COURSES TAUGHT: Master Class in Writing for Musical Theatre
KIRSTEN CHILDS is the award-winning writer of the musicals The Bubbly Black Girl Sheds Her Chameleon Skin (Playwrights Horizons), Miracle Brothers (Vineyard Theatre), Fly (with Rajiv Joseph and Bill Sherman), and Funked Up Fairy Tales. For her work she has received Obie, Kleban, Larson, Richard Rodgers, Audelco, and Gilman/Gonzalez-Falla awards, as well as Lortel and Drama Desk nominations. She recently collaborated with Charlayne Woodard on the musical Grace for Inner Voices: Solo Musicals. Kirsten has written for Disney Theatricals, the American Songbook series at Lincoln Center, the New Electric Company, Works and Process @ Guggenheim Museum, and City Center Encores! She is a professor in NYU’s Graduate Musical Theater Writing Program, a member of both the Dramatists Guild Council and the Dramatists Guild Fund, and is proud to be a mentor in Theatre Development Fund’s Open Doors program. Her newest musical, Bella: An American Tale, will play at Playwrights Horizons in May, 2017.
GRETCHEN CRYER is most well known for writing the book & lyrics and starring in I’m Getting My Act Together and Taking It On the Road (with music by Nancy Ford) which originated at the Public Theater and then transferred to the Circle in the Square where it ran three years. In Chicago the show won the Joseph Jefferson Award for Best Musical, Best Actress. The album won a Grammy nomination. Gretchen has written numerous other shows with Nancy Ford - Now Is the Time for All Good Men (Lortel Theater), The Last Sweet Days of Isaac (Obie Award - Best Musical, Drama Desk Award, Outer Critics Circle Award), Shelter (Golden Theater), Hang On to the Good Times (Manhattan Theater Club), Eleanor (Williamstown), The American Girls Revue (American Girl Place - Chicago, New York, and Los Angeles), Circle of Friends (American Girl Place - Chicago and New York) and Anne of Green Gables (Theaterworks USA). Cryer and Ford's new show, Still Getting My Act Together, premiered at the Laguna Playhouse last fall. Gretchen's new play Changing is slated to be done at the Intiman Theater in 2017. Gretchen has taught "Creating Your Own Solo Performance" at Denison University, Colorado College, and has conducted master classes at various schools around the country. She has taught the course privately for twelve years in New York City. She has won a Kleban Award and holds honorary doctorates from Eastern Michigan and Colorado College. Gretchen is on the Dramatists Guild Council and is President Emeritus of the Dramatists Guild Fund.
COURSES TAUGHT: The Architecture of Musicals
JOHN DIETRICH has had a career immersed in musical theatre storytelling working as a professional Director, Choreographer, Writer and Educator. This has included a 17-year relationship with Radio City Entertainment, where he was the Director/ Choreographer for the world-famous Rockettes, for Rockette Special Events, as well as for the Radio City Christmas Spectacular. Other work includes well over a hundred shows in a vast range of entertainment genres: from Television to Off-Broadway & Regional theatre, from Industrial shows to Ice shows. He has created and written for Walt Disney Entertainment, as well as for Dolly Parton & Dollywood Entertainment. He was the creative director for Niles Creative Group, a film production company specializing in large scale theatrically based film and video productions worldwide. He wrote the book & lyrics for the musical THINGS AS THEY ARE, based on the life of documentary photographer Dorothea Lange. It was a Next Link selection for the New York Musical Theatre Festival and received the “Best of Fest” Award for most popular show. It was also twice nominated for the prestigious Fred Ebb Award in 2009 and 2011. ONLY ANNE, an adaptation of Jane Austen’s Persuasion, written with composer Will Buck, received development at the Rhinebeck Writer’s Retreat and was produced at the 2016 Goodspeed Festival of New Musicals.
John teaches a two-part master class for the NYU Graduate Musical Theatre Writing Program titled Dance as a Storytelling Device in the Writer’s Toolbox with dance arranger David Chase, and was on the Adjunct Faculty at Marymount College of Manhattan teaching a course in Musical Theatre Performance. He received his MFA from New York University, Tisch School of the Arts, in Musical Theatre Writing, and his MA from New York University Gallatin School in Musical Theatre Structure & Directing Theory. He also holds a Bachelor of Music degree from the University of Wisconsin. He currently continues to freelance as a Director/Choreographer & Writer while being an academic advisor in NYU Tisch Drama for their musical theatre students as well as being the department’s Manager of Faculty Services.
COURSES TAUGHT: The Business of Writing for the Stage
DAVID FAUX serves as the Associate Executive Director of Business Affairs for the Dramatists Guild of America, Inc.. In addition to his Juris Doctorate from Brooklyn Law School, he holds a Master of Science in social sciences from the University of Oregon and a Master of Arts from the University of California-Santa Barbara. As a Fulbright Fellow, he studied local, creative expressions of Buddhism in South Korea. Dave sits on the Executive Committee that represents the business of Entertainment and Arts lawyers for the New York State Bar Association.
GARY GARRISON is the Director of the Dramatists Guild Institute. For the last decade, he served as the Co-Executive Director of the Dramatists Guild of America (alongside Ralph Sevush). Prior to his work at the Guild, Garrison filled the posts of Artistic Director, Producer and full‑time faculty member in the Goldberg Department of Dramatic Writing at NYU's Tisch School of the Arts for 30 years, where he produced over 45 different festivals of new work, collaborating with hundreds of playwrights, directors and actors. Garrison’s plays include Ties That Bind, Skirting the Issue, Caught Without Candy, Game On, The Sweep, Verticals and Horizontals, Storm on Storm, Crater, Old Soles, Padding The Wagon, Rug Store Cowboy, Cherry Reds, Gawk, Oh Messiah Me, We Make A Wall, The Big Fat Naked Truth, Scream With Laughter, Smoothness With Cool, Empty Rooms, Does Anybody Want A Miss Cow Bayou? and When A Diva Dreams. This work has been featured at the City Theatre of Miami, Boston Theatre Marathon, Primary Stages, The Directors Company, Manhattan Theatre Source, StageWorks, Open Door Theatre, Pulse Ensemble Theatre, Expanded Arts and New York Rep. His recent work as guest artist or master teacher of playwriting involve such institutions as Sewanee Writer’s Conference, The Kennedy Center for the Performing Arts, CityWrights, The Inkwell and Source Theatre in D.C., Baltimore Playwrights Festival, New Hampshire Playwrights Festival, Last Frontier Theatre Conference, Southeast Theatre Conference, Northwest Theatre Conference and Boston Playwrights. He is the author of the critically acclaimed The Playwright’s Survival Guide: Keeping the Drama in Your Work and Out of Your Life, Perfect Ten: Writing and Producing the Ten‑Minute Play, A More Perfect Ten and two volumes of Monologues for Men by Men. He is on the Tony Administration Committee for the Tony Awards and the program director for the Summer Playwriting Intensive for the Kennedy Center. A collection of short plays, Verticals and Horizontals, was published last spring by Original Play Publishers in Los Angeles. In April of 2014, The Kennedy Center for the Performing Arts instituted the National Gary Garrison Ten-Minute Play Award given to the best ten-minute play written by a dramatist.
COURSES TAUGHT: Lyric Writing for Playwrights
ADAM GWON is a composer and lyricist whose musicals have enjoyed more than 200 productions worldwide. Off-Broadway: Ordinary Days (Roundabout Theatre), Old Jews Telling Jokes (Westside Theatre); Regional: String (Village Theatre), Cake Off (Signature Theatre, Helen Hayes Award nomination), Cloudlands (South Coast Repertory), The Boy Detective Fails (Signature Theatre), Bernice Bobs Her Hair (Lyric Theatre of Oklahoma); West End: Ordinary Days (Trafalgar Studios). Adam’s songs have been performed at Carnegie Hall, Lincoln Center, the Kennedy Center, and more, by such luminaries as Audra McDonald, Kelli O’Hara, and Brian d’Arcy James. Honors include the Kleban Award, Fred Ebb Award, Richard Rodgers Award, Loewe Award, Second Stage Theatre’s Donna Perret Rosen Award, Weston Playhouse New Musical Award, ASCAP Harold Adamson Award, and the MAC John Wallowitch Award. Recordings include: Ordinary Days (Ghostlight Records), Audra McDonald’s Go Back Home (Nonesuch), The Essential Liz Callaway (Working Girl Records), Over the Moon: The Broadway Lullaby Album. Adam has been a fellow at the MacDowell Colony and the Dramatists Guild.
COURSES TAUGHT: Musical Composition, Musical Theatre Songwriting for the Composer-Lyricist
MARK HOLLMANN received the Tony Award®, the National Broadway Theatre Award, and the Obie Award for his score to Urinetown the Musical, which had its start in the 1999 New York International Fringe Festival. It won Outer Critics Circle, Drama League, and Lucille Lortel Awards for best musical in addition to garnering ten Tony Award® nominations. Other shows as composer/lyricist include Yeast Nation (2011 New York International Fringe Festival, Perseverance Theatre, American Theatre Company, and Ray of Light Theatre), Bigfoot and Other Lost Souls (Atlantic Stage and Perseverance Theatre), The Man in the White Suit (New York Stage and Film), The Girl, the Grouch, and the Goat (University Theatre, U. of Kansas), Alchemist the Musical (Seattle Fringe Festival), Jack the Chipper (Greenview Arts Center, Chicago), Kabooooom! (University Theater, U. of Chicago), I Think I Can and Deal with It! (Berkshire Theatre Festival), and Fare for All (Mount Vernon Hotel Museum & Garden, NYC). Actor and/or co-writer for the Cardiff Giant Theater (Chicago) productions of The Rack, Theater of Funny, The Mercy Ripper, LBJFKKK, Love Me, All Eight Die, and After Taste, the last of which he also directed. TV: songs for Disney Channel’s "Johnny and the Sprites." He has served on the Tony Nominating Committee, serves on the Council of the Dramatists Guild of America, and is a member of ASCAP. He is also a member of Sure Foundation Lutheran Church in Woodside, Queens, where he serves as a part-time pianist. He and his wife Jilly live in Manhattan with their sons, Oliver and Tucker.
COURSES TAUGHT: Master Class in Playwriting
TINA HOWE’s best known plays include Birth and After Birth, Museum, The Art of Dining, Painting Churches, Coastal Disturbances and Pride’s Crossing - all published by TCG. Among her many awards are an Obie, Guggenheim, Rockefeller, two N.E.A’s, a New York Drama Critics’ Circle Award, Tony nomination, Pulitzer finalist (twice), William Inge Award, Lilly Award for Lifetime Achievement and most recently a PEN Master American Playwright Award. Newly retired, Miss Howe taught at Hunter College for 25 years, launching the Rita and Burton Goldberg MFA in Playwriting in 2010. She has proudly served on the Council of the Dramatists Guild for just as long.
COURSES TAUGHT: Writing Workshop II
CHISA HUTCHINSON: Having never even seen a play until high school, Chisa caught up mighty fast by earning a B.A. in Dramatic Arts from Vassar College and an M.F.A. in Playwriting from NYU’s Tisch School of the Arts. She has since been commissioned to write several plays and has even written a few just for kicks, includingDirt Rich (SummerStage), She Like Girls (the Lark Play Development Center, the Ohio Theatre, NJPAC), This is Not the Play (Mad Dog Theater Company, Cleveland Public Theater), Sex on Sunday (the Lark Play Development Center, the BE Company, Trustus Theatre), Tunde's Trumpet (SummerStage, BOOM Arts), The Subject (Atlantic Theater Company, Playwrights’ Foundation, Victory Gardens, Partial Comfort, and Rattlestick Theater) , Mama's Gonna Buy You (WorkShop Theater Company, Inge Center for the Arts), Somebody's Daughter (Cherry Lane, Second Stage), Alondra Was Here (the Wild Project), and Dead & Breathing (the Lark Play Development Center, Contemporary American Theater Festival, National Black Theatre).
Chisa has been a Lark Fellow, a Dramatists Guild Fellow, a Humanities Fellow, a Resident at the William Inge Center for the Arts, a staff writer for the Blue Man Group and an ensemble member of the New York NeoFuturists. She has been a two-time finalist for the Weissberger Award, a finalist for the Heideman and a finalist for the highly coveted PONY Fellowship. She actually wins awards sometimes, too, like the GLAAD Award she got for her play, She Like Girls, the John Golden Award for Excellence in Playwriting, a Lilly Award for Most Outstanding Playwright at the Beginning of Her Career, a New York Innovative Theatre Award, the Paul Green Award, a Helen Merrill Award, a Lanford Wilson Award, and most recently a Thom Thomas Award.
Chisa just finished her residency as a Tow Fellow at Second Stage Theatre where she premiered her play, Somebody's Daughter. She is a proud fourth-year resident at New Dramatists, teaches creative writing at the University of Delaware, and is about to delve into the world of TV on a project for A&E/Lifetime.
COURSES TAUGHT: Acting for Dramatists
CHRISTINE TOY JOHNSON is an award-winning writer, actor, director, filmmaker, and advocate for inclusion based in New York City. Her plays and musicals have been developed/produced at such places as the Roundabout Theatre Company, the O’Neill Theater Center, the Barrow Group, Village Theatre, Prospect Theater Company, Weston Playhouse, Crossroads Theatre Company, InterAct Theater Company, and the Atlanta Black Theatre Festival, and have been published by Indie Theater Now. Plays include The Secret Wisdom of Trees, Guilty Until Proven Innocent, Paper Son, Internal Bleeding, The New Deal, Diary of a Domestic Goddess (with Kevin Duda), Truth Against the World: The Life and Loves of Frank Lloyd Wright, and Adventures of a Faux Designer Handbag. Musicals (book and lyrics) include Barcelona (with Jason Ma), and Till Soon, Anne (with Bobby Cronin).
Screenplays include No Wave Without Wind (with Charles Randolph-Wright), Jumping the Third Rail (winner, 2016 Meryl Streep/IRIS Writers Lab Fellowship), Winning New York (Screenplay and lyrics with composer Bobby Cronin, produced by New York Film Academy), and Food Like Love (screenplay and lyrics with composer Bobby Cronin, produced by New York Film Academy). An anthology of her work was inducted into the Library of Congress Asian Pacific American Performing Arts Collection in 2010.
As a performer, she has been breaking the color barrier in non-traditionally cast roles for over 25 years, and has been featured extensively on Broadway, off-Broadway, in regional theatres across the country, in film, television, and concerts worldwide. Highlights include: Broadway - The Music Man, Grease!, Chu Chem; National Tours - Bombay Dreams, Flower Drum Song, CATS. Off-Broadway: Merrily We Roll Along (cast album), Pacific Overtures, Balancing Act (cast album), Philip Goes Forth (Mint Theatre), Genesis (NYSF) etc; Television - nearly 100 appearances including "The Americans" (recurring), "Law and Order: SVU" (recurring), "Mr. Robot", "Unbreakable Kimmy Schmidt", "Madame Secretary", "The Blacklist", "Braindead", "Mozart in the Jungle", "30 Rock", "Ugly Betty", "Nunsense", "Nunsense II", 2 years on "One Life to Live", etc.
Christine has given master classes in Song Performance, Scene Study and Mining Character Subtext at such places as the Yale School of Drama, the O’Neill Theatre Center National Theater Institute, The Kennedy Center American College Theatre Festival, New York Film Academy, The Poor Mouth Theatre Company and the National Dance Institute (NDI).
She is a proud member of the Council of the Dramatists Guild, where she is also chair and initiator of the Diversity, Equality & Inclusion Committee, and a member of the Publications Committee. She also serves on the Council of Actors’ Equity Association, where she is chair of the union’s EEOC and Equity News Advisory Committee. She received the Rosetta LeNoire Award for “outstanding contributions to the universality of the human spirit” from Actors’ Equity Association in 2013, is a graduate of Sarah Lawrence College and the Certificate of Screenwriting Program at NYU, an alumna of the BMI Lehman Engel Musical Theatre Workshop and the founder of The Asian American Composers and Lyricists Project. www.christinetoyjohnson.com.
Deborah Zoe Laufer
COURSES TAUGHT: Writing Workshop II
DEBORAH ZOE LAUFER's play, Informed Consent, opened at the Duke on 42nd Street, a co-production of Primary Stages and Ensemble Studio Theatre, in August, 2015. An Alfred P. Sloan Foundation commission through EST, it first received productions at Cleveland Playhouse and Geva Theatre Center. Her works have also been produced at Steppenwolf Theatre Company, Cincinnati Playhouse in the Park, Actor’s Theatre of Louisville, Portland Stage, and 80 other theaters around the country, in Germany, Russia and Canada. End Days was awarded The ATCA Steinberg citation and appeared at Ensemble Studio Theatre through a Sloan Grant. It received a rolling work premiere through the National New Play Network, and went on to receive over 50 productions after that. Other plays include Leveling Up, Sirens, Out of Sterno, The Last Schwartz, Meta, The Three Sisters of Weehawken, Fortune, The Gulf of Westchester, Miniatures, and Random Acts. Deb is a recipient of the Helen Merrill Playwriting Award and the Lilly Award and grants and commissions from The Edgerton Foundation, the NEA and NNPN. Her plays have been developed at PlayPenn, The Eugene O’Neill NPC, Williamstown Theatre Festival, Ojai, The Missoula Colony, The Cherry Lane Alternative, the Dramatists Guild, New Georges, The Lark, Asolo Rep. and the Baltic Playwrights Conference. She is a graduate of The Juilliard School and a member of The Dramatists Guild.
ANDREA LEPCIO is best known for Looking for the Pony, a finalist for the Dramatists Guild Hull-Warriner Award and for the NEA Outstanding New American Play Award. It was presented in a "Rolling World Premiere" Off-Broadway at Vital Theatre Company in New York and Synchronicity Performance Group in Atlanta and subsequent productions. Recent productions include Tunnel Vision at Off the Wall in Pittsburgh, Dinner at Home between Deaths at Odyssey Theatre in Los Angeles and The Gold at New York Musical Festival. She is currently working on a EST/Sloan commissioned play about climate change and a new musical Somebody Please Tell Me Who I Am with songwriter Tina DeVaron. Additional plays and musicals under development include Strait of Gibraltar (Geva Theatre Center and upcoming at Synchronicity Theatre in Atlanta), Central Avenue Breakdown (FwdTheatre) and Lf&Tms (Music Theatre Factory). Andrea is a member of the Dramatists Guild, was a Dramatists Guild Fellow and served as the Dramatists Guild Fellows Program Director for ten years. She teaches playwriting at College of the Atlantic and was a visiting faculty member at Carnegie Mellon University in Graduate Dramatic Writing. M.F.A. in Dramatic Writing, Carnegie Mellon University. B.A. Human Ecology, College of the Atlantic. She lives in Maine, which means she travels often.
COURSES TAUGHT: The Art of Rewriting
MICHELE LOWE received the Francesca Primus Prize for her play Inana (Denver Center Theatre) and was a finalist for the Susan Smith Blackburn Prize. Both Inana and Victoria Musica (Cincinnati Play House in the Park) were finalists for the American Theater Critic’s Association/Steinberg New Play Award, which marked the first time in the ACTA’s 33-year history that a playwright was nominated for two plays in one season.
Michele is the author of The Smell of the Kill (Broadway debut); String of Pearls (Outer Critics nomination, Primary Stages); Map of Heaven (Denver Center Theatre), Mezzulah 1946 (City Theatre), Backsliding in the Promised Land (Syracuse Stage), and the original one-act musical A Thousand Words Come to Mind (Joe’s Pub) which she co-wrote with composer Scott Davenport Richards.
She has received commissions from the Transport Group, Signature Theater, Denver Center Theatre, Cincinnati Playhouse in the Park, Geva Theatre, Premieres: Inner Voices, and Wind Dancer Productions. Her plays have been produced/developed by Primary Stages, Vineyard Theatre, Rhinebeck Writer’s Retreat, Le Pepiniere (Paris), TimeLine Theatre, Williamstown Theater Festival, New York Stage and Film, O’Neill National Music Theater Conference, Lark Play Development Center, Colorado New Play Summit, City Theater, New Harmony Project, PlayLabs, and Hedgebrook. Samuel French, Dramatic Publishing, and Smith and Kraus publish her work.
Michele’s current play, The Greatest, was developed in the 2016 Keen Company Playwrights Lab. She is currently at work on The Proxy Marriage with composer Adam Gwon. Michele and Zoe Sarnak have been commissioned by Transport Group’s 20th Century Project. She is the creator of the TV series Clay.
Michele is a graduate of Northwestern University’s Medill School of Journalism. She serves on the Board of Trustees for the Usdan Center for the Creative and Performing Arts, serves on the Publications Committee for the Dramatists Guild and is a member of ASCAP. She has taught at the Einhorn School of the Performing Arts and given master classes at Carnegie Mellon and theatres across the country. Michele works one on one with writers, business execs and clergy, and often writes for The Dramatist magazine.
COURSES TAUGHT: Masterclass in Playwriting
AUSTIN PENDLETON is an actor, director, playwright and teacher of acting. His most recent appearances in New York as an actor have included the title role in King Lear (at the Secret Theatre) and several productions at the Public Theatre (Straight White Men, and, at the Delacorte, Romeo and Juliet and, with Meryl Streep and Kevin Kline, Mother Courage and Her Children). As a director he has been represented recently in New York by Between Riverside and Crazy, by Stephen Adly Giurgis, and (at Classic Stage Company) Hamlet, Ivanov, Three Sisters and Uncle Vanya, in productions including such actors as Peter Sarsgaard, Ethan Hawke, Joely Richardson, Maggie Gylenhall, Mamie Gummer, and Denis O'Hare.
His plays, produced in New York, around the country and internationally, and all published, include Orson's Shadow, Uncle Bob, and Booth, which starred Frank Langella. He also wrote the book for the musical A Minister's Wife, presented at the Newhouse at Lincoln Center, with music by Josh Schmidt and lyrics by Jan Tranen, with the whole show conceived and directed by Michael Halberstam. He has appeared in over 200 movies, and appeared regularly on such TV shows as "Oz," "Homicide," and "Law and Order." He teaches acting at HB Studio, in New York City.
RALPH SEVUSH, Esq., is an entertainment attorney who has been with The Dramatists Guild of America since 1997. As the Guild’s Executive Director of Business Affairs & General Counsel, in addition to administering the organization and advising its 7000+ members, he has co-authored amicus briefs and given expert testimony in cases affecting playwrights; written articles about theater, copyright and free speech for The Dramatist magazine, lectured and moderated seminars for writers, students and academics around the country, and spoken before the Library of Congress. He also co-founded The Dramatists Legal Defense Fund in 2012, to protect copyright and free expression in the theater. Before coming to the Guild, he worked on numerous Broadway and off-Broadway productions, including BIG, the Musical, Fool Moon, God Said `HA!', Blown Sideways Through Life and Philemon. Earlier in his career, he worked for Sony Pictures, Cinema 5 films, and New Line Cinema in motion picture marketing, distribution, and finance. As a writer, in addition to his many essays published by The Dramatist magazine over the past 20 years, his play Little One, Goodbye was presented by the Tada! Theater, the Enchanted Players of NJ, the Lower East Side Tenement Museum, and the Innovative Stages Company; and his short fiction has been collected in a new book, Spira Mirabilis: Fantastic Tales from the Marvelous Spiral, to be published by taQ’Lut Press in December 2016. He is an alumnus of Stony Brook University and the Cardozo School of Law, and was a member of the BMI/Lehman Engel Librettists Workshop.
COURSES TAUGHT: The Artist as C.E.O.
TARI STRATTON is currently the Director of Education & Outreach for the Dramatists Guild of America, and the Associate Editor of The Dramatist magazine. She has been at the Guild since 1997, previously serving as the Assistant to the Executive Director. Tari is the administrator of the Dramatists Guild’s Fellows program, produces the Guild’s seminar series DG Academy and DG Conservatory and co-produces programming with Harvardwood. She also produces the annual Guild Awards Night, along with special programming such as the Guild’s National Conferences, Anti-Piracy Blast and Copyright Matters, an event presented at the Library of Congress. Tari serves on committees with the League of Broadway Theaters and Producers and the Alliance for Inclusion in the Arts to increase diversity in the performing arts.
COURSES TAUGHT: Improvisation for the Playwright
JEFFREY SWEET's plays - including The Value of Names, Flyovers, The Action Against Sol Schumann, Court-Martial at Fort Devens, American Enterprise, and Porch - have been produced in New York, Chicago and stages around the world featuring actors including Jack Klugman, Amy Morton, Jon Cryer, William Petersen, Lindsay Crouse, Judy Kaye, Michele Pawk, Reed Birney, Richard Kind, Nathan Lane, Gary Cole, Dan Lauria, Jill Eikenberry and Megan Mullally. His newest play, Kunstler, opens off-Broadway in February after a warmly-received run at the New York Fringe Festival. He has won lots of awards, but none of them is the Pulitzer. He also has written a lot of TV, winning a WGA Award and an Emmy nomination in the process. His new book is called What Playwrights Talk About When They Talk About Writing.
ROLAND TEC is a filmmaker, playwright and composer. Roland scored his last two feature films, All The Rage and We Pedal Uphill, both of which were released theatrically in the U.S. For twelve years, he served as Artistic Director of Boston’s New Opera Theatre Ensemble, which mounted new operas in such unlikely venues as The Boston Public Library, Danco Furniture Showroom and The Charles Hayden Planeterium. Since moving to New York in 2000, several of Tec’s plays have been produced, among them: Gratuitous Nudity (co-written with John Yearley), Rapt, The Rubber Room (co-written with Gary Garrison) and The Wreck Behind Us. His play, Kennedy V, about the rise of Teddy Kennedy, was commissioned by Resonance Ensemble. The Curse Of Batvia, for which he composed music to Katherine Burger’s book & lyrics, will be presented this summer at Maverick Concert Hall in Woodstock, NY. His Music Composition teachers include: Luise Vosgerchian, Martin Boykan, David Lewin, Eric Chasalow, Peter Lieberson and John Corigliano. Tec has taught in the Music Departments of Brandeis University and Harvard College, among others.
COURSES TAUGHT: The Artist as C.E.O.
ZACK TURNER, who received a BFA in Theatre from Missouri State University, is the Director of Marketing and Online Media for the Dramatists Guild. In addition to directing all Guild social media efforts, he is diligently working to bring Dramatists Guild members an informative, enjoyable, and user-friendly new website experience. With the power of the internet, every dramatist is an entrepreneur in their own right and does not need a graduate degree in advertising to efficiently market themselves or their work!
COURSES TAUGHT: Writing the Autobiographical Play
SHERI WILNER’s plays include Kingdom City, Father Joy, Hunger, The End, A Tall Order, Relative Strangers, Little Death of a Salesman, The Unknown Part of the Ocean, and Joan of Arkansas and have been performed and developed at major American theatres including the La Jolla Playhouse, Actors Theatre Of Louisville, Eugene O'Neill Playwrights Conference, Guthrie Theater and the Williamstown Theatre Festival.
She has twice been a co-winner of the prestigious Heideman Award granted by the Actors Theatre of Louisville: in 1998 for Labor Day, which premiered at the 1999 Humana Festival, and in 2001 for Bake Off, which premiered at the 2002 Humana Festival. Bake Off was praised by The New York Times as a “barbed, witty, thoughtful, giggle and snort inducing satire on gender roles. ” She recently co-wrote the libretto for a full-length musical version entitled Cake Off, which premiered at the Signature Theatre in Washington, D.C. (nominated for a Helen Hayes Award for Outstanding Original Musical Adaptation); workshopped at the Old Globe in San Diego; and produced by the Bucks County Playhouse this past September.
Her plays have been published in over a dozen anthologies, and Playscripts.com has published twelve of her one-acts, which have received over three hundred productions across the United States as well as in Australia, Denmark, Germany, Ireland, Japan, United Kingdom and India.
Her playwriting awards include a Howard Foundation Fellowship in Playwriting, a Bush Artist Fellowship and two Playwrights’ Center Jerome Fellowships.
Also an established playwriting teacher, Sheri is beginning her third year as the Director of the Dramatists Guild Fellows Program. She recently completed her appointment as the 2016-2017 Rev. J. Donald Monan S.J. Professor of Theatre Arts at Boston College; and has been the Master Playwright for the Miami-Dade Department of Cultural Affairs Playwrights’ Development Program, the Fred Coe Visiting Playwright-in-Residence at Vanderbilt University, and a Visiting Assistant Professor in Playwriting at Florida State University’s MFA Dramatic Writing Program in Tallahassee. In addition she has taught numerous courses at Primary Stages’ ESPA and PlayPenn in Philadelphia.
She attended Cornell University and received her MFA in Playwriting from Columbia University.
COURSES TAUGHT: Writing Workshop I
STEFANIE ZADRAVEC is a resident playwright at New Dramatists, playwright-in-residence at The Women’s Project, and received a 2015 Helen Merrill Award. Her plays include Colony Collapse (Theatre@Boston Court: 2015 Kilroys List and LA Times Critics Choice); The Electric Baby (Two River Theater, Francesca Primus Prize); Honey Brown Eyes (Theater J, Working Theatre, Helen Hayes Award); and currently – The Boat (The Working Theater Commission) and Tiny Houses (Women’s Project Commission). She has received Fellowships from the Dramatists Guild, the Lark, NYFA, Playwrights Realm, Sewanee Writers Conference, and the Edgerton Foundation. Stefanie has received a Sustainable Arts Foundation Award, Women in Arts & Media Collaboration Award, and her work has received developmental and production support from The Ford Foundation, the NEA, NYSCA, The Mellon Foundation, Oregon Shakespeare Festival, The Kennedy Center, Play Penn, The Women’s Project, San Francisco Playhouse, Quantum Theatre, Epic Theatre Ensemble, The Barrow Group, and New Dramatists. Her plays are published by Dramatists Play Service and featured in Best Women’s Stage Monologues (Smith & Kraus). Stefanie teaches playwriting at Primary Stages EInhorn School of Performing Arts and has taught at SUNY Purchase and Occidental College. She has taught multiple writing workshops and seminars at Play Penn, New Dramatists, Connecticut College, Occidental College, and Wright Club. www.szadravec.com


