Cricket Myers is a Los Angeles-based sound designer. In 2011, she received a Drama Desk Award and a Tony Award nomination for her design of Bengal Tiger at the Baghdad Zoo.
Myers has received 20 Ovation Awards nominations since 2007, including Bent, directed by Moises Kaufman; Endgame, directed by Alan Mandel; and Play Dead, directed by Teller. In 2018, she received the League of Professional Theatre Women’s Ruth Morley Design Award. StageSceneLA has named her Sound Designer of the Year multiple times and in 2015, she won the LADCC Kinetic Award for Outstanding Achievement in Theatrical Design. Earlier, Myers was a finalist for the 2005 TCG/NEA Career Development Grant, and in 2003 won the USITT Young Designers Clear-Com Award for sound design.
She serves on the Ovation Rules Committee, is a founding board member and West Coast rep of the Theatrical Sound Designers and Composers Association, and was elected to the Western Board of United Scenic Artists Local 829 in 2017. She also serves as the Western trustee to the Local Union Executive Board of USA.
UCLA TFT’s DEPARTMENT OF THEATER ANNOUNCES ITS 2018-2019 THEATER SEASON
The season includes two plays by Pulitzer Prize-winning playwright Paula Vogel, the world premiere of ‘Rebel Genius’ and actress-producer Maria Bello’s VR presentation, ‘The Sun Ladies Project’
The UCLA School of Theater, Film and Television’s Department of Theater has announced its upcoming Mainstage theater season, which includes the production of two plays by Pulitzer Prize-winning playwright Paula Vogel, who was previously announced as the school’s inaugural Hearst Theater Lab Initiative Distinguished Playwright-in-Residence for the 2018-19 academic year.
Vogel’s play The Long Christmas Ride Home, which will be produced in November and directed by Dominic Taylor, tells the story of how a single, sudden act of violence shatters the lives of three siblings. The Mineola Twins, which will be presented in December and directed by Judith Moreland, is a satire of the women’s movement during the Eisenhower, Nixon and Reagan/Bush years.
Vogel’s How I Learned to Drive earned her the Pulitzer Prize for Drama and numerous other distinctions. Her play Indecent was nominated for Best Play at the 2017 Tony Awards and is slated for productions across the country in the 2018-19 season, including Los Angeles.
The season also includes the world premiere of Rebel Genius in March, directed by Department of Theater Chair Brian Kite and based on the life of the young and highly ambitious Albert Einstein, with book, music and lyrics by award-winning songwriter and film composer Matthew Puckett.
The world premiere of the opera Lost Childhood in May is presented in collaboration with Opera UCLA, UCLA Philharmonia and the UCLA Herb Albert School of Music. Directed by Peter Kazaras, Lost Childhood follows a Jewish psychiatrist who eluded death as a boy in Poland during the war, and a German colleague born into a family with Nazi sympathizers.
Other Mainstage productions include William Shakespeare’s Measure for Measure, directed by Tom O’Conner (November-December); Euripedes’ Medea, directed by Sylvia Blush (February); Arnold Wesker’s The Kitchen, directed by Michael Hackett (March); and The New Play Festival, showcasing the works of UCLA TFT M.F.A. candidates (April). The 2018-19 season ends with Wajdi Mouawad’s Scorched, directed by Aya Saleh. (May-June)
As part of the school’s Off-Off Mainstage productions, actress-producer Maria Bello brings The Sun Ladies VR Project to UCLA TFT. This immersive live-action documentary puts theatergoers face-to-face with a troop of Yazidi women fighters. After ISIS solders invaded the Yazidi community of Sinjar, killing all of the men and taking the women and girls as sex slaves, these brave women escaped and started a fighting unit called the Sun Ladies. Together, their goal is to bring back their sisters and protect the honor and dignity of their people. (December 2018)
“We are thinking about our season as more than simply a pedagogical space for our students to practice their work,” says Department of Theater Chair Kite. “We are moving to be a part of the larger field and theatrical fabric of Los Angeles as we develop new projects and fulfill our mission as a research institution. We want to be at the forefront of figuring out what’s next for theater, in content, style and form.”
