HDTenEightyP/NetNews huggingface dataset:
From: Todd Trimble
Newsgroups: rec.arts.theatre
Subject: Re: theatre behavior?
Date: 14 Oct 1992 01:00:44 GMT
Organization: Computer Science Department at Rose-Hulman
Distribution: usa
Reply-To: trimblte@nextwork.rose-hulman.edu
NNTP-Posting-Host: o233-25.nextwork.rose-hulman.edu

In article <1992Oct13.191902.19278@news.duc.auburn.edu>  
morrison@eng.auburn.edu (Kelly Morrison) writes:
-->
-->Here's a question along those lines, Melissa:
-->   Should the intoxicated be allowed to enter a theatre? And should  
alcohol
-->be sold in theatres?


	Well, one guy's opinion:

	NO!  In fact, I believe that a good theatre policy would be to  
disallow anyone, drunk or otherwise, who shows real potential to disrupt  
an audience/performance.  Granted, there are drunks who could handle the  
situation w/o incident, but that's a risk I'd rather not take.  I would  
suggest discussing w/the would be patron why their entry is not allowed  
and if things get ugly, maybe even consider refunding admission price or a  
percentage.  The bottom line is, one mishap could spoil the performance  
for the entire audience.  Isn't possibly offending one patron and maybe  
loosing the price of one ticked worth keeping an audience happy?

-->And please: no comments about how this reflects on the quality of  
"Cats"... :)
Don't worry...I liked CATS!
--
Todd Eric Trimble
EE in Training and Paintball Enthusiast                                   
Looking for fields in T. Haute area
trimblte@nextwork.rose-hulman.edu
No one ever agrees with what I say....why should Rose-Hulman?  <Answer:  
they don't>
Newsgroups: rec.arts.theatre
From: Herberg_David@tandem.com (David Herberg)
Subject: Re: Guys and Dolls synopsis
Organization: Tandem Computers Inc.
Date: Sat, 17 Oct 1992 01:00:14 GMT

Nathan Detroit is a small time hood that runs the Oldest Established 
Permanent Floating Crap Game in New York.  Unfortunately for him, the heat 
is on, and it's tough to find a place for the game.  He's broke, and the 
one possible place wants a grand up front before Nathan can put out the 
word.  Big rollers are coming in, and Nathan could be rich beyond avarice 
if he can only arrange the game.

Enter Sky Masterson, an old acquaintance of Nathan's, and makes a bet with 
him for that needed grand that Sky can take to Havana any girl that Nathan 
names.  Nathan picks Sarah Brown, an evangelist from the Save-a-Soul 
Mission.  Sure of victory, Nathan begins arranging the game.

Sky starts working on Sarah, with no luck.  But it turns out that the 
mission is about to close because of low results.  Eventually Sarah agrees 
to go to Havana, because Sky promises in return to deliver a room full of 
sinners at the coming revival meeting.  In Havana, Sky surreptitiously 
plies Sarah with alcohol during a fantastic dance scene, which is 
murderously demanding on the trumpet players.  On their return, they fall 
in love.

Meanwhile, Nathan's fiancee of 14 years, Miss Adelaide, is an entertainer 
at the Hot Box night club.  After her onstage act, she Laments her single 
state in her dressing room.

Nathan now tries to avoid both Sky, since he hears he's lost the bet, and 
the pesterings of Adelaide.  The game is finally held in a sewer.  Very 
impressive to Big Julie, a mean high roller from East Cicero, Illinois 
(look at a map), who doesn't like losing.  He bullies all his money back 
rolling blank dice, leaving Nathan again broke.

Sky now needs to make his commitment to Sarah good.  He finds the game, 
and pays off the bet because he doesn't want to impugn the reputation of 
his new love Sarah.  He then gets all the gamblers to agree to bet against 
Sky's wad on a single roll, with the understanding that if they lose, they 
will all attend the revival meeting at the Save-a-Soul Mission.  Sky prays 
for Lady Luck, and of course, the hoods all lose.