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‘Bond 25’: Every thing You Must Know About Daniel Craig’s Subsequent James Bond Movie
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Well if you have ever wanted to write a TV sitcom or a comedy film then our comedy screenwriting course will show you the way.
This course provides everything the comedy writer needs to get started including an analysis of the contemporary comedy market, and the tools required to write sketches, create a sitcom, write a ‘dramady’ (comedy-drama), or a big screen film comedy.
We’ll look at where humour comes from, how to write and hone gags, where to find material, how to create compelling comedic characters, how to create comedy storylines, and how to write comic dialogue. Led by a professional film and TV writer you will gain a valuable insight into the world of film and television comedy writing from someone with real work experience.
Whether you’ve already written for other media and want to find your voice in the world of Film and TV or are bursting to get your ideas onto paper for the first time, this course provides you with the solid foundations you need to get your work into the marketplace. Using a combination of examples, script analysis, clip screenings and writing exercises, you’ll be armed with the tools you need to give your work the chance it deserves.
Duration: 1 day.
Location: 21st Century Studios, St Albans, Hertfordshire. For security reasons, further details are only provided upon booking.
Times: 10.00am to 4.30pm.
Equipment: Our fully featured training room includes six top-of-the-range iMac computers configured to work in both Macintosh (OSX) and PC (Windows) modes, ensuring you the maximum familiarity with your chosen operating system.
Further assistance: Our FAQ page contains the answers to many common questions. Alternatively please call 07543 403616 to arrange to speak to our training manager.
See more testimonials for this course >>>
- The contemporary comedy market – what sells, and why?
- Where do comedy writers get their ideas?
- What should I be writing? Sketch, sitcom, dramady or feature film?
Getting To Work
- Ways to generate scenes and characters
- Sketch-writing exercises
- How to create a sitcom
- How to structure a dramady or feature film
- How to promote yourself and your work
- What else can I do to get myself noticed?
- Tips and tricks to help you keep on writing
Schedule your own training course
Please tell us where and when YOU would like to attend this course.
If we are able to schedule the course, we will contact you.