The season’s Mainstage productions include:
The Long Christmas Ride Home, directed by Dominic Taylor (Nov. 14-18), 1340 Macgowan
Measure for Measure, directed by Tom O’Connor (Nov. 29-30, Dec. 4-8), Little Theater
The Mineola Twins, directed by Judith Moreland (Dec. 4-8), 1340 Macgowan
Medea, directed by Sylvia Blush (Feb. 1-2, 5-9), Little Theater
The Kitchen, directed by Michael Hackett (March 1-2, 5-9), Freud Playhouse
Rebel Genius, directed by Brian Kite (March 8-9, 12-16), Little Theater
Lost Childhood, directed by Peter Kazaras (May 17, 19, 21, 23), Freud Playhouse
New Play Festival: The Answer to Your Prayers, by Jeffrey Limoncelli (May 23-25), 1340 Macgowan
New Play Festival: All the Oxytocin in Your Fingertips, or ‘What’s Your Favorite Band?’ by Cary J. Simonwitz (June 6-8), 1340 Macgowan
Scorched, directed by Aya Saleh (May 31-June 1, June 4-8), Little Theater
Posted: November 14, 2018
Pulitzer Prize-winning playwright Paula Vogel named inaugural Hearst
Theater Lab Initiative Distinguished Visiting Playwright-in-Residence at UCLA TFT
Teri Schwartz, Dean of the UCLA School of Theater, Film and Television (UCLA TFT), has announced that Pulitzer Prize-winning and Tony Award-nominated playwright Paula Vogel has been named the School’s inaugural Hearst Theater Lab Initiative Distinguished Visiting Playwright-in-Residence for the 2018-19 academic year.
The Hearst Theater Lab Initiative is made possible by the William Randolph Hearst Foundation, which gifted $250,000 to UCLA TFT, and the Dean’s special initiatives that support the School’s central vision to serve as a premier storytelling school — one whose mission is educating and developing a new generation of diverse, humanistic artists, industry leaders and scholars who use the power of story to not only delight entertain, but to enlighten, engage and inspire change for a better world.
“We are thrilled and honored to welcome one of the world’s most important and profound playwrights, Paula Vogel, to UCLA TFT as our inaugural Hearst Theater Lab Distinguished Playwright-in-Residence for our 2018-19 academic year,” Schwartz says. “Paula’s works explore and illuminate the deepest aspects of our human condition, all created with her searing intelligence, tremendous warmth and extraordinary humanity. She is the consummate theater artist. I’m so happy for our students that they will have this rare opportunity to be in the midst of a modern American master, receiving remarkable insights and ideas from Paula’s brilliant master classes, staged readings and other special workshops. Having Paula Vogel with us at UCLA TFT brings our vision and mission to life as the storytelling school in the most wonderful way imaginable.”
The Initiative is designed to give distinguished playwrights, such as Paula Vogel, a home and opportunity to develop and showcase new works and works-in-progress; conduct master classes and special workshops for UCLA TFT students; and give public lectures, among other special activities.
The Initiative funds the annual undergraduate and graduate student playwriting season. It has already funded graduate student playwrights of The New Play Festival — with original works by M.F.A. playwrights Joe Samaniego and Anna Fox; An Evening of Devised Works; The M.F.A. Ones, with an original one-act play by M.F.A. playwright Ryan Stevens; and The Capstone Reading, which involved an original work by undergraduate theater student Sarah Crosthwaite — thus strengthening opportunities for playwriting students to create and stage their own works.
The Hearst gift also provides vital grants for UCLA TFT’s award-winning Theater faculty to develop and showcase new plays and works-in-progress. UCLA TFT Assistant Professor Marike Splint was chosen to be the first recipient of the Hearst Theater Lab Initiative Faculty Award for her work Biography of a Home.
Two plays by Vogel will be produced in the 2018-19 Theater Season at UCLA TFT. A Long Christmas Ride Home, directed by Dominic Taylor, will be performed Nov. 14-18 and The Mineola Twins, directed by Judith Moreland, from Dec. 4-8.
Vogel has a rich history in theater. Her play How I Learned to Drive received the Pulitzer Prize for Drama and numerous other distinctions including a Lucille Lortel, Drama Desk, Obie, Outer Critics Circle and New York Drama Critics’ Circle awards. Vogel’s most recent work, Indecent, was nominated for Best Play at the 2017 Tony Awards and is slated for productions across the country in the 2018-19 season, including Los Angeles. Her other plays include The Long Christmas Ride Home, The Mineola Twins, The Baltimore Waltz, Hot ’N Throbbing, Desdemona, And Baby Makes Seven, The Oldest Profession and A Civil War Christmas.
Among her many other awards and distinctions are a Guggenheim Fellowship, a Pew Charitable Trust Award, a Lilly Award, the Thornton Wilder Prize, a PEN/Laura Pels International Foundation for Theater Award and a TCG Residency Award. She was inducted into the American Theater Hall of Fame, received a Dramatists Guild Career Achievement Award and an Obie Award for Lifetime Achievement.
Vogel founded and ran the playwriting program at Brown University from 1984 to 2008; during that time, she started a theater workshop for women in maximum security at the Adults Correction Institute in Cranston, R.I. She was the O’Neill Chair at Yale School of Drama from 2008-2012, and was a playwright-in-residence at the Signature Theatre during the 2004-05 season. She continues her playwriting intensives with community organizations, students, theater companies, subscribers and writers across the globe.
Her current works-in-progress include The Mother Play (working title), commissioned by Center Theatre Group and Second Stage, and Cressida on Top, workshopped at the Goodman Theatre in 2018.
