By Joseph L Mankiewicz
Adapted and directed for the stage by Ivo van Hove
Gillian Anderson (X-Files, NT Live: A Streetcar Named Desire) and Lily James (Mamma Mia! Here We Go Again) lead in All About Eve, broadcast live to cinemas from the West End in London.
All About Eve tells the story of Margo Channing. Legend. True star of the theatre. The spotlight is hers, always has been. But now there’s Eve. Her biggest fan. Young, beautiful Eve. The golden girl, the girl next door. But you know all about Eve…don’t you…?
Lifting the curtain on a world of jealousy and ambition, this new production, from one of the world’s most innovative theatre directors, Ivo van Hove (NT Live: A View from the Bridge), asks why our fascination with celebrity, youth and identity never seems to get old.
All About Eve is adapted by Ivo van Hove from the 1950 Twentieth Century Fox film by Joseph L Mankiewicz and the play “The Wisdom of Eve” by Mary Orr. Ivo van Hove directs this new stage version with set and lighting design from Jan Versweyveld, costume design by An D’Huys and music from double Mercury Prize-winner PJ Harvey, alongside Tom Gibbons’ sound design. Casting is by Julia Horan CDG.
Join us in a world where magic is real, adventure is epic, and love is harmonious. Sit on the edge of your seats as professional champion ice skaters, Broadway level singers, and cirque performers captivate you. Welcome to The Spinning Tales of Cinderella & Peter Pan on Ice! – Where fairy tales and ice collide! Our story spins through the world famous tales of Cinderella and other storybook characters.
Join us in a world where magic is real, adventure is epic, and love is harmonious. Sit on the edge of your seats as professional champion ice skaters, Broadway level singers, and cirque performers captivate you. Welcome to The Spinning Tales of Cinderella & Peter Pan on Ice!- Where fairy tales and ice collide! Our story spins through the world famous tales of Cinderella and other storybook characters.
Taije Silverman is the author of Houses Are Fields, a book of poems published in 2009 by Louisiana University Press. Her Selected Poems of Giovanni Pascoli(translated from the Italian with Marina Della Putta Johnston) will be published by Princeton University Press in fall 2019. Recent poems and translations have been in The Best American Poetry 2017and The Best American Poetry 2016, Harvard Review, The Nation, Agni, The Kenyon Review, and elsewhere. Her poems are forthcoming in The Gettysburg Review, Five Points, and The Georgia Review. She is the recipient of a 2017 Pushcart Prize, the 2016 Anne Halley Prize for best poem in The Massachusetts Review, a 2011 Fulbright Award, the 2010-11 W.K. Rose Fellowship from Vassar College, and residencies from the MacDowell Colony, Yaddo, and the Virginia Center for the Creative Arts. Houses Are Fields appeared in Italian translation in 2013 (Le Case Sono Campi, trans. Giorgia Pordenoni, Oedipus Edizioni). Silverman previously taught at the University of Bologna, where she was a Fulbright Scholar, and at Emory University, where she was the Creative Writing Fellow.
Alexandra Kleeman is a Staten Island-based writer of fiction and nonfiction, and the winner of the 2016 Bard Fiction Prize. Her fiction has been published in The New Yorker, The Paris Review, Zoetrope: All-Story, Conjunctions, and Guernica, among others. Nonfiction essays and reportage have appeared in The New York Times Magazine, Harper’s, Tin House, n+1, and The Guardian. Her work has received scholarships and grants from Bread Loaf, the Virginia Center for the Creative Arts, Santa Fe Art Institute, and ArtFarm Nebraska. She is the author of the debut novel You Too Can Have A Body Like Mine (Harper, 2015) and Intimations (Harper, 2016), a short story collection
Jordy Rosenberg is the author of Confessions of the Fox – described by The New York Times as “a mind-bending romp through a gender-fluid, 18th-century London,” named a New York Times Editor’s Choice selection, finalist for the Center for Fiction First Novel Prize, a Lambda Literary Award, and a Publishing Triangle Award. Confessions has been recognized by The New Yorker, the Huffington Post, Buzzfeed, Kirkus Reviews, LitHub, Electric Literature and the Feminist Press as one of the Best Books of 2018.
Jordy is a professor of 18th-Century Literature, Gender and Sexuality Studies and Critical Theory at The University of Massachusetts-Amherst.
TheaterWorksUSA’s production of Peter Pan is based on John Caird and Trevor Nunn’s 1982 adaptation, which was originally developed for London’s Royal Shakespeare Company. In the spirit of the original tale, this production tells the story through the eyes of six children living in Edwardian England. Together, they transform the Darling family’s nursery into Neverland, turning pillows into clouds, long-johns into shadows, an ironing board into a ship’s plank, and antique snowshoes into a crocodile’s snapping jaws. This enchanting production celebrates childhood and captures the magic of the imagination.
Approximate Running Time: 60 Minutes
Recommended Ages: 3 and up
Concurrently primitive and futuristic, The Earth Harp incorporates sculpting, architecture and sound design, standing at the crossroads of music and art. The Earth Harp was built and developed by William Close, a New York native and alumni at the Art Institute of Chicago. William performs as part of The Earth Harp Collective – a team of musicians, dancers, aerialists and artists.