Mill Creek Entertainment
Between 1861 and 1865, this epic American story of struggle and survival was written in blood, and in this series is told mostly from first-hand accounts and in the spoken words of the participants themselves, through their diaries, letters, and memoirs. The series concludes with Lee's surrender at Appomattox Court House and the surrender of the western Confederate Army to Sherman in North Carolina in the spring of 1865. It then explores the legacy...
"David's comfortable world is turned upside down when his birthmother unexpectedly reaches out to him, longing to meet the eighteen-year-old son she's only held once. With the encouragement of his adoptive parents, David embarks on a journey of discovery that leads to a staggering truth about his past." --container.
"The Center Seat: 55 Years Of Star Trek is an 11-episode documentary series that takes viewers on the definitive in-depth journey behind the scenes of one of the greatest landmark franchises of all time: Star Trek. Featuring interviews with cast, crew, and experts, this series explores pivotal moments in the franchise's history, from its inception at Lucille Ball's production company Desilu to recent film and television spinoffs." --container.
"Noah Bryan wants nothing more than to be the next big country music star, until his past catches up to him. Noah learns he has a five-year old child with a new deceased woman he barely remembers, leaving Noah sole custody of the boy. Will Noah do the right thing and raise the child or abandon everything in pursuit of his country music dreams?" --container
"On the day of his scheduled execution, a convicted serial killer gets a last-minute court-ordered psychiatric evaluation. The killer surprises the psychiatrist with his claim that instead of trying to avoid his fate, he is a demon who wants the execution to go forward... and further claims that before their brief time together is over, the doctor will have committed three murders of his own." --container
"Frank is on a road to nowhere when he stumbles into a run-down strip club where he sees Penelope dancing on a wobbly brass pole. This chance encounter ignites a love story that burns hotter than the West Texas blacktop. Leaving their broken lives in the review mirror, Frank and Penelope head West with no destination in mind but each other. But a chance meeting leads them to the 'Table of Truth' with a seductive, charismatic cult leader who has a...