Photo credit: Laurie Sturdevant
Posted: November 8, 2018
Hani Farsi was born in Saudi Arabia and moved to the United States when he was 15 to attend South Kent School in Connecticut. After graduation, he went on to study for his bachelor and masters degrees in international studies at The American University in Washington, D.C. In 1993, he moved to London where he started the office of the Farsi family, organizing the investments and holdings of the family, and acting as a platform to explore further opportunities. During the mid-1990s, he created a hospitality company that grew to include various well-known London restaurants including Cecconi’s and the internationally known Soho House chain of members’ clubs.
The arts have always been a passion of Farsi’s, which has led to his involvement in the areas of theater and motion pictures. Between 1993 and 2000, he dedicated himself to the Donmar Warehouse Theatre Company in London by becoming a member of its Board of Trustees, under the direction of Sam Mendes. During Farsi’s time at the Donmar Warehouse, Mendes created such noted productions as The Blue Room, starring Nicole Kidman.
In 2007, Farsi established Corniche Group, which is active in IT, media and film, energy and mineral resources. In Summer 2008, Corniche took a significant stake in Le Pacte, a French distribution company. Farsi was the executive producer of Elia Suleiman’s The Time That Remains, which was an Official Selection at the 2009 Cannes Film Festival and was very well received.
Sloan Foundation Fellowships encourage M.F.A. students to write about real science
By Noela Hueso
After reading a Newsweek article about xenon gas, Bo Yoon (Amber) Ha, a third-year graduate filmmaking student at the UCLA School of Theater, Film and Television (UCLA TFT), became fascinated with how it is currently being used as an anesthetic in humans and might just become an effective method for treating individuals suffering from PTSD in the near future.
“Basically, it targets the brain in a way so that when you remember something, it reduces the fear around a memory,” she says. “It doesn’t erase the memory but it reduces the fear around it.”
Drawing on her undergraduate education as a human rights and comparative ethnic studies major at Columbia University, as well as time spent in Uganda, Ha wrote a screenplay that juxtaposes the xenon gas treatment of a former Ugandan civil war rebel fighter suffering from PTSD against the backdrop of a love story. Last year, Lamara earned her a $30,000 Alfred P. Sloan Foundation Fellowship in Film Production and next summer she will travel to Africa to begin filming.
Alfred P. Sloan Foundation Fellowships promote science fact in film and television — rewarding scripts that demonstrate examples of real science as well as plausible science in its themes — and every year for more than a decade, winning student projects emanating from the UCLA TFT’s Department of Film Television and Digital Media (FTVDM) have been funded by a film production grant ($30,000) and two screenwriting grants ($15,000 each, up from $10,000 in 2017); new this year is an additional $15,000 earmarked for the writing of a winning script for television.
The Sloan Foundation distributes its grants every three years and supports the writing and production efforts of students at other universities in addition to UCLA, including USC, NYU and AFI; UCLA, however, is the only public university to receive such funding. Starting with the 2018 cycle, it will collect a total of $361,648, which will be divided into three academic years and used for not only the student awards but for the administration of the grants; for the grant information website, which lists criteria, deadlines, former winners, etc.; and for celebratory announcements in the trades.
Approximately 50 UCLA TFT graduate students apply for the fellowships each year. From that number, UCLA TFT faculty cull 20 semi-finalists who are paired with science mentors, from UCLA and elsewhere, to ensure — and, prior to the final judging round, attest to — the scientific accuracy of the student scripts. (Ha’s mentors were the actual Harvard University scientists working on the revolutionary new use for xenon gas, Dr. Edward Meloni and Dr. Marc Kaufman.)
Also new this year is a dedicated Advanced Screenplay Workshop, specifically for Sloan screenwriting semi-finalists, taught by Jim Uhls (Fight Club). “The Advanced Screenplay Workshop is designed to maximize students’ ability to write the most competitive screenplays for this award,” says FTVDM Chair Kathleen McHugh. Students who are applying for the television writing grant have the option of enrolling in FTVDM classes 283B or 284B, in which students polish their stories for the small screen.
The first step for current M.F.A. students (with a minimum 3.0 GPA) who are interested in applying for a Sloan grant is to attend the annual Sloan Colloquium, a mandatory program that outlines not only the application and decision-making processes but the science resources available on campus as well. The next colloquium, for the 2019-20 awards cycle, takes place on Sunday, Nov. 4 from 10 a.m.-12 p.m. in UCLA TFT’s Freud Playhouse. The colloquium, which will be followed by lunch, is timed with the UCLA Science Fair taking place on South Campus and students attending the colloquium will have the opportunity to visit booths to be inspired and make connections.
