Project #5 - Teaching

Secondary Education

1)You must have a bachelor's degree from an accredited college or university. Texas institutions do not offer a degree in education. Every teacher must have an academic major, as well as teacher training courses. The only exemption from the degree requirement is for individuals seeking Career and Technology certification to teach certain courses, such as welding or computer-aided drafting.
2)You must complete teacher training through an approved program. These programs are offered through colleges and universities, school districts, regional service centers, community colleges, and other entities.
3)You must successfully complete the appropriate teacher certification tests for the subject and grade level you wish to teach.

www.iteachtexas.com - field experience

Community College

Institution:	Brevard Community College
Location:	Cocoa, FL
Category:	Faculty - Fine and Applied Arts - Theatre and Dance
Posted:	04/01/2009
Application Due:	Open Until Filled
Type:	Full Time
Salary:	$40,000 USD Per Year

Brevard Community College is currently seeking applications for the full-time position of Theatre Instructor on the Cocoa Campus in Cocoa, Florida. The starting date for this position is August 2009.

The minimum qualifications for the position include:
* Master's degree in Theatre from a regionally-accredited institution
* OR Master's degree from a regionally-accredited institution with 18 graduate semester hours in Theatre
* Educational and professional acting and directing experience is required
* Experienced directing musical theatre
* Knowledge of stagecraft, technical theatre, and appropriate technology is desired (could get a little more knowledge)
* Demonstrated commitment to diversity
* Official transcripts of all collegiate work will be required to be considered beyond the application phase*

The annual salary starts at $40,000 and considers degree level and full-time college-level teaching experience. Full-time employees of Brevard Community College receive fringe benefits including health insurance and a retirement plan.

higheredjobs.com

Senior College

VISITING ASSISTANT PROFESSOR OR INSTRUCTOR OF ACTING & VOICE - Newport News,  VA

Job posted on May 1, 2009

CHRISTOPHER NEWPORT UNIVERSITY Department of Theater and Dance seeks applicants to join NAST-accredited, production-driven program with a faculty of eight MFAs and 150 majors in a Visiting Assistant Professor or Instructor of Acting and Voice full-time non-tenure-track position beginning August 2009. MFA preferred. PhD considered. This one-year appointment has possibility of a second year. The successful candidate will have terminal degree in the field and be a vigorous, dedicated teacher able to teach all levels of undergraduate acting and voice. The ideal candidate will have significant professional experience and certificate in Linklater vocal technique. The ability to teach playwriting is desirable. 

artsearch

Project 5 - Graduate School

University of Iowa / Iowa Summer Repertory - Alan MacVey, Chair DEGREE

PROGRAMS: MFA degrees in Acting, Directing, Design, (costume, lighting, and scenery), Dramaturgy, Stage Management, and Playwriting.

Requirements: A bachelor’s degree from a Regionally Accredited American college or university, and a minimum grade-point average (GPA) of 3.00, or the foreign equivalent as determined by the Office of Admissions.

Estimated Total living expenses - $36,987 for nonresidents.
Iowa Arts Fellowships - Each year the Theatre Arts Department offers an Iowa Arts Fellowship to four incoming students. These fellowships provide full tuition, fees and health benefits for three years, as well as an $18,000 stipend in the first year, and an $9,000 stipend in the second and third year.

University of California - Los Angeles

Program: MFA Acting, Design, Directing, Animation, Cinematography, Screenwriting, etc...

Courses: Background of Theatrical Art
Advanced Acting I
Advanced Acting II
Advanced Acting for Theater, Film and Television
Advanced Voice and Speech I
Advanced Voice and Speech II
Advanced Movement I
Advanced Movement II
Production and Performance Laboratory

An audition is required of all acting applicants. Auditions are scheduled online. Applicants will be directed to the online audition scheduling page after submitting the Departmental Application. The audition with theater faculty will consist of two monologues: one classical, one contemporary, not more than one-and-a-half minutes each.

The general requirement for admission for a U.S. student is a bachelor's degree from a regionally accredited institution, comparable in standard and content to a bachelor's degree from the University of California. A scholastic average of B (3.0 on a 4.0 scale) or better is required — or its equivalent if the letter grade system is not used — for the last 60 semester units or last 90 quarter units of undergraduate study and in any post-baccalaureate study.