All the Roles I Loved the Most
Last years highly acclaimed extravaganza, All the Roles Ill Never Have, gave our talented performers the chance to present a variety of roles that they would love to be cast in, but would never likely be able to do. This year, we are offering a variation on that theme--providing our local talent the chance to recreate roles that they loved the most!
Once again, it will be an eclectic mix of comedy, drama, singing, and maybe even some dancing. More than a simple talent show, this production showcases the extraordinary and amazing talent in our community, with the high quality production values that OxACT has always embodied!
Please note: if there are no tickets available on this site for the performance date you wish to attend, call our box office at 513-523-6228 and leave a message. We do not handle all of our ticket sales through this online portal, and there may still be tickets available for reservation or at the door.
Oxford Community Arts Center (View)
10 South College Avenue
Oxford, OH 45056
|Dog Friendly: No|
|Wheelchair Accessible: Yes!|


confirmed for UK stage role
out Leeds, there's going to be a deluge of extra visitors this June!
The reason? A rare chance to see Patrick Stewart doing what he does best
- acting on stage - at the West Yorkshire
The confirmation came in
an article at the BBC
Leeds Online web site this week, but don't start ringing the box
office just yet - tickets aren't on sale until April.
The play, by Bradford born
B Priestley, is 'Johnson Over Jordan' - a little known work
which WYP artistic director Jude Kelly describes as "...like a Yorkshire
version of 'It's a Wonderful Life' ".
Kelly directed Patrick in
the hugely successful 1997 production of 'Othello' in Washington
D.C. and has been trying for some time to find the opportunity to have
him appear at WYP. Well done Jude! Wonder if Trevor Nunn has similar
plans for the National?
Thanks to Karen Rourk once
again for the lead!
UK TV dates for February
are repeating 'MGM - When the Lion Roars', an excellent documentary
hosted by Patrick about the famous film studios and it's stars.
Part 1 is on Friday
16th Feb. at 13:15 pm.
Part 2 on Friday 23rd
Feb. also at 13.15 pm.
I, Claudius continues
on UK Drama at the following dates/times:
Episode 2 - Sun. 11th @ 22:50
/ Mon. 12th @ 02:40
Episode 3 - Mon. 12th @ 03:40
Episode 4 - Thurs. 15th @ 21:00
/ Fri. 16th @ 01:10 / Sun. 18th 23:00 / Mon. 19th 03:00
Episode 5 - Thurs. 15th @ 22:05
/ Fri. 16th @ 02:15 / Mon. 19th @ 00:05 / Mon. 19th @ 04:00
Episode 6 - Thurs. 22nd @ 21:00
/ Fri. 23rd @ 01:10
Episode 7 - Thurs. 22nd @ 22:05
/ Fri. 23rd @ 02:10
available to rent and buy in UK
more good news for UK fans...you can now rent X-Men
from your local video store, and come 12th March will be able to
buy the PAL video or Region 2 DVD.
The DVD has extra features
including interview snippets with Stewart and the rest of the cast as part
of the 'Mutant Watch' feature. Amongst the deleted scenes which
you can insert back into the film are two featuring Prof. X with
for 'Woolf' move to Minneapolis
||Rehearsals for the forthcoming
'Who's Afraid of Virginia Woolf?' in which Patrick stars as the
embittered George, have now transferred from New York to Minneapolis
where the play open on February 24th at the Guthrie
Theater and continues until April 1st. For tickets call
director of 'Woolf' David Esbjornson, is also directing Edward Albee's'Play
about the Baby' in NYC and wanted to ensure the previews for this new
work went well, before moving to 'Woolf' in Minneapolis.
was amongst the guests at the opening night party for 'Baby' sporting a
full beard - in preparation for the role of George.
have a report on the event plus some photos of Stewart with said beard...you
have been warned!
Thanks to Aline, Kate and


Terminator 2 - Judgment Day 3D (15)Cast: Arnold Schwarzenegger, Robert Patrick, Linda Hamilton, Edward Furlong
Author(s): James Cameron, William Wisher Jr
Director: James Cameron
Running Time: 131mins
In 1995 Los Angeles, 10-year-old John Connor is living with foster parents, separated from his mother Sarah, who has been consigned to a mental hospital. Skynet sends a shape-shifting T-1000 Terminator back in time to kill John and end the human resistance. When the future John Connor learns of Skynet’s nefarious plan, he sends a reprogrammed T-800 Terminator back in time as a protector for his younger self.


If you are a frequent watcher of SATC reruns, you know that Carrie Bradshaw besides being fabulous, is a sucker for love. Carrie is always asking herself about love, when she will find it. When she finds it, she is always questioning it. Aren’t we all?
Carrie always has the right guy at the wrong time. This seems to be a reoccurring theme and it’s what keeps me curious through every episode. Carrie has so many great guys willing to love her and care for her. She has Aiden, who in reality is the perfect guy. He loves her, he cares for her and he forgives her when she
fucks messes up. She has Burger, who is awesome but can’t handle a powerful woman. And then….theres Big. He is always there. He’s there when Carrie is in love, when she’s not in love, and when she needs someone the most. He is her kryptonite.
I might not know too much, but I feel like everyone has their own “Big” of some sort. A man that is there when you don’t want him, gone when you need him most, and is never able to commit.
Big leave Carrie on their WEDDING DAY. The one day that Big really messes up is when he leaves Carrie, waiting on the steps of the library with a bird on her head. He is scared. The reason he leaves her is because he is afraid of commitment. So afraid that he leaves her on the day of their wedding. You’ve got to be shittin’ me. It may not be an every day occurrence but I feel like this is a common problem. The girl gets the good guy, wants the bad guy, falls in love with the bad guy (“Big”/ kryptonite), bad guy falls for girl and bad guy freaks the EFF out and leaves. Gone in the blink of an eye.
Why is it that the girls who get the good guys love “Big”? Is there a justifiable reason that “Big” has a certain control over us? Why the bad guy? Why “Big”?