What does a winning script look like? UCLA TFT Professor Phyllis Nagy, one of the Sloan Fellowships faculty advisors, says the judges, including entertainment industry professionals such as producer Lyna Obst (Interstellar, Contact), look for “overall excellence in writing — that would include character development, structure, plotting, metaphor, [and] integrating the science in a way that is organic to the dramatic arc of the script.”
Amber Ha’s Lamara met that criteria. But for her, applying for the Sloan was more than just trying to win the coveted grant. It was also “an opportunity to explore themes that I would not be brave enough to do on my own,” she says.
Posted: October 11, 2018
Elvis as You’ve Never Seen Him
An ancient Japanese theater form (in English) sheds light on the relationship between celebrity and humanity in Theatre Nohgaku’s “Blue Moon Over Memphis”
Since his death in 1977, there have been countless movies, books, articles, tributes and parodies about Elvis Presley. On Monday, Oct. 15, perhaps one of the most unusual portrayals of the rock and roll legend will be on display when Blue Moon Over Memphis, an English-language Noh play written by Deborah Brevoort and scored for the Noh theater by Richard Emmert, will be performed at UCLA as part of “2 Days of Noh,” presented by UCLA, Waseda University and Theatre Nohgaku.
Noh, a traditional style of Japanese theater, is more than 600 years old but continues to be a thriving theater practice in Japan. Theatre Nohgaku specializes in keeping the theater form relevant and relatable to American audiences by presenting Noh plays in English. UCLA TFT’s Noela Hueso recently sat down with company member and UCLA TFT Department of Theater Professor Tom O’Connor, who performs in and was responsible for bringing the production to UCLA.
Why Elvis? How does his story fit in the Noh construct?
Tom O’Connor: Elvis is the American Genji. Heroic, but also flawed. He is instantly recognizable (to anyone over 30, at least). This is important in Noh, because the form relies on the audience’s shared knowledge of the story of the personage being portrayed. Also, Noh relies heavily on poetic allusion, and so some of the songs we associate with Elvis may be conjured by just a word or two. You can’t say that about many musical figures.
How does Noh compare to other forms of theater or drama?
In most [contemporary] theater, there’s an attempt to make something brand new; something that will be visually impressive, that will assault the senses with different types of technical effects and amplified sound. Noh uses none of that. There are no lighting effects. The show that we are going to perform has only one lighting cue, which is lights up. [Noh is usually performed in a lit theater.] The locale, character and action are all conveyed through the actor’s body and through the costume and the wooden mask the lead actor wears. It has a fixed expression, of course, but merely through the interplay with available light and by tilting the mask ever so slightly, the performer can help the audience project different types of emotion onto the mask.
Aren’t there two lead actors in Blue Moon Over Memphis?
Blue Moon is what’s called a mugen, or “phantom” Noh and follows this convention: A traveler (in this play, a woman named Judy) goes to a place and encounters an unusual person of that place (the Southern Gentleman); that person mysteriously vanishes only to return in their true guise as a famous person we all know from the past — in this case, Elvis Presley. The Southern Gentleman and Elvis are played by the same actor.
What are some of the other conventions?
A Noh play starts and ends with an empty stage. The story is told through the actors’ bodies, mostly. Rather than showing you something that makes you think you’re somewhere else, the actors invite you to imagine another place. So, a character can travel miles by simply walking in a circle on the stage. It’s really a theater about engaging and challenging the imagination.
Noh costumes are very elaborate, aren’t they?
Yes. Some of the costumes that are held in a Noh performing family are hundreds of years old. They’re very precious and very expensive and one size fits all. The costume literally has to be sculpted and sewn onto the actor.
So, there are no costume changes.
There are, actually — and they’re difficult. There will usually be a short entr’acte at which time the actor will go offstage to get changed — and it will take three people to help him do it.
How unusual is an English-language Noh?
There is no other company in the world that does this. We are a collection of people who live in the U.S., Japan, Canada, and the U.K., who all are committed to training in Noh and then gathering, like we are next week, and creating a piece of theater.
Who is this play going to appeal to?
We want to make theater that appeals to everyone. People coming to this with no knowledge of Noh are going to be struck by the experience as being different than any other performance that they’ve ever seen. People who have a particular interest in Elvis Presley will deeply appreciate the sympathetic approach that this play takes toward him as a victim of the business, the machine that is the industry. People who are specifically interested in Japanese Studies and forms will be intrigued by how an ancient practice can translate to a new milieu. Anyone engrossed in transnational performance or studies, an idea that crosses over many of the disciplines in our campus, will appreciate seeing a theater company that is founded on a transnational model.
Why should someone who is unfamiliar with Noh come and see this play?
For one, to have a window into the form. If you were to go to Japan and see a Noh play in Japanese, as I did in 1991, you probably would be completely lost, as I was. This is a way to become [acquainted with the form]. You will have a way in both through the English language and through your larger knowledge of stardom and a particular victim of it.
How does this production reflect the TFT vision?