Designed to be eclectic, the program encourages each actor to discover methods of working best suited to his or her individual talents. The essence of this training is achieved organically through classroom study, studio work and autobiographical exercises in a small, highly individualized and collaborative setting.

University of Nebraska - Lincoln

Once every three years a gifted group of actors are selected to participate in a our classical acting training program rooted in Shakespeare and classical realism.

-Five semesters of shows selected for these actors: Shakespeare, classical realism, comedy, styles and dialect pieces. Some class projects will culminate in juried performances.
-Acting classes: Individual work focused on combining vocal, physical and emotional technique using scene study and the plays selected for mainstage performance as our lens.
-Individualized movement training: Through the implementation of various movement techniques the actor is prepared to move organically and to successfully build physical characterizations. Part of the training is dedicated to the actor earning a certification in stage combat.
-Individualized vocal training: Here the focus is on voice production, beginning with the breath, using relaxation to connect body, mind and spirit, with emphasis on English language dialects.
-An audition course: Emphasizing all stage genres and on-camera techniques
-An acting for the camera course: Emphasis on practical application of acting training to film, television and commercials.
-Three years of teaching: The best way to learn is to teach. When aided by strong faculty mentorship, we believe understanding deepens in actors as they articulate what they are learning by teaching others.
-A musical theatre class: A beginning course in audtioning for and singing in Musicals. Opportunities for additional course work and on-going private voice lessons.
-A directing for the actor class: The fundamentals of directing viewed from how an actor can develop a director's eye even from inside the play.
-A showcase: A piece developed to show off the skills of this class for talent buyers.
-Professional forum: agents, casting directors and theatre company managers invited to see performances, give feedback and offer master classes. Planned throughout the senior year of study.
-Nebraska Repertory Theatre: Opportunities for performance with Actor's Equity Association actors while earning A.E.A. Membership Candidacy points.
-Summer work: A commitment to audition training, and travel to auditions to aid in finding summer acting work.

Individual awards for Assistantship funding range from $1500 to $8000. In addition to the Assistantship funding, the School also awards Fellowships at $2000 each. With help of the Graduate College and the Hixson-Lied College of Fine and Performing Arts, Assistantship funding and additional Fellowships can be combined to total up to $23,000.

$1176/3 credit hour

Project # 5 - The Profession

Non-Union Required

BACKSTAGE
SHAKESPEARE THEATRE CO. FELLOWSHIPS, DC

The Shakespeare Theatre Company (Washington, DC) is casting its acting fellowship for its 2009-10 season. Season includes: The Bacchae (Joanne Akalaitis, dir.), As You Like It (Maria Aitkin, dir.), Richard II (Michael Kahn, dir.), Henry V (David Muse, dir.), and Mrs. Warren's Profession Seeking—Acting Fellows: 18-39, will be cast in mainstage productions, serve as understudies, and earn EMC points. Auditions will be held by appt. only in May/June in NYC. Weekly stipend, plus lodging provided.


DailyActor.com
Spider-Man the Musical

AUSTIN, TX (Wednesday, May 27; 10 AM – 6 PM)Dougherty Arts Center1110 Barton Springs RoadAustin, TX 78704

PETER PARKER – Male. 16-20’s. Must have a great rock tenor voice. Can be nerdy with understated sex appeal and a good sense of humor.
WHAT TO BRING:All interested people should bring a snapshot or photo of themselves and a brief pop/rock or rock song to sing a capella.


EPA required

Playbill.com
Wonderland - Equity Principal Auditions

Tampa Bay Performing Arts Center Tampa FL LOA $750/week minimum. President and CEO: Judy Lisi Music: Frank Wildhorn Lyrics: Jack Murphy Book: Phoebe Hwang Director: Gregory Boyd Choreography: Marguerite Derricks Casting: Dave Clemmons Casting

Ensemble: All types and ethnicities. Seeking excellent pop/contemporary musical theatre singers to play the Lion, the Unicorn, a talking Door, Hedgehogs, a Deck of Cards, Knights, the Dumpties, assorted denizens, good guys, bad guys, and all the colorful characters of Wonderland and the Looking-Glass World.