Cinema is an art form that thrives on innovation and pushing the boundaries of visual storytelling. One such innovation that has had a significant impact on the cinematic experience is the use of anamorphic lenses for projection. Anamorphic lens projection brings a unique and immersive quality to movies by enhancing the visual appeal and delivering distinct aspect ratios that captivate audiences. In this blog, we will explore the world of anamorphic lens projection, its history, significance, and frequently asked questions about this fascinating technology.
Understanding Anamorphic Lenses
Anamorphic lenses are a specialized type of lens used in cinematography to capture widescreen images and project them onto the big screen with a specific aspect ratio. Unlike traditional spherical lenses, anamorphic lenses compress the horizontal field of view during filming and then expand it during projection, creating a wider and more cinematic aspect ratio. This process allows filmmakers to achieve those breathtaking wide shots that fill the entire screen and immerse the audience in a visual spectacle.
History and Evolution
The origins of anamorphic lenses can be traced back to the 1920s, but their popularity skyrocketed in the 1950s and 1960s, known as the “Golden Age of Anamorphic Cinema.” Filmmakers like Alfred Hitchcock and Stanley Kubrick utilized anamorphic lenses to achieve iconic visuals in movies such as “Vertigo” and “2001: A Space Odyssey.”
Initially, anamorphic lenses were created to address the limitations of the standard 4:3 aspect ratio of early television sets and to provide a competitive advantage for cinemas against the rising popularity of TV. Over time, anamorphic lenses evolved to accommodate various aspect ratios, from the classic Cinemascope 2.35:1 to the even wider 2.39:1 and beyond.
Significance of Anamorphic Lens Projection
Anamorphic lenses create an immersive experience, allowing filmmakers to capture landscapes, action sequences, and intricate details in a way that engages viewers on a grand scale.
The elongated bokeh and characteristic lens flares produced by anamorphic lenses contribute to the unique and aesthetically pleasing look associated with these lenses.
Filmmakers use anamorphic lenses to convey emotions and themes through visual storytelling, utilizing the aspect ratio to frame scenes that evoke specific moods.
Q1: What is the aspect ratio of anamorphic lens projection?
A1: The most common aspect ratios used with anamorphic lenses are 2.35:1 and 2.39:1, but variations exist based on the specific lens and camera setup.
Q2: Do anamorphic lenses impact image quality?
A2: When used correctly, anamorphic lenses can enhance image quality by creating a distinct cinematic look. However, improper use may lead to challenges like distortion and softness at the edges.
Q3: Can anamorphic lenses be used in digital filmmaking?
A3: Yes, anamorphic lenses can be used with digital cameras by attaching lens adapters that simulate the anamorphic effect during filming.
Q4: Are anamorphic lenses only used for wide shots?
A4: While anamorphic lenses excel at capturing wide vistas, they are versatile tools that can also be used for close-ups and other shots to create a unique visual language.
Q5: How does anamorphic projection work in modern cinemas?
A5: Modern cinemas use anamorphic lenses to project movies with the desired aspect ratio. Some cinemas have motorized lens systems that adjust the lenses based on the movie being shown.
Anamorphic lens projection is a testament to the creativity and technical advancements that continue to shape the world of cinema. It allows filmmakers to craft visually stunning narratives that transport audiences into different worlds. The use of anamorphic lenses not only enhances the aesthetics of filmmaking but also preserves the magic of the cinematic experience that keeps audiences coming back to the big screen. As technology evolves, anamorphic lenses remain a timeless tool for storytellers to express their vision and create unforgettable movie moments.


À propos du livre
Previous praise for Carswell's lyric and song:
"It’s refreshing to uncover somebody like Carswell who is prepared to think, write and play outside the box."
Hot Press Magazine
“Sincere, heartfelt musings on love, loneliness and longing . . . Carswell speaks from the heart. It suits him.”
The Irish Times
Nick Carswell is originally from Limerick, Ireland but has lived in Lawrence, Kansas for the past six years. Primarily a performing artist, Nick’s works have included multimedia video and installations, electroacoustic composition and radio-dramas, short films and full-length records. Nick currently performs in the bands Carswell & Hope and Pink Royal, the latter being the primary outlet for Nick's songwriting. “It’s refreshing to uncover somebody like Carswell who is prepared to think, write and play outside the box.” Hot Press “Emotive songwriting and enthralling live performances” State.ie “Delightful orchestration, delicate songwriting and gorgeously warm musicianship” The Limerick Leader


All Divided Selves, Camera Roll 1 (Archival sources) and 2 (16mm rushes)
Two offset prints on Profisilk-Paper
Signed and numbered, edition of 50
30.3” x 19.7”
Estimated Market Value: $1,500
A pair of framed prints from All Divided Selves, 2011, is a film exploring the ideas and legacy of British psychologist RD Laing (1927-89). The film represents a rich collage of captivating archival material, in which the viewer becomes an inadvertent witness to psychiatric sessions.
Luke Fowler is an artist and filmmaker based in Glasgow. Fowler studied printmaking at Duncan of Jordanstone College of Art and Design in Dundee, Scotland. He was shortlisted for the Turner Prize in 2012 for his solo exhibition at Inverleith House in Edinburgh, which showcased his film, All Divided Selves. Fowler has had recent solo exhibitions at CCA Glasgow, Tate Britain, ICA London, the Berlin Film Festival, CCS Bard Galleries (New York), Bergen Kunsthalle, Serpentine Gallery (London, UK) and X Initiative (New York). In 2008 Fowler received the inaugural Jarman Award for artist -filmmakers.


Review: 'Black Panther' sequel satisfies
Five out of Five Stars
By Juanita Kelly-Hill
This past Sunday I was finally able to go see “Black Panther 2: Wakanda Forever” in a theater with a friend. The first “Black Panther” movie was a huge success, so I couldn’t wait to see what was in store for the sequel.
“Black Panther 2: Wakanda Forever” continues the legacy of the first movie, while also paying tribute to the late Chadwick Boseman.
It starts off with an emotional and heartfelt scene of Shuri trying to save her brother, T’Challa, followed by his funeral and the celebration of his life.
The movie stars Letita White as Shuri, who has to take the place of her brother as the new Black Panther to protect and save her country from a new threat.
Shuri fights alongside the warriors of Wakanda and a new friend/ally, Riri Williams, who will also be taking the role of “Ironheart,” and is believed to be the new “Ironman” in the Marvel universe.
“Black Panther 2: Wakanda Forever” is a movie filled with twists, turns, a valuable lesson and a big surprise in the mid-credits.
I rate this movie a 5 out of 5 stars and can’t wait for the return of the Black Panther, as teased by Marvel in the post-credit scenes.


VOCAL & COMMUNICATION SKILLS COACH
CLARE KISSANE – COACHING OPPORTUNITIES
I am a trained actor and experienced voice and communication coach. I lead group workshops and work with clients on a one-to-one basis. My teaching focuses on how to use the breath, how you can establish a confident and flexible vocal technique, and how to develop a powerful voice that can make a great impact in business, presentations, public speaking, media and social media appearances as well as in theatre and film.
You may want to deliver a pitch or presentation, teach large groups of students on a daily basis, deliver a speech to a client or friends in a formal or informal setting, or manage nerves in an interview situation. All require vocal flexibility, clarity, expression, and confidence in delivery. My coaching uses a wealth of knowledge and experience drawn from the world of theatre, radio and film, and will appeal to anyone who is asked to stand up in front of an audience of 2 or 2,000.


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I've got three children in all - Bethany, Una and Rufus. Bethany lives in Portsmouth with her mother Laura and brother David - she's a beautiful and intelligent young lady who has spent a great deal of time at college studying mostly beauty (hair, makeup etc) and she specialises in theatrical makeup. She's a creative little soul and very talented at what she does. I hope that she gets the break that she deserves, however it will probably mean moving way out of Portsmouth, London perhaps. There isn't much call for a theatrical makeup specialist in Pompey as theatrical performing arts are limited in availability. She will get her break though.
Una is my youngest daughter and has recently started at reception school. She's also intelligent and knows exactly what she wants to do and when she wants to do it. Despite being so young, she is able achieve much more than she actually realises and although this is a little frightening at times, it's possible to see her spark and desire to achieve. She never gives up and it is this that I love about her. She is articulate and polite.


Monday, August 30, 2010
A Day In The Life
Here it is, another little movie I've put together. I'm pretty stoked on this one, in my opinion, the best I've made so far. Got some really good fishing done this past week, and I hope people get the theme I'm going for!
I'm really getting into this movie making thing. I'm just now getting to know the movie editing program I have, and I'm looking forward to progressing.