This is a production that exemplifies the possibility of what happens when you engage in another culture: How do you allow yourself to be positively influenced by that without stealing from it, without cultural appropriation? We are submitting ourselves as students to the form and allowing the form to live within us and then using it to tell our own stories or stories of our own culture.
Has anything like this ever been performed at UCLA?
I don’t think English Noh has ever been performed at UCLA. Two of the performers who will be present in our production, however, Richard Emmert and Akira Matsui, were in residence 15 or 16 years ago. Both were brought in to teach a class by [UCLA TFT professor emerita] Carol Fisher Sorgenfrei when she was a professor here.
You were instrumental in bringing Blue Moon to UCLA and you also perform in it. What is your role?
I will be singing in the chorus. I also designed and built the tsukurimono — one small set piece, which is supposed to represent the Graceland gate. A stage attendant carries out this little prop and sets it down and, just like that, we’re in Graceland.
That’s another sign of Noh, right? There’s hardly any set.
Hardly. Some have none, many others have a single small item that represents the change in locale.
The use of a fan is also significant. Can you elaborate?
You need two things when performing Noh: The fan and the tabi — bifurcated socks that are worn; feet are very expressive in Noh. The fan becomes an extension of gestures. When the fan is closed, it has the shape of a stick or a rod. When the fan is open, it is flat. From these two very basic shapes, any number of possible objects can be imagined. When it’s open, a fan can become a pitcher pouring saki. When it’s closed, it can become a sword. It’s not becoming in any realistic sense but it’s more of an indexical sense — the fan and the gesture imply something that leads you to finish the picture. From that, and from hearing the story, you understand what is happening.
Part of what makes Noh so distinctive is the music and the calls that the musicians make.
There is a floutist and three drummers in the hayashi ensemble: taiko, otsuzumi and kotsuzumi, and each of the drums makes a different sound. The drumming itself is only a very small part of what a drummer does. The calls they make are also very important. They each have a repertory of drum calls, depending on what instrument they’re playing. At first these calls are jarring and strange, but they grow on you. Taken together, the sounds of hayashi instrumentation are incredibly moving, when you give in to them.
How did you become interested in Noh?
I got into it through being exposed to butoh, which is an experimental dance theater form. When I stumbled into a Noh performance at the National Noh Theater, even though I had no idea what was going on, I knew that I was in the presence of something ferocious, something that was really alive.
I am now doing something — a big part of my professional life — that I’d never heard of when I was in college, so that affects the way I think about theater training. I’m interested in training people for the possibilities, training someone to do something that neither of us can even imagine yet, cultivating students’ ability and interest in investigation, getting them to ask not just, ‘How is it usually done?’ but ‘What’s possible?’
Blue Moon Over Memphis is presented by UCLA, Waseda University and Theatre Nohgaku, and made possible by grants from the UCLA Arts Initiative and the Yanai Initiative. Additional support provided by the Terasaki Center for Japanese Studies, the UCLA Department of Theater, and the Japan Foundation Los Angeles.
Blue Moon Over Memphis was developed in part with assistance from the Orchard Project, a program of The Exchange.
October 15, 2018
Glorya Kaufman Dance Theatre
Kaufman Hall, UCLA
$30 VIP tickets with bento dinner
$15 general admission
$10 UCLA faculty and staff
Students free at the door with ID
Posted: October 9, 2018
Generous support for the New Play Festival, M.F.A. Ones, An Evening of Devised Works and
The Paula Vogel Workshop is made possible by the William Randolph Hearst Foundation,
as part of a grant for The Hearst Theater Lab Initiative.
Parking: $12. Structure 3 (245 Charles E. Young Drive East)
The Long Christmas Ride Home
By Paula Vogel
Directed by Dominic Taylor
Two parents take their three young children on a road trip to visit their grandparents for the Christmas holiday. A breathtaking work by the Pulitzer Prize-winning author of How I Learned to Drive and The Baltimore Waltz, in which a single, sudden act of violence shatters the lives of three siblings — and also unites them.
November 14-16, 8:00 p.m.
Saturday, November 17, 2:00 p.m. and 8:00 p.m.
Sunday, November 18, 2:00 p.m.
“Profoundly sad and shot through with fiercely beautiful writing…with its adventurous blend of puppets, live actors and Japanese theatrical elements, it’s also Vogel’s most daring work — and one of her best.”
— Markland Taylor, Variety
Measure for Measure
By William Shakespeare
Directed by Tom O’Connor
Vienna is beset with brothels and loose morality, but the Duke is unwilling to use his authority to clean up the city and departs, leaving his deputy, Angelo, in charge, who begins to make changes. Measure for Measure explores how human nature and the law often collide.
November 29-30, Dec 4-7, 8:00 p.m.
Saturday, December 1 and 8, 2:00 p.m. and 8:00 p.m..