At the meeting we get treated to Nicely-Nicely Johnson's testimony in the 
form of his show-stopping Sit Down, You're Rocking the Boat.  Afterward, 
Adelaide doesn't believe Nathan anymore with this topper of all excuses 
why she's been stood up yet again.  Nathan begs forgiveness, saying Sue Me!

Adelaide and Sarah aren't sure what to do with their erring men, but they 
finally decide to Marry the Man Today, and change him tomorrow!

David Herberg, Herberg_David@tandem.com
From: 6500veen@ucsbuxa.ucsb.edu (Jeffrey Veen)
Newsgroups: rec.arts.theatre
Subject: Theatre for the Deaf
Date: 9 Oct 92 00:31:00 GMT

If anyone knows of any theatre programs for the deaf or schools 
specializing in the teaching this, could you please e-mail info to
me?  Thanks.

Jeff

--
------------------------------------------------------------------------------
Jeffrey Veen                             6500veen@ucsbuxa.ucsb.edu
Santa Barbara, CA                        6500veen@ucsbuxa.bitnet
(805) 685.7307                           ucsbuxa!6500veen
From: shaevel@Apple.COM (Jeff Shaevel)
Newsgroups: rec.arts.theatre
Subject: SHEAR MADNESS opens tonight in Austin, TX
Date: 9 Oct 92 22:40:04 GMT
Organization: Apple Computer Inc., Cupertino, CA

"Shear Madness" opens tonight at Zachary Scott Theatre's Arena Stage 
tonight at 8:00 P.M.

I posted an announcement about this some time ago when I was cast in
this show, expressing my delight at being in my first Equity production.
The show is *wild* to perform and has been playing very well to our 
preview crowds.

Any Austinites out there?  Come by and say hi!
-- 
Jeff Shaevel        :-)-: (comedy/tragedy)    Love may be blind, 
shaevel@apple.com                             but lust is autistic.
From: todd@sdsc.edu (T. Todd Elvins,,45128)
Newsgroups: rec.arts.theatre
Subject: Info Needed: Plays in Boston
Date: 16 Oct 92 20:26:13 GMT
Article-I.D.: network.1bn8h5INNto
Reply-To: todd@sdsc.edu
Distribution: world
Organization: San Diego Supercomputer Center @UCSD.
NNTP-Posting-Host: jessicarabbit.sdsc.edu

Quick !

I'm leaving for Boston tomorrow and I want to know 
what plays I should see while I'm there.  I'm partial
to newer dramatic musicals and dramas.  No revivals or
new stagings of "Showboat" :-)

Thanks
Todd

-----------------------------------------------------------------
T. Todd Elvins					    todd@sdsc.edu
Advanced Scientific Visualization Laboratory
San Diego Supercomputer Center			   (619) 534-5128	   
P.O. Box 85608				  FAX  	   (619) 534-5113
San Diego, CA 92186-9784		TELEX 	 010+1+619+695065 
-----------------------------------------------------------------
Newsgroups: rec.arts.theatre
From: jordan@cs.tulane.edu (Grizabella)
Subject: Guys and Dolls
Nntp-Posting-Host-[nntpd-13687]: thor
Organization: Computer Science Dept., Tulane Univ., New Orleans, LA
Date: Fri, 16 Oct 1992 19:56:16 GMT

Hi peoples!
    I just have a quick question...
    Guys and Dolls is going to be playing here in a few weeks, and
I was wondering if anyone out there could give me a quick synopsis.
I don't have any idea what it is about, but I need to find out quick
if I want to go before the tickets are sold out...

Thanks for your help...

Meow...
-- 
--------------------------------------------------------------------------
"On a hot summer night, would you  ||  "You took the words right out of my
   offer your throat to the wolf   ||    mouth... it must have been while
 with the red roses?"  --Meatloaf  ||  you were kissing me"  --Meatloaf
 -------------------------------------------------------------------------
----Grizabella---.aka.---Misti D. Jordan-----------jordan@cs.tulane.edu----
 -------------------------------------------------------------------------
From: ahsiung@bbn.com (Anita Hsiung)
Newsgroups: rec.arts.theatre
Subject: LA:  New musical "Hurry! Hurry! Hollywood!"
Date: 7 Oct 92 18:40:16 GMT
Reply-To: ahsiung@labs-n.bbn.com (Anita Hsiung)
Distribution: usa
Organization: Bolt Beranek and Newman Inc., Cambridge MA
NNTP-Posting-Host: bbn.com

Sam Harris (first male vocalist winner of Star Search) has written and
directed his first musical, "Hurry! Hurry! Hollywood!".  There have
been mailings for the show, and this morning, he sang one of the songs
on the news broadcast.  According to him, it's a splashy, 30's type
show, cast of 32.  Opens Friday night at the La Mirada Playhouse and
will run through the end of the month.