The Man Who Gambled with Life
Clifford Evans - Keith Longman
Jayne Sofiano - Stella Longman
Veronica Carlson - Vanessa Longman
Steven Berkoff - Carl
Valentine Palmer - Ronald
John D. Collins - Chick
Iain Blair - Morris
Hedger Wallace - Ian
James Vallon - James
Geoffrey Lumsden - Dr. Williams
Brian Tully - Dr. Grange
David Kelsey - Dennis
Barry Stanton - Pete
Directed by Freddie Francis; Screenplay by Harry W. Junkin
Wealthy industrialist Keith Longman is dying soon because of his weak heart. Therefore he devises a plan to freeze himself with liquid nitrogen until a cure will be found. His first experiment with a mouse is a success. Now he needs a human guinea-pig. Templar looks like the perfect candidate for that. This is why Longman tries to lure him in through both of his daughters. Not surprisingly the Saint has his own plans...
* Steven Berkoff also appears in Episode #113/114 "Vendetta for the Saint". He would later appear opposite Roger in "Octopussy" (1983), opposite Sean Connery in "Outland" (1981) and as the villain in "Beverly Hills Cop" (1984)
* Iain Blair also appears in Episode #104 "The Double Take"
* Hedger Wallace also appears in Episode #98 "The Gadic Collection"
* Geoffrey Lumsden also appears in Episode #99 "The Best Laid Schemes"
* There is a cut right before Roger Moore gets out of the car - I wonder why? (0:00)
* You can see the painted background in front of the apartment's door. (0:04)
* The photos on the table are all promotional pictures for the series. (0:30)
* Why does the guard talk to Simon? He must know that Templar will paralyze him with the nerve gas anyway! (0:31)
* Not so frozen - note how the actor in the ape costume blinks. (0:32)
* The scene with the dead ape is spoiled both by the cheap ape costume and the breathing of the actor inside it! (0:43)
* Longman doesn't look very frozen... his eyelids are trembling! (0:49)
Robert S. Baker: <<We did one episode when the villain has himself frozen as he knows he is going to die, you see. Anyway, there's this scene in a laboratory with the villain in a sort of glass coffin, frozen over with ice, and Roger walked in and said 'Good morning, Mr Birdseye.' It cracked the whole crew up!>> (Owen & Bayan, p.48)
UK: 26th January 1969
* DVD (NTSC): AAE-70546 (2002)
Last Updated: 03/23/2018


CHAPTER TWO by Neil Simon, Directed by Katherine Beeson
This is Neil Simon at his absolute best! CHAPTER TWO is partly based on his own life as Simon struggled to reconcile his first wife's death while embarking on his second marriage to actress Marsha Mason. This romantic comedy is filled with touching moments and witty repartee!
George is a successful New York novelist, and a recent widower. His brother, Leo, keeps fixing him up with disastrous blind dates. Leo runs into his former girlfriend, Faye, and meets her friend, Jeannie, an actress and recent divorcee. Jennie seems perfect for George and the two manage to bring Jennie together. Things work out too well as the couple decides to marry after only two weeks. But loving each other may not be enough. When the past intrudes on the present, will the newlyweds be able to enjoy a happy marriage?
Inspiration Studios (View)
1500 S. 73rd Street
West Allis, WI 53214
|Kid Friendly: No|
|Dog Friendly: No|
|Wheelchair Accessible: Yes!|


The great thing is, JJ Abrams isn't a Star Trek fan either. As he explained in his introduction to It on Channel 4 last night, he approached his film by looking from the outside in, and deciding what he would want to see in a Star Trek movie rather than what he thought a trekkie would want to see in a Star Trek movie. I fear that if Paramount had handed the job to a fan, they would have got bogged down in the minutiae and lumped in references to the many films that came in beforehand, assuming that the viewer has already seen them all much like Iron Man 3 did. Abrams decided to restart the whole saga with an origin story for the crew, allowing him to bring his own interpretation of the characters into the story.
But he had more than one trick up his sleeve, did JJ. By using time travel as a minor plot point, he managed to set his interpretation of the Star Trek saga in an alternate reality to the one seen in all other interpretations. This allowed him to carry out unspeakable continuity errors (the destruction of Spock's home planet Vulcan being chief among them) without problem, and also shattered that classic origin story predicament of no-need-to-worry-we-know-they're-going-to-survive-anyway. It's all done rather cleverly, and give him as a director a lot of free reign with what happens to the characters.
For a person who barely knows the first thing about the actual story of Star Trek, Abrams' film is a superb place to start. He begins by telling the story of Chris Pine's James T. Kirk and Zachary Quinto's Spock, from their difficult starts in life through to their arrival at Starfleet. A die-hard fan might be shocked that my introduction to the whole Star Trek universe came from JJ Abrams' film, barely four years old, but this is exactly what the studio was trying to achieve; to win a whole new batch of fans and to make Star Trek cool again. I really enjoyed it. I was surprised by how sympathetic I felt towards Kirk, despite him acting like a right bellend at the beginning. I liked the Spock storyline of a half human, half alien struggling to suppress his human emotions in order to fit in to his coldly logical alien society. I thought the ways in which the crew members from the original series were gradually introduced worked well, with each character lent certain amounts of importance to the plot (even if Simon Pegg's brilliant Scotty took a while to appear).
Behind the ludicrous amounts of lens flare, there is a brilliantly handled movie that might have suffered in the wrong hands. Abrams didn't want to play it safe by simply adding another movie to the original pantheon, so he restarted the whole thing and managed to pull it off. The baddie, Nero, may not seem as too vital to the plot with his bare-minimum amount of screen time, but that's because the film wasn't about him. That whole problem will be put right by Cumberbatch's John Harrison in the new film, anyway. Abrams did seem to get a bit power-hungry after rewriting the Star Trek story, however, when he decided to rewrite the laws of physics for the sake of the plot, too (Fire explosives into the black hole! The blast will shoot us away from the event horizon!). But Star Trek was never praised for its technical accuracy. As long as your disbelief is satisfactorily suspended, this film is a sci-fi dream that should satisfy hardcore fans as well as hook non-trekkies.
Follow me on Twitter: @crunro


About this event:
Between November 1st, 2017 and May 15th, 2018, the second edition of the Prize for the Young French-speaking Cinephiles invites 15-25 years of the world to live the contemporary film creation in French.
Seven French-speaking, full-length films are submitted to the votes of the public. The public choice will be announced at the Cannes film festival (Pavillon du Cinema du Monde)
A competition of video critics accompanies the operation and the winner will be invited in France, in a film festival.
You wish to participate?
1. Watch 7 French-speaking movies
2. Vote for your favorite movie here
3. Film your critic and win a journey in France
YOU ARE BETWEEN 15 and 25 YEARS, YOU LEARN FRENCH AND YOU LIKE CINEMA?
The movies of this second edition highlight the cultural diversity of the French-speaking countries by questioning the passage in the adulthood, the family relationship, the love affairs, the other people’s opinion.
The movies can be seen at the Alliance Francaise de Detroit / French Institute of Michigan
7100 Lindenmere Drive- BLOOMFIELD MI 48302


4 Apr - 4 min - Uploaded by Aidan Hay Kristen Anderson Lopez sings Let It Go at JTF in Atlanta. 10 Jan - 3 min - Uploaded by soccer8sarah This is honestly one of the most beautiful songs I've ever had the privilege to be able to play. Kristen Anderson-Lopez (born March 21, ) is an American songwriter. She is best known for co-writing the songs for the animated film Frozen with her husband Robert Lopez. Lopez won the Academy Award for Best Original Song for "Let It Go" from Personal life - Stage productions - Film and television - Awards and nominations.
Lyrics to 'Let It Go' by Kristen Anderson-Lopez. The snow glows white on the mountain tonight, not a footprint to be seen. / A kingdom of isolation and it looks. Bobby Lopez and Kristen Anderson-Lopez chatted about how they wrote a chorus memorized by kids and grown-ups alike the world over. Kristen Anderson-Lopez was born on March 21, in New York City, New York, USA as (lyrics: "Let It Go" - uncredited) / (music: "Let It Go" - uncredited).
The married masterminds behind their Oscar-winning Frozen anthem “Let It Go” return to the awards fray with Coco's “Remember Me.”. Kristen-Anderson Lopez and Bobby Lopez, life and song are inseparable. CBS News. Share; Tweet; Reddit; Flipboard; Email. "Let It Go" was. The pair of Kristen Anderson-Lopez and Robert Lopez picked up the Oscar for " Remember Me" from "Coco," four years after winning the same. 4 Apr - 4 min - Uploaded by Aidan Hay Kristen Anderson Lopez sings Let It Go at JTF in Atlanta. 13 Jan - 4 min - Uploaded by Barrett Porter from Disney's Frozen Barrett Porter January Performed on a Roland FP-2 Recorded with.


Impractical Jokers: The Movie Please allow approximately 20 extra minutes for pre-show and trailers before the show starts. 1 hr 33 min PG13 Released Feb 21, 2020 Get Tickets Looking for local movie times and movie theaters in albuquerque_nm? Find the movies showing at theaters near you and buy movie tickets at Fandango. GET A $5 REWARD. People who enjoy the theatre will still go to the theatre, regardless of whether the movie is available online or not. I would even go as far as to say that the overall profit would increase, since, in addition to the income created through theatre visits, people would buy the movie online and watch it at home. First Online Movie Theater. Watch the latest movies online, at the same time as they are shown in theaters. No monthly subscription. You pay only for movies you want to watch. Watch anywhere. Watch movies at anytime, anywhere, from any device. 100% legal. We have legal permissions from the copyright holders.
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The Week in Movie News: Karyn Kusama to Direct ‘Dracula,’ Disney Finds Its ‘Peter Pan & Wendy’ and More Read More The Week in Movie Trailers: Pixar’s ‘Soul,’ Disney’s ‘Jungle Cruise,’ Marvel’s ‘Black Widow’ and More With AMC Theatres On Demand, you have a world of movies ready at your fingertips. Rent or buy your favorites and watch them any time, at home or on the go. You’ll earn AMC Stubs Points with every movie and enjoy special offers and perks. Choose from thousands of Still in Theaters movies and TV shows. Stream instantly on FandangoNOW. Before you go to the movie theater, go to IMDb to watch the hottest trailers, see photos, find release dates, read reviews, and learn all about the full cast and crew. IMDb is your ultimate source for all new movies, and our "In Theaters" page provides you an easy way to decide what to watch today, tomorrow or this weekend. Stream FULL movies totally FREE in high HD 720p, Full HD 1080p, Ultra HD 4K quality. Watch VIOOZ Favourites movies and best TV shows 2019, 2020 online. Check out new available movies in theaters and get ratings, reviews, trailers and clips for available in theaters releases. Find movies currently in theaters near you. Sort by critic rating, get movie times, buy tickets and watch trailers and interviews.
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The typical requirements of entry are that you register your theater as a professional cinema with the film labs / distributors like Technicolor or Deluxe, and that you WAXAHACHIE. 108 Broadhead Rd, Waxahachie, TX 75165. SEE MAP & DIRECTIONS. MOVIES AT Waxahachie. Prev Next. Bloodshot. PG131h 49m. Welcome to Cinepax. For the best experience in movies viewing and online reservations. Movies in Kavali - Book online movie tickets for cinemas in Kavali at Paytm.com. Find showtimes, ticket prices, available seats with release dates of movies in movies and book your tickets for them so that you don't miss out to see your Movie and showtime information for Greenwood Premiere 10 at 533 Bypass PER TICKET ** PRICES INCLUDE TAX ** Internet Fees are Non Refundable.
Cinema Online is your time machine back to old movies. You can watch silent films or ones dating back to the mid
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Lido Cinemas is a sleek artiplex showing both commercial and new release arthouse films, with eight cinemas and a rooftop See all films & session times. Dolby Atmos represents the present and future of cinema audio with the ability Purchase tickets at the box office, online or on our mobile app on Google Play or means you have the best and most comfortable movie watching experience. 25 Jan 2018 Cinema operators are remaining calm as streaming services, which count different internet-connected devices to watch Netflix, said Ms Lee. Introducing a comfortable, social & high fidelity 3D movie theater to watch premium movies in VR. Cinépolis USA Movie Theaters & Cinépolis Luxury Cinemas are proud to offer a premium movie going experience! Watch the latest movies in style with our See session times for latest release movies and book tickets online. Doncaster features Gold Class and Vmax screens and a Cinema Europa screen.