Backstage

THE 25TH ANNUAL...SPELLING BEE

Bruce Miller, artistic dir.-prod.; Steve Perigard, dir. Rehearsals begin Oct. 19; runs Nov. 20-Jan. 10, 2010.

Olive Ostrovsky: kind and gentle, longs for the affection of her absent parents, her best friend is her dictionary, mezzo, strong high belt required; William Barfée: touchy and obnoxious, with a chronic sinus condition, spells with the aid of his "Magic Foot," character voice, tenor; Logainne Schwartzandgrubenierre: the youngest speller, afraid of failing and disappointing her two dads, has a speech impediment, mezzo; Marcy Park: Asian-American, classic overachiever, under pressure to be the best at everything, some dance and acrobatic ability preferred, mezzo; Leaf Coneybear: quirky and naive, makes it to the spelling bee by default, his family tells him that he is "not that smart," tenor; Chip Tolentino: winner of last year's "Bee," confident of repeating his success - until he is hijacked by his hormones, tenor. Note: The spellers are age 10-14, but the roles are played by adults.2008-09 salary: $364 min./wk., current level pending. Equity SPT Contract, approval pending.

PROJECT 4 – UNCONVENTIONAL THEATRE



1) Hamlet by William Shakespeare

Two Rivers Correctional Institution (prison)

October 3, 2008 – October 7, 2008 (4 performances)

Johnny Stallings (Portland actor, vocal coach, director, mentor)

Oregon prison inmates perform Hamlet

"Some of [the] guys had long lines, [and] didn't mess up. ...awesome." -Prison Inmate #5487G42 (just kidding, they couldn't release the guys name. Something to do with being in prison.)

http://www.oregonlive.com/performance/index.ssf/2008/10/hamlet_in_prison_inmates_disco.html

The Two Rivers is not your everyday theatre institution. Located in Umatilla, Oregon, the Two Rivers Theatre is actually a correctional institution where the only actors used are those serving hard time in prison. In order to deal with countless hours of free-time and mindlessness, the Two Rivers inmates were given the opportunity to produce Shakespeare's Hamlet for the other inmates and friends and family. The only public viewing was in documentary form, sometimes blurring the faces of actors who did not want to be recognized.

2) The Anatomy of Melancholy adapted by Jessica Klarp

original book by Robert Burton (1921)

Center for Puppetry Arts

August '03 & April 15-17 '05

Pamella O' Conner and Jessica Klarp

"Both O'Conner and Klarp had a successful run as equity actors in Atlanta's theater scene in the 1980s, even appearing together in "The Rocky Horror Picture Show" and the rock opera "Tommy." But O'Conner found profound satisfaction in puppet theater when she was asked to be a voice for a puppet in a professional production at the Center for Puppetry Arts in Atlanta."

"A production that tells a tale well is what it's all about. "Too many actors are driven by ego," O'Conner maintains. "Most puppeteers are about the story, and I've always been about the story."

http://www.poconnor-puppets.com/reviews_anatomy_ACT2003.html

The Center for Puppetry Arts in Atlanta is a center where puppets are the main form of theatre. Mainly centering around children's puppet theatre, The Center for Puppetry Arts took on a more risque' production, The Anatomy of Melancholy. First off, the use of puppets as the main theatre art, focusing on story and deep emotion rather than dialogue. Secondly, the book the play is based off is not an actual story, but rather a random collection of the author's view of melancholy, leaving the doors wide open for an inventive emotional journey taken by the hero of the story.

3) Panto Cinderella book and lyrics by Kate Hawley

Stages Rep. Theatre

December 3-28, 2008 (extended through the 31st)

"Packed with sharp wit, wild fun and original music, this unusual twist on a magnificent classic is as entertaining for grownups as it is for kids."

artshoud

Filled with zany fun and quirky humor, Panto Cinderella brings back to life an old theatre form from London. The story is the classical tale of Cinderella, however audience participation is a must. The show will not move on unless the audience participates, just like shouting out "SWIPER! NO SWIPING" when watching Dora the Explorer. Filled with a talented cast of actors, two being traded in an AEA British/American swap (UNCONVENTIONAL), improvisation and handling children, something many actors loathe, is a must. Not one show is the same!