	-- Anita --


---------------------------------------------------------------------------
| Anita Hsiung       | "See how easy life can be?" -- Johnathan Raven     |
| ahsiung@bbn.com    |                                                    |
| BBN Canoga Park    | "Someday we'll look back on this moment...and      |
| California, USA    |  run smack into the car in front of us."  -- Ski   |
---------------------------------------------------------------------------
From: LGH@BROWNVM.BROWN.EDU (Lynn Hughes)
Newsgroups: rec.arts.theatre
Subject: poetry query
Date: 7 Oct 92 12:14:29 GMT

The poem requested ("Things fall apart, the centre cannot hold... mere
anarchy is loosed upon the world...") is from "The Second Coming" by
William Butler Yeats.
From: lsnow@ncrclm.ClemsonSC.NCR.COM (Linda Snow)
Newsgroups: rec.arts.theatre
Subject: Re: Jonathan Pryce
Date: 8 Oct 92 16:53:45 GMT
Reply-To: lsnow@ncrclm.ClemsonSC.NCR.COM (Linda Snow)
Organization: NCR E&M CLEMSON Liberty, SC

In article <1992Oct7.142411.21040@magnus.acs.ohio-state.edu> jefrank@magnus.acs.ohio-state.edu (Jason E Frank) writes:
>
>	One quick questions--besides "Brazil" and "Something Wicked
>This Way Comes", what other movies featured Pryce?

He was in a British movie called "The Doctor and the Devils" (which I
never saw).

He was also in "Jumping Jack Flash".  Mostly just his voice, but he was
on camera about the last minute.
From: ecuzq@warwick.ac.uk (Bruce Tseng)
Newsgroups: rec.arts.theatre
Subject: Re: Sunset Boulevard
Date: 8 Oct 92 15:17:40 GMT
Organization: Computing Services, University of Warwick, UK

In article <1992Oct1.132427.21238@syma.sussex.ac.uk> sfue5@syma.sussex.ac.uk (Andrew Richards) writes:
>Sunset Boulevard (Music by Andrew Lloyd Webber) is to open here in
>England in May next year. My question is this - does anybody know who
>the lyricist is? Lloyd Webber said about a year ago that he was working
>on it with an American woman - the first time he has used either an
>American or a female lyricist, but I don't know any more than that. If
>anyone can enlighten me I would be grateful...
>
>**************************************************************************
>*  "Brad? What the hell kind of a name is that?"                      *
>*                     From the forthcoming show - Dominic McC : The   *
>*						   American Years     *
>**************************************************************************

Does anybody know when the advance booking will start? I might be leaving
England this year, so I am very eager to see the show! And also, the venue
for this show please!
------------------------------------------------------------------
 Bruce Tseng: ecuzq@csv.warwick.ac.uk   |   " What is beautiful
 Department of Economics,               |     is good, but what
 University of Warwick,                 |     is good will soon
 Coventry CV4 7AL, UK                   |     become beautiful. "
------------------------------------------------------------------
From: chosen@wam.umd.edu (Greg Cohen)
Newsgroups: rec.arts.theatre
Subject: Re: directing
Date: 11 Oct 92 16:33:00 GMT
Organization: University of Maryland, College Park

In article <1992Sep30.162920.2150@bvc.edu> schraderlori@bvc.edu writes:
>Help!  Does anyone know of a feminist one-act play that would be suitable 
>to stage at a small school.  I am an undergraduate in a directing class.  
>The class needs to stage a play for our final project.  The school has a 
>limited number of actors.  We can not use a set, only props.  The play 
>should run approx. 30 minutes.  Thanks.