While studying at the Institute, Close realized in order to succeed he had to do something that no one else had done. An avid musician who played in garage bands as a teenager, he started concocting then building his own instruments. His background as a sailor served as inspiration for the use of natural sounds – the wind whipping the sails, the sound of the rigs flapping and being pulled tight.
“I’ve always seen and heard the world as an instrument,” says Close. “Just hearing nature’s tones inspires me.”
The body of The Earth Harp rests on the stage, while the strings travel over the audience, attaching to the back of the theatre, concert hall and/or festival ground, turning every space into an instrument. By using violin rosin covered gloves along the strings, the Earth Harp’s bowed tones and overlapping ripple effect offers a dramatic cathedral-like sound effect.
Close’s celebrated Earth Harp earned him a finalist slot on NBC’s America’s Got Talent and was recently named by the World Record Academy as creating and holding the record for the world’s largest stringed instrument. Close has designed at least two permanent Earth Harp installations, one as part of Cirque du Soleil’s show KA at the MGM Las Vegas, the other as part of a 1,300-seat theater aboard the Royal Caribbean International’s newest ship, Quantum of the Seas. He has brought his Earth Harp to iconic venues like Rome’s Coliseum, Washington, DC’s Kennedy Center, New York’s Lincoln Center, Seattle’s Space Needle, Shanghai’s Grand Theater, Sao Paulo’s Theatro Muncipal, Qatar’s Dhow Harbour, as well as major U.S. festivals like Lollapalooza, Coachella, Bumbershoot, Burning Man and Lighting in a Bottle. With an interest in soundtrack work, Close has also recorded music for Game Of Thrones composer Ramin Djawadi for Guillermo del Toro’s Pacific Rim.
“I love the idea of these expansive, grand-scale, but still user-friendly experiences,” he says.
For Close and his Earth Harp, the sky is literally no limit
Strange Radio, Live! is an immersive lecture-performance in story and sound, part of an ongoing series of experimental radio narrowcasts and broadcasts about the stranger, nearness and distance, forced migration, displacement, home, and the intergenerational transmission of memory. Strange Radio’s point of departure is Holocaust postmemory in Vienna, Austria, a sonic portal for sensing experiences of strangers and strangeness in multiple unfolding contexts across the globe. Strange Radio, Live! weaves together personal documentary; disembodied voices and sounds separated from points of origin; fragile signals transmitted through radios and embodied reflections on memory, place, time, and radio—itself a strange medium. Postmemories bounce against histories, sometimes buried and inaudible, in new locations. Tuned into both utopian longings and wounds, Strange Radio is a fragile signal, a love song to radio as a medium, metaphor, and method of deep listening together.
Karen Werner is an award-winning radio artist, audio storyteller, and sociologist. Her audio pieces have been broadcast on community and public radio stations across Europe, North America, Australia, and Israel. They have also been part of numerous live events and art exhibitions. In 2017-2018, Werner created a series of public sound installations at Vienna’s MuseumsQuartier, including “Covenant of the Tongue” and “Zirkus,” which are sonic autoethnographies about Holocaust postmemory in Vienna. Her recent work is in live performance: sound installation meets documentary storytelling meets narrowcast radio transmission. Werner is a 2019 invited artist at the Kone Foundation’s Saari Residence in Finland and was a 2017-2018 Fellow of the Memorial Foundation for Jewish Culture. She received a Tending Space Fellowship from the Hemera Foundation from 2014-2016 for artists with a Buddhist practice. She is on the faculty of the BFA in Socially Engaged Art Program at Goddard College in Vermont.
Elizabeth Demaray is an artist who focuses on the interface between the built and the natural environment. In this vein, she builds listening stations for birds that play human music, cultures lichen on the sides of skyscrapers in New York City, and designs alternative forms of housing for land hermit crabs. These artworks often involve the concept of a biotope, which is a small environment where human and non-human populations overlap.
While in residence at Monmouth University, Demaray will present these projects and will lead a workshop on non-anthropocentric design. She will also be pairing with the campus to create a community-based project that embraces the idea of “trans-species giving.” According to Demaray, the concept of trans-species giving asserts that the commonalities between life forms are such that we may actually be able to give other organisms a “hand up,” notwithstanding our own cultural or species-specific assumptions about the natural world.
Demaray is the recipient of the National Studio Award from the New York Museum of Modern Art/P.S.1 Contemporary Art Center and the New York Foundation for the Arts Fellowship in Sculpture, and was the featured artist at the 2014 Association of Environmental Science Studies symposium, Welcome to the Anthropocene. She lives and works in Brooklyn, New York, and is an associate professor of fine arts and head of the sculpture concentration at Rutgers University, Camden. On the Rutgers, New Brunswick, campus, she is a work group advisor in the Department of Aerospace and Mechanical Engineering and an advisor at The Art and Artificial Intelligence Laboratory at Rutgers University, in the Department of Computer Science, which is dedicated to supporting artistic practice in the fields of computer vision and machine learning.