4) I Am My Own Wife by Doug Wright

Dec 3, 2003 - Oct 31, 2004

Lyceum Theatre

Jefferson Mays - Actor

"It does, however, tell a terrific story based on a real person, Charlotte von Mahlsdorf (née Lothar Berfelde), a soft-spoken but tenaciously gender-bending biological male who died in 2002 at 74. "

http://theater2.nytimes.com/mem/theater/treview.html?res=9505E5DB163DF937A35751C1A9659C8B63

Unconventional in text is what this play really is. Describing the tragic life of an East German transvestite, Doug Wright's play not only captured the audiences of Broadway theaters around the world, but also the hearts of the 2004 Pulitzer Prize judges. This show requires one male actor to play multiple roles, ranging from Nazi German guards to children and even to the transvestite the story follows. Charlotte is the narrator who speaks to the audience, and when a different character in her story she becomes engulfed in the set around her, "popping" from character to character.

5) Julius Ceasar

March 28, 29, 2009

April 1, 2, 4, 5, 2009

Town Center Theatre

Featuring Andrew Hager and Travis Bryant

"Director Chris Tennison has an intriguing take on the play — one involving contemporary, cutthroat mega-business. We're at Rome Industries, where a giant tilted "R" represents the company's logo."

-houston press

With the hard economic times, Director Tennison decided to change this classical play about power struggle and deceit and place it in the present time. Rome the country is now Rome the company, no one is wearing Togas, but rather suits, and important words like Senators are changed to stockholders. Also, Cassius was played by a female, because we all know women play a huge part in the company makeup.

Project #3 - Too Hot To Handle!

1. NYC Today Broadway


2. Naked Broadway

Gay Broadway
Play: Corpus Christi by Terrence McNally
Where: Manhattan Theatre Club
When: 1998

The Catholic Church and other supporters are not very pleased with Terrence McNally's script Corpus Christi, nor are they happy with the fact that Manhattan Theatre Club is producing it. Protestors are upset with the fact that Jesus and his apostles are written as gay men. Receiving multiple threats to kill actors and burn the building down, the theatre decided it would be safest to install metal detectors in the theatre to insure the safety of the people inside the building.

"Even now, before passing through the metal detectors installed to protect Manhattan Theatre Club, audience members have to step around gay-haters on the sidewalk holding signs saying things like “Terrence McNally Sodomizes Jesus -- And Your Mother Is Next.”
http://www.donshewey.com/theater_reviews/corpus_christi.htm


4. Racist Broadway

5. Raided or Closed a show

6. Arrested an actor or director arrested before, during, or after a performance

7. NEA 4 Holly Hughes, Tim Miller, John Fleck, and Karen Finley

8. Regional Theatre non-profit professional theatre, preferably a LORT theatre that created
controversy, protests, firings, grant problems, etc.

9. College/University a college or university production that created controversy, protests, firings, grant problems, etc.

High School
Play: Country Gothic by Tim Kelly
Where: Warsaw High School
When: Jan, 2009

A group of parents and teachersare upset with Jill Robertson's decision to produce Country Gothic. Due to the fact that a man is lured into town thinking he is going to marry a girl when he is truly going to be sacrificed in an annual town ritual, Country Gothic was posponed because it did not uphold the Christian values of the town.

"‘Country Gothic' delayed after criticism flared up in November""
http://www.sedaliademocrat.com/news/school_14158___article.html/controversial_warsaw.html

Project #2, Option #2

1) stage production before it moved to broadway (pre-1993:LA, San Fran, London)
2) original broadway production (1993)
3) non NYC production (since 93)
4) a college production
5) the HBO mini-series

THE HBO MINI-SERIES

Angels In America
The powerful AIDS play comes to HBO and DVD.
by Adam Tierney
September 30, 2004

http://dvd.ign.com/articles/552/552427p1.html

"The film tends to sway between scenes of realism and complete fantasy. Some of these involve angelic figures, some drug hallucinations and fever dreams about long-dead ancestors. While visually-impressive, they tend to break up the scenes a bit too much and destroy the subtle emotion that's been building in favor of blunt realizations. And the film works best when it's at its subtlest. The explosive scenes are powerful, but they leave nothing to the imagination."