“[Measure for Measure] includes some of the finest moral argumentation in the canon: thrilling back-and-forths between well-matched antagonists with a great deal on the line.” — Jesse Green, The New York Times
The Mineola Twins
By Paula Vogel
Directed by Judith Moreland
A satire of the women’s movement during the Eisenhower, Nixon and Reagan/Bush years is told through the lives of battling identical twins, Myra and Myrna, from Mineola, New York.
December 4-7, 8:00 p.m.
Saturday, December 8, 2:00 p.m. and 8:00 p.m.
“The Mineola Twins strikes a fine balance between humor and drama…it’s one of [Vogel’s] most appealing, accessible plays.” — Nick Green, Chicago Reader
“Vogel comments on a world in which rules hem in women while there are, as Myrna says with placid acceptance, ”no absolutes for guys.'”
— Ben Brantley, The New York Times
(non-ticketed, no reservations)
Maria Bello’s The Sun Ladies VR Project
This immersive live-action documentary brings you face-to-face with a troop of Yazidi women fighters. After ISIS soldiers invaded the Yazidi community of Sinjar, killing all of the men and taking the women and girls as sex salves, these brave women escaped and started a female-only fighting unit called the Sun Ladies. Together, their goal is to bring back their sisters and protect the honor and dignity of their people.
Freshman Fall Performance Workshop
Directed by Jeff Maynard
Translated by Michael Collier and Georgia Machemer
Directed by Sylvia Blush
Medea follows a wife’s calculated desire for revenge against her unfaithful husband. Medea uncovers our worst fears, and when combined with its psychological plausibility, makes it as terrifying today as it was almost 2,500 years ago.
Feb. 1-2, 5-8, 2019, 8:00 p.m.
Saturday, Feb. 9, 2019, 2:00 p.m., 8:00 p.m.
“Medea’s acts may be monstrous, but the woman who performs them is a mass of confused impulses and thwarted drives that elude easy categorization.” — Ben Brantley, The New York Times
“Of all the scary characters in Greek tragedy, Medea is surely the most terrifying and the one who gets most disturbingly under our skin.” — Charles Spencer, The Telegraph
By Arnold Wesker
Directed by Michael Hackett
The Kitchen spans a day’s work at a chaotic London restaurant. It praises the values of teamwork while criticizing the exploitation of workers. The protagonists are the kitchen staff and food servers who waver between anger and hope for new working conditions.
March 1-2, 5-8, 2019, 8:00 p.m.
Saturday, March 9, 2019, 2:00 p.m., 8:00 p.m.
“Arnold Wesker’s 1959 play The Kitchen helped define an era of English drama.” — Karen Fricker, Variety
World Premiere Musical
Book, Music and Lyrics by Matthew Puckett
Directed by Brian Kite
Choreographed by Dana Solimando
Musical Direction by Dan Belzer and Jeremy Mann
A new musical from award-winning songwriter and film composer Matthew Puckett, based on the life of the young and highly ambitious Albert Einstein. Rebel Genius crashes physics and love into one another as Albert falls madly in love with Mileva Maric and then risks everything he has to find a perfect Unified Theory of the Universe.
March 8-9, 12-15, 2019, 8:00 p.m.
Saturday, March 16, 2019, 2:00 p.m., 8:00 p.m.
(non-ticketed, no reservations)
Two exciting plays from UCLA TFT M.F.A. second-year directors
By Mona Mansour
Directed by Jean Carlo Yunen
Conflict photographer Mia wakes up in the Istanbul apartment of Derya, her on-again, off-again girlfriend, after being found unconscious at the scene of a massacre she was photographing. When Mia’s well-meaning Californian mother arrives, we discover some of the dynamics between all three women, and how they navigate the difficulties of the worlds they encounter.
February 28 and March 1, 2019, 8:00 p.m.
Saturday, March 2, 2019, 2:00 p.m. and 8:00 p.m.
“Mansour’s play provides a face for those brave photojournalists who risk their lives everyday using their cameras to tell dangerous, true stories set in exotic locales.” — Colin Douglas, Chicago Theatre Review
“Unseen was riveting…it looks at the morality of Mia’s job, the privilege of living in America, and the relativity of struggle.”
— Marielle Shaw, Third Coast Review
By Martin Sherman
Directed by Mark Anthony Vallejo
Bent follows the life of Max, a gay man living in Germany in the 1930s. The play explores the loss of humanity and individuality of all people during World War II.
March 14-15, 2019, 8:00 p.m.
Saturday, March 16, 2019, 2:00 p.m., 8:00 p.m.
“The open sound of dismay that washed across the auditorium on the night I saw Bent was one I have never quite heard before — belief, disbelief, shock, and half-understanding all mixed together.”
— Walter Kerr, The New York Times
“Bent exhibits enduring power of love, courage and identity.”