Perhaps rather than looking for a feminist play to direct, you could 
take a clearly sexist or misogynist work ( for example, Taming the Shrew or
From Morn to Midnight)  and expose the sexism and its causes through 
reinterpretation! I think that's a more exciting and creative option for a 
directing student.

 - John-Michael 

  
Newsgroups: rec.arts.theatre
From: west@urvax.urich.edu
Subject: Re: theatre behavior?
Reply-To: west@urvax.urich.edu
Organization: University of Richmond
Date: Tue, 13 Oct 1992 18:16:47 GMT

Hi! I am taking a moment for a brief reply as I need to get back to rehearsal!
I think that you raise some valid points concerning "Theatre Behaviour", how-
ever there are still more to be raised including: What courtesies are due to
to the other members of the audience (i.e. what are the "general expectations
when they shell out the price of admission ?), who is responsible for "pro-
viding for" these expectations ? and are such expectations warranted ? I am
not sure - be glad to hear the thoughts of others. In article <1992Oct11.145002.7507@iscsvax.uni.edu>,
sherwood2840@iscsvax.uni.edu writes:
>Hello fellow theatre students!
>
>This is my first time posting anything so please bear with me!
>
>I am very distressed by some of the items I have read on this group concerning
>"Theatre Behavior".  I was frightened when I read the words "strict rules" being
>applied to the audience.  Like everyone, I too have my theatre horror stories
>and I used to *really* resent certain audience behavior which I equated with a
>lack of repect for my work on stage.  I know realize, however, that as a
>theatre artist I am on stage to communicate something and it is the audiences
>choice to respond to my communication in any way they feel like.  I think that
>inflicting regulations on an audience is a way of monitoring or manipulating
>their behavior and this goes against everything I believe as a theatre artist. 
>I'd like to hope that the theatre is the one place where we can still go to
>explore and rejoice in our humanity.  I can't begin to tell you how often in my
>acting classes I am told to go with my impulses, to not hold back, to respond
>on a basic human level out of need.  Please do not take this response freedom
>away from the audience!  Have we become so arrogant in our craft that we can no
>longer perform with any exterior noise?  Are we only artists under certain
>circumstances, our dircumstances?  So what if someone is eating, maybe they are
>hungry!  They have a basic human need to fulfill, can we deny them that?  What
>happend to the days of Shakespeare in the Globe when theatre was for the
>masses?  
>
>Please feel free to respond
>
>My address: SHERWOOD2840@iscsvax.uni.edu.
>
>i hope to hear from someone soon!!
>
>Melissa
>
Newsgroups: rec.arts.theatre
From: murray@aristotle.ils.nwu.edu (Thomas Murray)
Subject: Re: Theatre Behavior [Was: Lea Solanga in Concert] 
Organization: The Institute for the Learning Sciences, Evanston, IL
	<MURRAY.92Oct8090034@aristotle.ils.nwu.edu>
	<1992Oct9.144520.20740@rtsg.mot.com>
Date: Sat, 10 Oct 1992 15:26:39 GMT

In article <1992Oct9.144520.20740@rtsg.mot.com> oakes@clear15.Berkeley.EDU (Ronald Oakes) writes:

[RE: selling ice-cream in the hourse of the Auditorium theatre]

> When did they do this.  I have been to 3 different shows at the
> Auditorium Theatre for a total of 4 different performances (I saw
> Les Miserables twice), and have never seen this going on. 

I don't think I saw it during LES MIZ either, but I don't remember for
sure.  I believe you about that one.  However, I definitely remember
them at BYE, BYE, BIRDIE, CITY OF ANGELS, and SECRET GARDEN.  Did you
catch those?  I think the only performance I didn't see them at was
the Polish folk-dance troupe, Mazowsze.

> I have also been to shows at the Civic Theater and the Chicago
> Theater without this kind of activity going on.  I have never seen
> it at the Victory Gardens -- A small Writers company near Lincoln
> Park -- or the Marriott Lincolnshire Theater. 

Me neither, thank goodness!  Auditorium is the only house I know of
that does it.   Will be interesting to see if they do it for MISS
SAIGON.