Adam Tierney reviewed the Golden Globe award winning HBO mini-series adaption of Tony Kushner's Pulitzer Prize winning play "Angels in America." In the beginning half of the review Tierney summarizes the plot of the six-hour show, naming the actors who played each character as they're introduced to the story. Working behind the scenes were director Mike Nichols and composer Thomas Newman. While impressed by the evolution and development of the characters through lengthy conversations, Tierney sometimes grew tired of the montages of emotional screaming. Also complimenting the visual effects, he complains that they sometimes interfere with the simplicity of the text; however, he still says it to the "best-paced mini-series" he has seen.

College Production

Angels in America' Challenges Students at Wabash College
By Lawrence Biemiller
Copyright © 1996 by The Chronicle of Higher Education. Published October 18, 1996.

http://www.iceandcoal.org/nfa/angels.html

"Repeated attacks by a conservative student publication, The Commentary, had left the cast, and the campus, jittery. Stapled to every program was a warning that "planned demonstrations" might occur during the performance, and rumors nagged at the theater department all Wednesday afternoon."

Wabash College, an all-male school of under 1,000, performed "Millennium Approaches," the first half of Tony Kushner's "Angels in America," in a performance that would be proclaimed at NYU. Reviewer Lawerence Biemiller spends little time giving an in-depth summary of the play, but instead dives right into a specific moment in it where Prior portrays Judy Garland and was surprised nobody walked out! The next two paragraphs are spent explaining a student organization and others who protested the show due to its content. In contrast to the negativity from some fellow students, Biemiller ensures readers that other students saw the play as a reflection of the world they are living in. Biemille also interviews the director, James Fisher, who knew from the start that he was pushing the envelope with this production. The actors are then asked about their thoughts on the play and how they developed their characters, each finding it rather difficult. Despite the controversey, the remaining audience members gave the performance a standing ovation.

Non-NYC Production (post 1993)

Angels in America: Millennium Approaches and Perestroika Citizen's Theater, Glasgow

By Mark Fisher

reviewed May 1 and 2, 2007

http://www.variety.com/review/VE1117933526.html?categoryid=33&cs=1&query=angels+in+america

"But although its concerns with Reaganite politics, the rationing of the anti-HIV drug AZT and the corrupt practices of a certain Gotham lawyer place it firmly in the mid-1980s, "Angels in America" seems more prophetic than ever..."

Mark Fisher critiqued the performance of "Angels in America" in Glasgow's Headlong Theatre. He starts off by defending the choice to do a play that takes place in the 1980's. Connecting the problems we face today with the parraled problems faced in the play, Fisher commends director Daniel Kramer on not only expressing these similarities through his direction, but doing so in a manner that is not overwhelming. Fisher's compliments continue as he acclaims the lead and supporting cast, giving mini-descriptions to some of the characters. After seven hours of enticing Fisher with this new world, he found it hard to escape.

Original Broadway Production (NYC 1993)

Early Stage Production (pre 1993)

Yale School Of Drama!

Man = Man
by Bertolt Brecht
translated by Gerhard Nellhaus

“This grotesque farce confronts pressing questions of personal accountability and the value of individuality…”
http://broadwayworld.com/article/Yale_School_of_Drama_to_Present_Brechts_MANMAN_Starting_1028_20081023

The archly comic drama uses staunch army clichés of the time…to imagine the creation of a perfect fighting machine.”
http://www.newhavenadvocate.com/article.cfm?aid=10312

Jelly's Last Jam
Book by George C. Wolfe

"Based on the life and career of Morton, generally regarded as one of the primary driving forces behind the introduction of jazz to the American public in the early 20th century, it also serves as a social commentary on the African-American experience during the era."
http://en.wikipedia.org/wiki/Jelly