It may be difficult to watch the episodes out of order but the ovas and movies can be watched as a stand alone thing though i personally wouldnt recommend it. Order to watch naruto series.
If you are looking for Naruto In Order On Netflix you’ve reached the perfect place. We ve got 103 graphics about naruto in order on netflix including images, pictures, photos, wallpapers, and much more. In these page, we additionally have number of images out there. Such as png, jpg, animated gifs, pic art, symbol, blackandwhite, transparent, etc.
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Naruto the original show has a total of 4 seasons.
Naruto in order on netflix. Watch the complete naruto series and support the blog by buying the box set. Episodes 57 71 194 290 296. Naruto shippuden has a total of 21 seasons.
After episode 169. Ultimately watch naruto how you want to watch it. Pierrot and aniplex created a 220 episode anime tv series that ran from 2002 to 2007.
As naruto sasuke and sakura prepare for the exam a ninja with short hair and thick eyebrows named rock lee appears and challenges sasuke to a duel. Bonds 2008 naruto shippuden movie 3. Boruto set 1 dvdblu ray.
The lost tower 2010 naruto shippuden movie 5. The lost tower. When you in the middle of the serie between episode 240 260 watch both naruto shippuden.
Naruto boruto has one season which consists of over 130 episodes. After that get back on the serie. The will of fire.
Naruto the 2002 adventure animation series is available to watch on netfliix. In 2007 a 500 episode sequel to the original series began and ran until 2017. The lost story mission.
After episode 143 watch naruto shippuden. Protect the waterfall village after naruto episode 100 naruto x ut after naruto shippuden episode 60 naruto narutimate hero 3. Therefore heres the best naruto series chronological watch order i could compile.
Naruto shippuden movie 2. Naruto shippuden movie 4. Netflix us naruto 220 episodes naruto movie ninja clash in the land of snow 2004 naruto movie legend of the stone of gelel 2005 naruto movie guardians of the crescent moon kingdom 2006 naruto shippuden movie 1 2007 naruto shippuden movie 2.
Naruto shippuden movie 1. After episode 221. After episode 70.
The will of fire. The will of fire 2009 naruto shippuden movie 4. After episode 121.
This includes naruto naruto shippuden and boruto. Episodes ovas and movies. The will of fire and naruto shippuden.
Here are some options to watch naruto right now on netflix. Naruto shippuden movie 3. After episode 126 watch naruto shippuden the movie.
List of naruto seasons. All nine rookies face off. But after like 70 or 80 episodes watch the following movies.
Naruto shippuden movie 6. Find out the best order to watch naruto masashi kishimotos naruto is a japanese manga series. Naruto shippuden the movie and naruto shippuden.
After episode 71 watch naruto shippuden the movie. Naruto sasuke and sakura register for the chunin exam which joins three ninjas as a team. Naruto shippuden movie 5.
Naruto shippuden the movie.


So, we now taking a serious look at idea of story. We are studying story. There is a word for that.
Narratology is "both the theory and the study of narrative and narrative structure and the ways that these affect our perception" (Wikipedia).
Previously, we covered the key components of a story and key things to keep in mind to strengthen a story.
In an earlier post we covered: "Plot – story should start with exposition, then conflict, escalating conflict, leading to final climax and then to resolution."
Now, let's look closer at plot. The could be the plot of a novel or the plot of a film.
When it comes to Hollywood films, one of the key experts on how to tell a story and how to construct a plot is Syd Field.
Field defines a screenplay as “a story told with pictures, in dialogue and description, and placed within the context of dramatic structure."
Field promotes his version of a the three act structure as shown below.
Setup (Act I): Let the audience know who the main character is and what the story is about. Identify the need of the main character.
Confrontation (Act II): The main character needs something and there will be people/things that stop him/her.
Resolution (Act III): How does the story end? What happens to the main character? Need met or not?
Plot Point: “an incident, or event, that hooks into the story and spins it around into another direction” (Field).
What the following trailer of Die Hard and look for the acts. Do you spot Plot Point 1 at the end of Act I? What happens at the Christmas party?
Now, think about your favorite films. Do you see this same structure?
Developing a full or even partial screenplay is beyond the scope of things here, but it is now possible given the what we've covered, to develop a film treatment.
A film or screenplay treatment is a one page synopsis of a film yet to be produced. It is typically written before the full script.
Could you write a treatment for the next big film written by you?
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See more about me at my web site WilliamHartPhD.com.


Unlike Hindi films, modern North American films rarely embed the hero in the thick traditions and obligations of family history. It is a rare movie indeed when we meet the hero’s parents.
We don’t meet the parents of Hollywood heroes because many of our culture’s iconic superheroes are orphaned. Or might as well be.
Batman’s parents are dead; victims of a violent crime. Superman’s folks died in a disaster on a far away planet. Luke Skywalker was the son of a mostly absent, and decidedly bad, father. He barely had a mother. (The character that appeared later in the Star Wars franchise, played by Natalie Portman, was an afterthought.)
At a time when the very definition and role of family in our culture is muddled (perhaps because it is in transition), we might not be surprised that our cultural heroes seem to spring forward without parental guidance and support. Or in spite of it.
Yet, the Batman and Superman narratives go back many decades to their comic book origins in the mid-last century. Perhaps they helped set us upon the path we find ourselves today.
Still, no matter how the entertainment industry construes the hero’s journey, social relationships early in life have a profound impact on shaping how each of us perceives, interprets, and relates to the world.
Given a choice between nurturing parents or becoming orphaned, even most Superheroes probably would take the hugs.


Hungry? Win Free Food this week
with KC's Office of the Day.
Listen and win at 10:40am
Every weekday with KC.
Some have dubbed the film Tarantino's "Southern" -- a play on the fact the film's title borrows from 1966 Italian spaghetti Western "Django," includes Western film elements, but is set in the South. In the revenge-themed "Unchained," Jamie Foxx plays Django --a freed slave who becomes a bounty hunter and faces off with an evil plantation owner (Leonardo DiCaprio), all the while seeking the whereabouts of his slave wife Broomhilda (Kerry Washington).
Foxx, however, was not the first actor envisioned for the role. Tarantino originally wrote "Unchained" with Will Smith in mind. (One can imagine why Smith -- a major box office draw who attracts audiences of all backgrounds -- turned down the opportunity to play a character who expresses pleasure in getting paid to "kill white folks.") Either way.... excellent film. I'd have to say they casted the right guy.


The video below was the winner of the NFB Online Competition, Cannes 2008. It’s entitled Historia de un Letrero (The Story of a Sign) although I’d personally be inclined to retitle it “the power of marketing”. It was also named best short film in the Festival Internacional de Cine en Corto and won the Hispanoamerican jury award in the Short Shorts Film Festival in Mexico City. It was created by Alonso Alvarez Barreda, a Mexican who is probably destined for greater things.
The power of this is not so much in the clever sign, which is powerful in itself, but in the way the music and camera orchestrate the whole idea. Enjoy!
Note: If your company blocks videos you will not see anything below this sentence. In which case, login from home to watch it.


Every so often, a clever, witty teen film comes along that manages to rise above the drivel and make a star of it's leading lady. In the 80s there were the John Hughes movies like Breakfast Club that put Molly Ringwald on the map, in 1988 Winona Ryder made it big in the black comedy Heathers, and in 1995 Alicia Silverstone went from starring in Aerosmith videos to being Clueless. In the late 90s the teen films were dominated by the Jennifer Love Hewitts and Sarah Michelle Gellars. They were either teenage slasher films or sex comedies like American Pie, and then in the 00s...well perhaps I grew up, and those teen films no longer interested me. Sure, there was Mean Girls, but I classify a good teen flick as having a female protaganist you like, and well, even though this was before her tanorexic, skinny, bleached, lip plumped, general downward spiral phase, Lindsay Lohan still irritated the hell out of me.
Fast forward to 2010, and Emma Stone, who had supporting roles in Superbad and Zombieland, finally gets a meaty role playing Olive in Easy A. Essentially this film has a tried and tested formula; loosely base it on a classic novel, modernise and run with it. Clueless was based on Jane Austen's Emma, 10 Things I Hate About You was Taming of the Shrew by Shakespeare, and Cruel Intentions was an update of Choderlos de Laclos' Dangerous Liaisons. Easy A takes The Scarlett Letter as it's inspiration, or rather as Olive's inspiration as her status in school suddenly sky rockets. Essentially, she pretends to sleep with people to make their social status in school improve, to the eventual cost of her own.
I liked the film. It will never surpass Heathers or Clueless in my favourites lists, but then they have the edge of being watched repeatedly in my childhood (to the point where I practically know the scripts by heart). Olive makes a likeable heroine; she's smart, fiesty and funny - producing the kind of wit (especially during interactions with her parents) that is reminiscent of Juno. Of course her likability factor is considerably boosted by the fact that her friends and frenemies are utterly annoying, stereotypical high school brats (I couldn't look at Amanda Bynes' chipmunked, lip-glossed face without imagining it floating off like a helium balloon).
Three and a half stars out of five


Date: June 11, 2021
Time: 6:30 pm to 8:30 pm
The Young Rivertime Players present Little Red Riding Hood (and the Power Mutants) by Ed Monk. This is the culmination of our Young Actors Theatre Camp. Shows are Friday, June 11, and Saturday, June 12 at 6:30 p.m. at the Hangar Performing Arts Center (253 W. 9th St., Parsons). Tickets are $10 for Adults, $7 for Seniors, and $5 for students.