> Perhaps this was either a pratice that has now been stopped (the
> pictures in the windows near the Auditorium Theatre tell of an
> interesting past) or a one time occurance.

I can't say.  I've only been in Chicago for 8 years or so.  However,
from a couple of responses I have gotten from across the Atlantic, it
sounds like it might happen occassionally in Britain as well.

-tom

Newsgroups: rec.arts.theatre
From: rad2r@uvacs.cs.Virginia.EDU (Robert DeLine)
Subject: Re: INTO THE WOODS
Organization: University of Virginia Computer Science Department
Date: Fri, 9 Oct 1992 17:38:26 GMT

The Rev. Mom says:
 |Just, as a Henson fan, I have to take exception to "campy
 |puppets", here.  Conrad specifically stated not Muppets but
 |creatures from the Henson Creature Shop.  There's a distinctly
 |different feel.  Yoda was sort of the great-grandfather of the
 |things the Creature Shop puts out, and the thought of what they
 |could turn out for the wolf in Woods has me drooling.

And John C. Chu adds:
 |BTW, to whomever called the Henson Creature Shop creations "campy", I
 |would have to disagree. The muppets might come off that way perhaps.
 |However, their other creations look practically lifelike to me. They
 |take great care to make the creatures and their movements look
 |realistic. I think something like this would work wonderfully with
 |Into the Woods.

Not that this is an important point, but I thought I'd clarify my earlier
apparent insult to Henson.  First, I'd like to say that I'm a *big*
Henson fan -- both of his work for young children (e.g. The Muppets and
Sesame Street) as well as his more adult creations (e.g. The Dark
Crystal).

What I was refering to is not that Henson's creations are always campy,
but that they ought to be for this movie.  "Campy" clearly isn't the
right word here, so let me be more verbose in an attempt to be clearer.

I think making Into the Woods too dark is a big mistake.  An example of
this is the Red Riding Hood/Wolf sequence from Act I.  I think one could
easily go to far with the darkness of this scene, for example by making
the rape illusions more explicit.  Making this scene sinister would
really ruin the fun (at least IMHO).  (In the version I saw, having the
wolf have genitalia was even too much for me.) I think using one of
Henson's beautifually grotesque creations might invite a more sinister
approach -- not necessarily, but possibly.  To me, animation would stand
a better chance of avoiding too much realism and keeping such scenes fun
and funny.  This was my point, no more.

I'm sure Henson's crew could produce some wonderful creatures for the
movie, I just wouldn't want ITW to end up having a Dark Crystal feel.


Rob DeLine
Computer Science, University of Virginia
deline@Virginia.EDU
Newsgroups: rec.arts.theatre
From: Matt Garretson (kaminl@rpi.edu)
Subject: Re: Theatre Behavior [Was: Lea Solanga in Concert] 
Organization: Rensselaer Polytechnic Institute, Troy, NY
Date: Sat, 10 Oct 1992 19:37:43 GMT

In article <1992Oct7.171339.26944@adobe.com> deleon@adobe.com (Michael de Leon) writes:
>
>Does anyone have any other theatre horror stories?

CATS: Stupid lady behind me singing "Memory" along with the cast

LES MISERABLES: Big fat guy in a tux sitting in the front mez who yelled
 "Yeah!" after Javert sang, "Could it be he's Jean Valjean?" Gotta admit that
it was funny, though.

MISS SAIGON: Couple sitting behind me chatting to one another the whole
 time. They were in the last row, so I advised them that if they wanted to hold
 a conference, the lobby was only a few steps away.

CRAZY FOR YOU: Ronald & Nancy Reagan showed up. Sorry, couldn't resist.
 Also, the couple next to me left in the middle of the second act to catch
 their train.   Wot the fuk?  Isn't that what planning is supposed to
 prevent??

FALSETTOS: Numerous middle-aged men (and some women) who incessantly grunted 
 and shook their heads to make public their disapproval of homosexuality.

(Any winter show): That theater-wide fit of coughs that is somehow launched by
 some guy up in the balcony.