"The show at the Virginia Theater is not merely an impressionistic biography of the man who helped ignite the 20th-century jazz revolution, but it is also a sophisticated attempt to tell the story of the birth of jazz in general and, through that story, the edgy drama of being black in the tumultuous modern America that percolated to jazz's beat."
http://theater2.nytimes.com/mem/theater/treview.html?res=9E0CEED6133EF934A15757C0A964958260


The Three Sisters
By Anton Chekhov
Translated by Carol Rocamora

"Three Sisters is a naturalistic play about the decay of the privileged class in Russia and the search for meaning in the modern world."
http://en.wikipedia.org/wiki/Three_Sisters_%28play)

"The most nuanced and emotionally composed of Anton Chekhov's beloved works, this dark comedy has for more than a century offered the actor's dream of deeply hewn character studies."
http://www.sandiegoplaybill.com/news/news_ucsd_030115.html

Love's Labour's Lost
by William Shakespeare

"For this early Shakespearian romantic comedy..."

http://www.variety.com/review/VE1117930601.html?categoryid=33&cs=1

"Resetting one of William Shakespeare's lesser comedies..."

http://www.musicals101.com/labours.htm

Baal
by Bertolt Brecht

"Though the episodic play is unwieldy and without the powerful political spine of Brecht's later work, it is a compelling piece of theater, filled with vitality and with the insatiable longings of youth."
http://theater2.nytimes.com/mem/theater/treview.html?res=9C0CE5DC1238F937A15750C0A966958260

"Brecht wrote Baal prior to developing the dramaturgical techniques of 'epic theatre' that characterize his later work."
http://en.wikipedia.org/wiki/Baal_(play)

Ghost Sonata
by August Strindberg

"The Ghost Sonata is a key text in the development of modernist drama and a vivid example of a chamber play."
http://en.wikipedia.org/wiki/The_Ghost_Sonata

"It is a highly modern text as it blurs the realms of real and illusion to expose the world in all its scary ambivalence, questioning the old doctrine and the notion of ‘one great truth’"
http://www.hausarbeiten.de/faecher/vorschau/119985.html

Peer Gynt
By Henrik Ibsen

"This stern admonition resounds powerfully in the plot of "Peer Gynt," Ibsen's sprawling verse epic that ranges wildly across realms rustic, exotic and fantastic."
http://theater2.nytimes.com/2006/04/14/theater/reviews/14gynt.html

"For all of Ibsen's protestations that Peer Gynt was written entirely for publication and not for the stage, his master fairy tale remains not only a centerpiece of modern drama but also of the modern theatre."
http://muse.jhu.edu/login?uri=/journals/theatre_journal/v048/48.2pr_ibsen.html

Eurydice
by Sarah Ruhl
"At the end of Eurydice, Ruhl's switcheroo, modernist take on the Orpheus and Eurydice Greek myth, I neither loved nor hated it."
http://donhall.blogspot.com/2008/10/review-eurydice.html


The Mistakes Madeline Made
by Elizabeth Meriwether

"There is less gimmickry in her latest comedy, "The Mistakes Madeline Made," a frenetic play about the horrors of low-level bureaucracy, pretentious writers and, more seriously, the death of a family member."

http://theater2.nytimes.com/2006/04/25/theater/reviews/25made.html

"Girl rage is powerful in Elizabeth Meriwether's absurdist comedy "The Mistakes Madeline Made."
http://www.variety.com/review/VE1117930304.html?categoryid=33&cs=1

Black Snow
by Mikhail Bulgakov

adapted by Keith Reddin

"The book is perhaps better described as an autobiographical episode, with Bulgakov renamed as the book’s central character, Maxudov."
http://www.buzzle.com/articles/philip-spires-reviews-black-snow-by-mikhail-bulgakov.html

"The Idyllwild Arts Academy Theatre Department is proud to present “Black Snow” by Mikhail Bulgakov a comic novel about the cloak-and-dagger world of the Russian theater in the politically calamitous 1930's."
http://events.pe.com/idyllwild-ca/events/show/85956730-black-snow-written-by-mikhail-bulgakov


Yale Repertory Theatre!