I've been involved in Theatre Arts since I was in middle school. This is my 10 year teaching young scholars, which included American Sign Language and Theatre Arts. I graduated from high school in Smithville, Tx. and obtained my Bachelors of Fine Arts from Texas State University in San Marcos Tx. This is my first year at Manor New Tech High School but my 5th year in the district.
"We must all do theatre, to find out who we are, and to discover who we could become" -Augusto Boal
Production (director approval)-Scholars will develop and present various theatrical productions with an emphasis on safety, artistic self-discipline, collaboration, and exploration of careers and analysis/evaluation of performances. (some fees may apply)
Theatre Arts 1-Scholars will explore basic acting techniques, technical theatre and interpretation of dramatic literature, stage movement, mime, voice and diction, improvisation and develop audience appreciation skills.
Theatre Arts 2-Scholars will study theatre history and performance, classical and contemporary theatre, drama, mime, children’s theatre, and musical theatre.
Tech Theatre-Scholars will learn stagecraft, design, theatre safety, scenery, properties, lighting, sound, costumes, makeup, public relations and career opportunities and evaluate live performances.


1 Tip I Would Give Someone Who Wanted To Get Started Working In Filmmaking (Today & With No Budget)
Do you want to get started in film (today & without a budget)?
In my 15+ years in film: researching, educating, creating, & collaborating…
One thing has always stood out to me from the creators I’ve studied and met.
Here’s the 1 tip I would give you if you wanted to pursue a career in film (today & with no money)👇🏼
➡ Make watching films a part of your schedule.
Why not just create?
Let me share an example from a high-profile filmmaker:
Martin Scorsese has been known to watch one film every day, and sometimes two on Saturdays.
He’s said that watching films has helped him to stay inspired and informed about the art of filmmaking.
Martin Scorsese & his films have earned the highest acclaim, including:
an Academy Award,
Directors Guild of America Awards,
and an AFI Life Achievement Award,
… to name a few.
Mr. Scorsese is an industry leader. And, an example of one who learns from others in their field.
How can you make watching films a part of your schedule?
Each of us have different schedules and requirements in our lives.
So, while you don’t need to watch a film every single day yourself…
You can add “watch a new film” as an event in your calendar.
Creating a new habit can be hard. So, how do you begin?
Let’s borrow from James Clear’s Atomic Habits
Make the habit small (at first)
Focus on consistency (rather than perfection)
Create a system or environment that supports your new habit
Reward yourself (with positive reinforcement)
What does that look like in practice?
Small: watch the opening sequence of a film
Consistent: once per week
Environment: your couch at 9pm
Reward: grab a snack
Focus on progress, not perfection. Be patient and persistent in your efforts to establish this new habit.
I love the saying “Create more than you consume.”
But, it’s not good enough on its own.
To get started, get inspired, and study the art of filmmaking:
You need to continue exposing yourself to other films, stories, and their creators.
Here’s a list of ways that you can start watching films without spending any money:
Go to the library (or school library)
Free OTA Digital TV
Existing movie collection (yours or friends)
Free streaming services
Ask for a ride. Share a computer.
Have more ideas? Please share them with us.
Here’s how you can expand on your new habit of watching films:
Watch a wide variety of films from different:
Analyze & learn from them.
Take & save your notes.
Reflect & discuss with others.
This new habit will help you gain a comprehensive understanding of the medium.
And, it’ll help you develop your own unique style as a filmmaker.
Watch a film recently? Let’s chat. I’d love to learn with you.
See you tomorrow. Matt Cici
Follow the journey here or on:


In case you missed the previous announcement, our wine racks will be featured in the May 22nd episode of Law & Order: Criminal Intent.
Aptly titled Trophy Wine, this episode will be the fourth in Criminal Intent’s tenth and final season. Along with Vincent D’Onofrio and the rest of the usual cast of characters, this episode will feature guest stars Julia Ormond, Adrian Pasdar and Bryan Batt.
Pasdar, 46, will play a wine collector named Mason Kent. Batt, 48, will portray a premiere wine sommelier, also known as “The Nose.” Both come under suspicion when a high-end wine connoisseur — who has been counterfeiting the product — dies of a heart attack while locked in his cellar.
It is sure to be a stellar addition to an already amazing series and we’re honored to be a part of it. We’ll be sure to share more information about the episode as soon as we have it.
Law & Order: Criminal Intent airs Sundays at 9/8c on USA and we hope you’ll tune in. After all, you’ll get to see our wine racks in their first starring role on television.
As always, keep checking back for more information about our product’s appearance on Law & Order: Criminal Intent as well as other exciting tidbits of news.


|Real Name:-||Asin Thottumkal|
|Nick Name:-||Queen of Kollywood|
|Date of Birth:-||October 26, 1985|
|Age:-||32 Years Old (In 2018)|
|Place of Birth:-||Kochi, Kerala, India|
|Educational Qualification:-||Bachelor of Arts in English Literature|
|Net Worth:-||$ 2 million|
Asin Family Bio
|Father Name:-||Joseph Thottumkal|
|Mother Name:-||Seline Thottumkal|
|Husband/Spouse Name:-||Rahul Sharma|
Synopsis Of Asin
Asin Thottumkal is a well-known Indian film actress and she is the Bharathanatyam dancer. In 2001, he starred Ravi Teja in Malaysia in 2001, opposing Malayalam film actorNarendran Maken Jayakanthan Vaka, and her sister-in-law Amma Nanna and Tamil Tamilammai. Asin, his Bollywood actor Ghajini opposed the film in 2008, Amir Khan.
Asin Family Life
A Syro-Malabar came from the Catholic Nasrani family. She is the daughter of Joseph Thottumkal and Selen Thottumkal. Her father originally operated from Thodupuzha, several businesses and her mother, who was living with her daughter from Kochi to Chennai to Mumbai, a surgeon.
Asin Career life
Asin is the common name of Assin, She is a highly talented actress and dancer. She works in South Indian Films as well as in Bollywood, Tamil, Telugu, Malayalam movies. Asin made her screen debut with actor Aamir Khan as well as the Bollywood movie Ghajini (2008). It was his huge business at the Domestic Box Office and worldwide box office collection. His other popular films include Varalaru (2006), House Full 2, Khiladi 786, Bol Bachchan, Pokkiri, Vel (2008) etc.
Asin Personal life
In January 2016, Micromax’s co-founder Rahul Sharma, and left acting after marriage. Her first child, a daughter, was born on 24 October 2017.
Asin Interesting & Unknown Facts
➡ Her first advertisement was for BPL Mobile.
➡ She scored 90% in the tenth-grade board examination.
➡ While studying at his school, he was good at both studies and extracurricular activities.
➡ She hates being called a pet or nickname.
➡ She does not eat her food until her shot is full.
➡ She speaks copper, Telugu, Malayalam, Kannada, Hindi, English, and French in 7 languages.
➡ She is an enthusiastic reader, she has many novels to read and has a huge library at home.
➡ She is the first South Indian actress who has done both Aamir Khan and Salman Khan.
➡ Her husband is 10 years old.
➡ Narendran Maken Jayakanthan Vaka(2001),
➡ Sivamani(2002),Amma Nanna O Tamilammai(2002),
➡ Lakshmi Narasimha(2004),Garshana(2004),Chakram(2004),
➡ Shivakasi(2005),Majaa (2005),Ullam Ketkumae(2005),
➡ London Dreams(2009),
➡ Khiladi 786(2012),Housefull 2(2012),Bol Bachchan(2012),
➡ All is well(2015).
➡ In 2002, he won the Film Award for Best Actress for Amma Nanna and Tamilammai, he nominated the Film Award for Best Actor for Telugu and Tamil.
➡ In 2005, he won the Film Fairy Award for Best Actress for Ghajini Movie.
➡ In 2008, she won the Film Fairy Award for Best Female Debutant in Telugu.


Just finished watching the movie It's a Wonderful Life, which is a movie that's over two hours long, and every time I watch it always notice something haven't noticed before. It's also a very uplifting movie, one where I think should be mandatory watching once a year for everyone! But that's just my opinion. I downloaded the B&W version from YouTube last year and didn't find it this year after a quick search.
On another note, Olivia, a stray cat I took in, is on a "walkabout", and hopefully she'll return. Olivia got out of RV through an open window that was open just a tad bit too much, and haven't seen her for over a day. Have a feeling she's still around. Won't be in this spot much longer, so hoping she'll come back before I leave.... We were just starting to connect!
Will be adding Olivia to my journal, wishing her the best, and hoping she'll come back if she's supposed to be with me.


Professional theatre training for 4 - 18 year olds
We accept aspiring performers from across the UK who want to express themselves creatively and benefit from professional classes in singing, acting and dancing, be part of an ensemble of performers and take part in large scale London shows and smaller local shows.
No auditions and no experience is necessary.
What we do
Theatretrain is not just your average drama classes for young people which you'll find from other theatre companies. We offer professional tuition in the performing arts, not available anywhere else, and we are supported by the industry's prestigious actors who recognise the difference we make to young people's lives with our unique approach to theatre training.
Why choose Theatretrain
- A unique approach to theatre training designed by industry-leading expert, Kevin Dowsett.
- A comprehensive curriculum which gets to the heart of what it is to be a performer.
- Large-scale performances in prestigious London venues.
- Exceptional quality, professional teaching that you won't find anywhere else.
- Affordable competitive fees
- Professional representation for all Theatretrain students
Theatretrain has given my son a huge amount of confidence.
He is willing to always have a go at new things.
The shows they put on are amazing. Above all he has made new friends with a great group of kids
A fun and energetic theatre group, which has helped
my daughter’s confidence to grow greatly.
She loves the freedom this group gives her to express herself and work with others, whilst allowing her to develop her passion for dance and encouraging her to speak confidently in front of others.
The company is really professional. The teachers are really devoted and work really hard…children are motivated and engaged by the dynamic of the classes and the variety which is offered to them…5 Star *****