(Any show/movie/concert): People who jiggle their legs anxiously or constantly
 shift around in their seats. Jesus, if they don't want to be there, they can
 bloody well leave. I include unrestrained yawning and other signs of
 boredom in this category as well. 

(Any room where there a lot of seats): People behind you who kick or otherwise
 disturb your chair/seat more than once or twice. They are definitely asking for
 it.

Well, those are just a few observations based on my limited experience. Your
mileage may vary, as they say.
--
Matt Garretson                    :-)                 temporarily kaminl@rpi.edu
From: thtrsoc@ac.dal.ca
Newsgroups: rec.arts.theatre
Subject: Re: Theatre Student Queries
Date: 7 Oct 92 21:26:44 -0300
Organization: Dalhousie University, Halifax, Nova Scotia, Canada

In article <1992Oct6.212541.7987@ac.dal.ca>, thtrsoc@ac.dal.ca writes:
> In article <1992Oct6.180930.7984@ac.dal.ca>, thtrsoc@ac.dal.ca writes:
>>    Hi, anybody out there?
>> 
>> I'm a theatre student...
        ^ technical>
> 
>> Anyone know a good 1 act play that would/could challenge motivated
technical students?
>> 
>> I have recieved several e-mails (thank-you all, but I can't answer them all
 on my limited computer time), most of them were interesting but none seemed to 
indicate a stage/props/etc challenge. I realize any scipt could be 
transformed into a huge technical fiasco, but I want one that warrants it.
	All suggestions welcome.
)
>> Lawrence Willett
>  President, Dal Theatre Student Society
>> THTRSOC@ac.dal.ca
> >
From: jba@ai.mit.edu (Jonathan Amsterdam)
Newsgroups: rec.arts.theatre
Subject: Re: Jonathan Pryce
Date: 15 Oct 92 22:08:25 GMT
	<1411@ncrclm.ClemsonSC.NCR.COM>
Organization: MIT Artificial Intelligence Laboratory
In-reply-to: lsnow@ncrclm.ClemsonSC.NCR.COM's message of 8 Oct 92 16:53:45 GMT

And you can now catch him in Glengarry Glen Ross.
Newsgroups: rec.arts.theatre
From: gwangung@carson.u.washington.edu (Roger Tang)
Subject: Re: For Community Theatre administrators
Organization: University of Washington, Seattle
Distribution: na
Date: Wed, 7 Oct 1992 18:09:40 GMT

In article <1394@ncrclm.ClemsonSC.NCR.COM> lsnow@ncrclm.ClemsonSC.NCR.COM (Linda Snow) writes:
>For those of you who are administrators, board members or volunteers
>at community theatre organizations:

	Yuppers....

>First of all, I would like to correspond with you on general problems and
>issues of running a mostly-volunteer theatre.  Just send me an e-mail and
>maybe things you'd like to talk about.

	Since e-mail bounces, let's say that I can converse on a number
of different areas (prime among them is fundraising....)(Hmmm....have we
conversed before?)


>Second, a specific problem:  How do you handle your reservations/ticketing
>procedure and also your mailing list.  Right now our ticketing procedure is
>very cumbersome (even though we don't have reserved seats), in part because
>we're trying to keep track of who comes so we can update/purge our
>mailing list.  It needs to be rethought.  Recommendations?  Please tell me
>how you do it and whether it works out.

	AN eternal frustration, as there's no reasonably priced software
to handle this......


-- 
Roger Tang, gwangung@u.washington.edu
Producer Emeritus, Asian Theatre at the UW

Organization: Senior, English, Carnegie Mellon, Pittsburgh, PA
Newsgroups: rec.arts.theatre
Date: Wed, 14 Oct 1992 18:19:10 -0400 
From: "Pamela J. Bernhardt" <pb2i+@andrew.cmu.edu>
Subject: Re: theatre behavior?
Distribution: usa

Hi,
All right, let me get into the fray.
When I went to see Cats, and Phantom 3rd time, I was so moved by both
performances that, at the end, I rose to my feet to give a standing
ovation.  This is during the curtain calls.  The people behind me, told
me to sit down, I was blocking their view.  Now was I wrong to give a
standing O?

Pam

"Dance then wherever you may be!"