Passion Play
by Sarah Ruhl

"Pulitzer Prize finalist Sarah Ruhl, author of The Clean House and Eurydice, returns to Yale Rep with PASSION PLAY: an epic trilogy of plays performed in one evening."
http://broadwayworld.com/article/Photo_Flash_Passion_Play_by_Sarah_Ruhl_at_Yale_Repertory_Theatre_20080924

"But Sarah Ruhl's much-developed 3Ω-hour intimate epic, "Passion Play," delicately wafts over the didactic with her own special lyrical blend of poetry, humor and grace."
http://www.variety.com/review/VE1117938519.html?categoryid=33&cs=1

Rough Crossing
by Tom Stoppard

"In Rough Crossing, he takes the unusual (for him) step of cloaking this game in a romantic musical comedy.
http://www.curtainup.com/roughc.html

"Who better to direct this seldom-performed Tom Stoppard comedy than Dave Sikula, who obviously loves sight gags and throws them at you every chance he gets."
http://findarticles.com/p/articles/mi_qn4176/is_/ai_n28088059

"And this summer, they could not have chosen better than to assay ROUGH CROSSING, a farce by Tom Stoppard, adapted from Ferenc Molnarís Play at the Castle and P.G. Wodehouseís The Playís the Thing, but as is evident from both titles, solidly grounded in or influenced by Shakespeare himself."
http://www.rogovoy.com/news1466.html

Lydia
by Octavio Solis

'"Lydia' is an astonishing, expertly crafted tragedy that seduces and repels you at once."
http://www.denverpost.com/theater/ci_8086972

"Octavio Solis has penned a great American family drama."

http://www.dailycamera.com/news/2008/feb/07/theater-lydia/

Death of a Salesman
byArthur Miller

"The play raises a counterexample to Aristotle's characterization of tragedy as the downfall of a great man: though Loman certainly has Hamartia, a tragic flaw or error, his downfall is that of an ordinary man (a "low man")."
http://en.wikipedia.org/wiki/Death_of_a_Salesman

"Arthur Miller’s classic tragedy DEATH OF A SALSEMAN is being given a strong production at Syracuse Stage."
http://www.northcountrypublicradio.org/news/fullstory.php?storyid=9033

Richard II
by Earl of Oxford

"Richard II," one of the Bard's better-scripted but seldom-staged tragedies."
http://www.variety.com/review/VE1117934407.html?categoryid=33&cs=1

"King Richard the Second is a history play by William Shakespeare believed to be written in approximately 1595."
http://en.wikipedia.org/wiki/Richard_II_(play)

Trouble in Mind
by Alice Childress

"Trouble in Mind, Alice Childress’s funny, fierce, and moving comedy..."
http://www.thenewhavenlife.com/calendar/task,view_detail/agid,69/year,2007/month,10/day,26/

"Alice Childress’s 1955 backstage comedy-drama, “Trouble in Mind,” seem as plausible in today’s world as they were back when the play opened Off Broadway."
http://www.nytimes.com/2007/11/11/nyregion/nyregionspecial2/11theaterct.html

Tartuffe
Jean-Baptiste Poquelin Molière

"Molière's timeless comedy"
http://www.guardian.co.uk/stage/2008/may/16/theatre.europeancapitalofculture2008

"Tartuffe...is a comedy by Molière, and arguably his most famous play."
http://en.wikipedia.org/wiki/Tartuffe

A Woman of No Importance
by Oscar Wilde

" It is a testimony of Wilde's wit and his brand of dark comedy"
http://en.wikipedia.org/wiki/A_Woman_of_No_Importance

"Set in the last decade of the 19th century this drama exposes the hypocritical moral code of that society."
http://www.edinburghguide.com/aande/theatre/reviews_06/w/woman_of_no_importance_pitlochry.shtml

Notes From Underground

by Fyodor M Dostoevsky

translated by RICHARD PEVEAR and LARISSA VOLOKHONSKY

adapted by BILL CAMP and ROBERT WOODRUFF

Happy Now?

by Lucinda Coxon

"Lucinda Coxon's new play belongs to a once-familiar genre: the middle-class comedy of recognition."

http://www.guardian.co.uk/stage/2008/jan/25/theatre1

"Lucinda Coxon’s sharp, entertaining comedy-drama "

http://theater2.nytimes.com/2008/11/05/theater/reviews/05happ.html