Tara Maginnis concept (costume designer)

At the begining olivia's crew will be all in black; orsino's crew is in
white/tan/beige; throughout the play colours for olivia's crew become
more tropical and for orsino's crew more royal easter colors; at the
end everybody is in a carnival mood and cloth.

filmcrew: ?


orsino: british governor watch club paradiso (film) for its treatment
of a british governor and water (film)

olivia: uma thurmann in pulp fiction (film by tarantino)

maria: people's henchperson; if she were a guy watch Tom in miller's
crossing (film by coen brothers); definitly ethnic/ irish maid
(frequent choice of directors)


malvolio: british butler who dreams to be a mafia boss


sir andrew: british punckchild, who is being sucked dry by sir toby

captain: hunter thompson (writer) fera and loathing in las vegas;
possibly stoned all the time

sir toby; ?

curio: british civil servants; they try hard to be british; they love
british royal pastel/ easter colours.; whether they are girls or boys ;
they flirt with viola

fabian; stupid enforcer= leg breaker

this is all for now;

First, Duke Orsino. He is a real duke, the British left-over of the colonial era turn of the century (not millennium). He is British and looks like was sent away from London, because they have nothing for him to do in England (something like prince Charles). He is bookish, that is why he is attracted to Viola, a grad student from CalArt studying something very postmodern.

Of course, Orsino was taught that he has to be in love with the real woman like Olivia, old local spanish aristocracy, hot and strong. She has to take over the family business, because all male members got killed in the drug-traffic-wars.

Yes, Viola's brother, Sebastian, never worked a day in his life. too. Beaverly Hills' environment helps. Their MGM family had to time to raise the twins...

Oh, Malvolio is also British, or thinks that he is British.

I didn't have guts to post my complains about Shakespeare and his comedies, but you can read it @ http://members.theglobe.com/rusam/script/12night. htm or get enrolled in DramLit and hear it live.

Anatoly

hey it is DIana

first, welcome back everyone

second i want to commend kelley on the great job she is doing.  3sis
and raph paved the road to happy cast with e-groups and kelley is
smothing it down, maybe even paving it.  audition form online?  you
rock.

third
see you ALL at auditions.  get out there, strut your stuff. a  and
bewarned, for those of you who don't know him, tom is planning to sit
in on auditions to see what has been happening in the acting pool over
his absense.  so prepare for at least 4 faces- tracy, fletcher, anatoly
and tom.  maybe some assorted other persons as well

lastly,

my neighbors are having a rather violent domestic squabble.  to the
piint where i am going to get off line now in case i feel the need to
call the cops.  so here is the morale of this all- i an really glad to
be back and have the prospect of rehersals in the near future so i
won't have to here so much of this domestic bliss- shit.  um, i think
norma just left.  yep.  wow- her hubby is pissed.  never never will i
stay wiht a man who treats me like that.  for those of you whwo have
heeard my nieghbor stories... well, yeah! and i am gijng to move to
peacefully quite provincial low rent districst of new york.  fun huh!?

Diana

Welcome back!
  The audition form is now in the vault. For those of you not used to
the actual egroup website:
   -Go to egroups.com
   -sign in
   -click on the 12th night group (near the bottom of page)
   Once you get into the 12th night section, there is a blue line of
options across the top of the page. Go to vault. On that page is the
audition form. It is in word format, so just download it into word,
print, and enjoy!
kelley

Hello,
  Something to keep in mind: everyone has been doing this, and this is
just to ensure that this excellent behavior continues! Make sure to
place a relevant subject title on your messages, it will help with the
cataloguing.
  Also, I am currently trying to get a copy of the audition form to put
into the vault so that you can simply print it out! I will let you know
as soon as I get that on.
  Hope you all have a great last weekend before classes (and auditions)
. . .
Kelley

Hey, it is Diana..

So here it goes, just read the full text of 12 Night- annotated by
Joseph Papp which gave rise to many questions-  Whith what Anatoly has
cut, it becomes much more of a streamlined sex-type-thing.

Leads mne to the poll- so i voted because Shakespeare makes his point-
that being that one can not be to muchof a fun-killing deamon all
thetime with out any consquences...  THat to me is an extreemely
simplified version pf Shakespeare's point.. My question ifs what
becomes anatoly's point withj the cuts... is it that he becomes a
tragic figure?  I really don't think so, not at  the point of him iw th
a hustler mag and all..