— Charles McNulty, Los Angeles Times
(non-ticketed, no reservations)
The Paula Vogel Workshop
The Lainie Kazan Project
Directed by Lainie Kazan
A studio presentation of songs.
March 18-19, 2019, 7:30 p.m.
World Premiere Opera
Music by Janice Hamer, Libretto by Mary Azrael
Based on the memoir “The Lost Childhood” by Yehuda Nir
Conducted by Neal Stulberg
Stage Direction by Peter Kazaras
Costume design by Ruoxuan Li
Lost Childhood follows a Jewish psychiatrist who eluded death as a boy in Poland during the war, and a German colleague born into a family with Nazi sympathies. With searing emotion and heartwarming lyricism, the music recollects the terrors of the Holocaust and inspires a hopeful vision of the future. Featuring scenic and lighting designers from the Department of Theater and performers from the UCLA Herb Alpert School of Music. Presented in collaboration with Opera UCLA, UCLA Philharmonia and the UCLA Herb Alpert School of Music.
May 17, 21 and 23, 2019, 8:00 p.m.
Saturday, May 19, 2019, 2:00 p.m.
“Mouawad’s intensely personal, poetic style has proved highly popular… finding a bleak beauty in the darkest moments.”
— Richard Ouzounian, Variety
The New Play Festival 2019
The Answer to Your Prayers
By Jeffrey Limoncelli
To save his Catholic school from shutting down, Zachary, a devout fundraiser, accepts a million-dollar donation from Crow, a satanic magician. But when Crow tempts hime with a double-or-nothing bet, Zachary must decide what it really means to be a savior.
May 23-24, 2019, 8:00 p.m.
Saturday, May 25, 2019, 2:00 p.m. and 8:00 p.m.
All the Oxytocin In Your Fingertips, Or
“What’s Your Favorite Band?”
By Cary Simowitz
ASL. ASMR. Tut. A Deaf of Hearing individual, raised in a caustic household where sign language is forbidden, secretly navigates three different communities that are united by a passionate belief that communication (and love) can ignite from all the sparks alive in your fingertips. This exciting new coming-of-age story poses the question: “Would you rather be a marginalized person in a ‘normal’ world…or a ‘normal’ person in a marginalized world?”
June 6-7, 2019, 8:00 p.m.
Saturday, June 8, 2019, 2:00 p.m. and 8:00 p.m.
By Wajdi Mouawad
Translated by Linda Gaboriau
Directed by Aya Saleh
In this epic mystery, twins Janine and Simon receive a surprising request in their late mother’s will: To deliver letters to a father they thought was dead and a brother they never knew existed. These tasks lead them on a suspenseful journey to the heart of their mother’s war-torn Middle Eastern homeland.
May 31-June 1, June 4-7, 2019, 8:00 p.m.
Saturday, June 8, 2019, 2:00 p.m. and 8:00 p.m.
(non-ticketed, no reservations)
An Evening of Devised Works
Collaborative works written and presented by M.F.A. students.
May 23-24, 2019, 7:30 pm.
Saturday, May 25, 2019, 2:00 p.m. and 7:30 p.m.
(non-ticketed, no reservations)
The 2019 M.F.A. Ones
Original work by M.F.A. playwriting students
Friday, June 7, 2019 at 7:30 p.m.
Saturday, June 8, 2019 at 2:00 p.m. and 7:30 p.m.
70th Primetime Emmy Awards Nominations
Alumnus ALEX GIBNEY, the executive producer of City of Ghosts, and UCLA TFT Executive Board Member FRANK MARSHALL, the executive producer of What Haunts Us, will each receive an honorary Primetime Emmy Award for Exceptional Merit in Documentary Filmmaking at this year’s 70th Primetime Emmy Awards celebration, taking place Monday, Sept. 17 at the Microsoft Theater in Downtown Los Angeles. Eleven additional Bruins are Emmy Award nominees, including singer-actress SARA BAREILLES and actor MICHAEL STUHLBARG:
SARA BAREILLES (B.A. ’02), actress, Jesus Christ Superstar Live in Concert
Supporting Actress in a Limited Series or Movie Actress
STEFFANY BERNSTEIN-PRATT (B.A. ’93), costume supervisor, Empire
DAVID CRAWFORD (B.A. ’11), sound mixer, Jesus Christ Superstar
Sound Mixing for a Variety Series or Special
ANDREA MAE FENTON (B.A. ’86), set decorator, Grace and Frankie
Production Design for a Narrative Program (Half-Hour or Less)
AMANDA GLAZE (B.A. ’08), producer, The Zen Diaries of Garry Shandling
Documentary or Nonfiction Special
REBECCA GUZZI (M.F.A. ’13), assistant costume designer, The Assassination of Gianni Versace: American Crime Story
ERIC HOEHN (B.A. ’13), co-supervising sound editor, Godless
Sound Editing for a Limited Series, Movie or Special
OMEGA HSU (B.A. ’85, M.F.A. ’92), editor, The Voice
Picture Editing for a Structured or Competition Reality Program
JOHN MATTER (M.F.A. ’04), foley editor, Game of Thrones
Sound Editing for a Comedy or Drama Series (One-Hour)
DOUG PRAY (M.F.A. ’91), executive producer, editor, co-writer, The Defiant Ones
Documentary or Nonfiction Series
Picture Editing for a Nonfiction Program
Writing for a Nonfiction Program
MICHAEL STUHLBARG, actor, The Looming Tower
Supporting Actor in a Limited Series or Movie
Posted: August 14, 2018
UCLA TFT/UCA STORYTELLING INSTITUTE IN CANNES, FRANCE: April 15-May 26, 2019
Unique new stories will once again be created in the beautiful seaside town of Cannes, France, when the UCLA School of Theater, Film and Television/Université Côte D’Azur (UCLA TFT/UCA) Storytelling Institute in Cannes commences in Spring 2019.
