr. Candy's last offer to her to make her his new head of firm is based on her ability to sign a new and talented high school basketball player Freddie Luna (Eric Gerard). Luna is a true talent likened to Kobe Bryant but comes with a history of violence and temper tantrums as he too has been brought up in the
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Lorraine Hansberry.
If theatre had “one-hit wonders,” Lorraine Hansberry would be at the top of the list.A Raisin in the Sun is a theatre mainstay, with regular productions in resident theatres around the country as well as two high-profile Broadway revivals in just the last decade. This drama about an African-American family, the Youngers, on the verge of a big decision, is a justly significant part of the canon, apart from its historic status as the first play by a black woman ever produced on Broadway. Indeed, if Raisin were the only thing on her résumé, hers would still have been a noteworthy career. But it’s not. Hansberry achieved a few other noteworthy things before her untimely death from cancer at With two of her lesser-known plays currently in high-profile revivals&#;with Anne Kauffman&#;s staging of The Sign in Sidney Brustein&#;s Window at Chicago&#;s Goodman Theatre running through June 5, and Yael Farber&#;s staging of Les Blancs at London&#;s National Theat
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“Mother Courage and Her Children,” a peak achievement of Bertolt Brecht’s “epic theater,” is receiving a respectable and ganska stirring new production at Touchstone Theatre.
Wisely cast, forthrightly staged and buttressed with an excellent musical score, Brecht’s fabel of the adventures of the unquenchable Mother Courage and her ill-fated children holds attention and gathers strength as the family encounters one example after another of hypocrisy, cruelty and greed in the Thirty Years’ War.
Using designer Kevin Snow’s plain background setting of a rough cloth backdrop and a few withered trees on Touchstone’s bred, shallow scen, director Phillip Edward Van Lear sets Mother Courage doggedly hjul her cumbersome wagon through the messy backwash of battle as she desperately seeks a few crumbs from the profits of war.
An all-female instrumental quintet and a narrative chorus wander in and out with her, too, performing William Un