This immersive, in-residence graduate-level feature film screenwriting program, now in its second year, is designed to advance the artistry and skills of the next generation of outstanding, diverse humanistic cinematic storytellers. Throughout the six weeks in Cannes, the Institute’s program is framed by UCLA TFT’s unparalleled screenwriting curriculum, along with professional screenwriting instruction from UCLA TFT and UCA faculty. Select UCLA TFT and French graduate screenwriting students will complete a fully realized first draft feature film screenplay. In the final two weeks, they will have the opportunity to experience master classes with distinguished filmmakers and screenwriters, discussions, special screenings and other professionally oriented activities at the Cannes Film Festival.
Created by UCLA TFT in partnership with UCA, the Mayor and the City of Cannes, France, the president and director of the international Cannes Film Festival and Vivendi/Canal+, key sponsorship for the program and a “first look” opportunity for the students who participate in the program will be provided by Vivendi/Canal+.
“I want to express my great appreciation to all of the partners for their exceptional commitment to the success of the inaugural Storytelling Institute last year,” says UCLA TFT Dean Teri Schwartz. “To have this groundbreaking, ‘first look’ graduate screenwriting program with Vivendi/Canal+ in the beautiful and inspiring city of Cannes, and overlapping with the experiences of our inaugural class at the world-renown Cannes Film Festival, was nothing short of remarkable.”
UCLA TFT alumni have long had association with the Cannes Film Festival. Alumnus Francis Ford Coppola’s film Apocalypse Now won the Palme d’Or in 1979, and Taxi Driver, written by alumnus Paul Schrader, earned the prize in 1976 for director Martin Scorsese.
Created in 2015, Université Côte d’Azur is a community of universities and establishments dedicated to research and training. UCA is an internationally renowned university recognized for its innovative educational program, its high quality of research, and its anchoring in the local ecosystem.
Applications to apply for the Institute will open on Wednesday, Sept. 5, 2018 and close on Sunday, Oct. 14, 2018.
UCLA TFT/UCA STI 2018: (First row, seated, from left) Frank Cadoret, Deputy General Manager of Canal+ France; Pierre Lescure, President of the Cannes Film Festival; David Lisnard, Mayor of Cannes; Jean-Marc Gambaudo, President of the Université Côte d’Azur; Samira Karrach, Executive Director IDEX of the Université Côte d’Azur; and Amandine Maudet, Head of Content Development at Vivendi pose with UCLA TFT Dean Teri Schwartz (second row, left), UCLA TFT and UCA faculty, and members of the Cannes mayor’s office at the inaugural Storytelling Institute in Cannes.
Posted: August 3, 2018
Veronica Paredes’ research focuses on reconfigured urban media spaces and feminist digital practices in pedagogy and collective organizing. She is currently working on a book project about movie theater use, reuse, and representation in urban space, emphasizing how intermedial connections and social, racial and cultural dimensions of moviegoing disrupt popular understandings of vintage movie theaters.
Paredes is also an active member of the networked feminist collective FemTechNet and Situated Critical Race & Media (SCRAM). SCRAM is presently working on an online multimodal plug-n-play pedagogical platform with iterative playlists for collaborative critical making and mapping of media called FemTechSonic. The current prototype focuses on Games, Sound, and Location. Her individual work has been published in Amodern; collaboratively written work has been published in Frontiers: A Journal of Women Studies, and is also forthcoming in the newest volume of the Debates in Digital Humanities series, Bodies of Information.
Before arriving at the UCLA School of Theater, Film and Television, Paredes taught at The New School and New York University, and the University of Illinois at Urbana-Champaign. At the University of Illinois, she led the Experimental Media Arts Lab at the National Center for Supercomputing Applications (XMAL@NCSA).
Paredes received her Ph.D. from the Media Arts + Practice program at the University of Southern California’s School of Cinematic Arts.
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