So onto the walter mitty thing- everyone remember the not so great
movie version of a not so great bit of prose usually used to teach
dramatic irony to 9th graders in american lit called "THe Secret Life
of Walter Mitty" ?  Well, give it a read againif you have time?  My
question lends to this- is 12night the secret life of us?  of people?
is what we live the secret life of 12 noght?  ok, having a cold
medicine induced psudo-brilliance momment, so forgive me here, but
really? where it it iall going?

Maybe i just need torelent a bit on this as it is comedy, but after our
audience goes home a scrumps like maddened lotus fed bunnies, do we
ever want them to think?  Are we hoping or some dort of coginisent
recongitin of het effect of the play?  Is there such a thing?  Ate we
simply doing vaugely experiemental entertainment?  What the hell is
going on?

I have trouble with comedy in general-- I always look for hte mommnet
when it contains the drama...this is why i think our 3 sis was funny-
we had drama to fall from to make it funnny...i am having the trouble
in 12 night of finding the drama to laugh at. sure there is malvo..but
hte poor guy is such a caratucaute.. has no real drama-  who knows..
and i hate the pat resolutin at eh end.  talk about anti-climatic.
simply wrapping it all up for  a pretty package- that is ok,

But once we

hey it is diana..

So i just tyed for about 30 minutes and had this beautifyl questining
e-mail all set to post, when my computer ate it.  actully my dads
computer so who knows, i will attempt to re-create.... errr.


it was titled

"Polls, hustler and Walter mitty"

nice huh?  here it goes.

so, i just voted on the malv poll- i went fo the shakespeare nmakes his
point opition.  simply because critically that is what i see malv being
there for.  just finished readin a full text of hte play- one with
notes and forward bits b Joseph Papp.  brought a few things to mind.
with the cuts ,m can malv or anyone for that matter be tragic at all?

really malv becomes a hightened cariticure espically with a hustler
mag.. that os not tragic in this comedy.

on to walter mitty...the not so good movie made from a not so great bit
of prose that is used to teach children dramatic irony in 9th grade I
speak of "THe Secret Life of Walter Mitty"  Give it a cursory read.  i
ask are we the secret of 12night, or is 12night the scret of us?  WHere
do we fin dthe giddy medium?

Please note that for the past few days i have been chugging, or more
correctly swallowing, more that the reccomended dosage of assorted over
the counter sinus cold drugs.  this may be affecting these following
thoughts...

I have problems with comedy.  I cannot find a place where the tragedy
is instilled which, without that it cannot gbe condedy.  Our 3 sis was
comedy- even if the audience cried ath the end.  conedy because it had
tradegy enough that the funny momments earned a big ha ha and in
retrospect, it will make peo0oel laught athe themselves or at least 3
sis as they realize what they/themselves have been fretting about.
right?  right.

So here whent he audience leaves, they go home and scrump like lotus
eating bunnies.  Great our play is soft-core with an intellectual lilt
as it is 'Shakespeare'.  yippie.  maybe we will get hte same 4 high
school boys who came to bacchae almost every night because of hte pole
dance sequence.  thanks tom...

so this is what i am asking, are we doing comedy or tragedy?  to me it
seems that 12 night is more of a tragedy than anything else- that these
polele's lives are so empty and meaningless that they play at carnival
all day and night and only marry to get the prize from a cracker jack
box?

Or am i just taking this all a bit to seriusly.  Grant ed it is holiday
time and seeing relatives always puts me in a charming mental state-
but is that all?

it is just a comedy?  are we just doing lighthearted entertainment?  is
the fiml crew aspect the one to satisify intellectual criteria of
artistic flare and play just a vechile for it all?  hummm...

Ah, also, what is up with hte chorus of 20 nuns?  what?  wher are the
songs going to be interjected?  in places originally suggested in
original text, or instead be as background murmur for the scenes?
Also, comedia?  Wow.  THere is a demmand.  Anatoly i hope you mean in
the style of comedia, in the presentatinal effect of comedia- not
comedia itself.  that takes years of training.  went through some if it
skimmingly, very breifely for clown college and damn, that is not easy
shit.  to fake the effect of is not so bad, but still very styilized
very much a thing requiring rehersal and nearing choreography and
combat training.  Could we get judy kreith to help with movement for
this thing?  that would be groovey- she likes us...

On a techinical note- takl abut fun to light at least it looks like it
should be.  kade, aww yeah i see a lot of color at this point....

Also, Ms. Stables  the esteemed SM- Get on the actors collective
tooshes asap about getting measured in costume shop- like make those
who are truculent about it have demerits assigned or something.. i
don't know.  but it has been a problem for too many shows here..

altight last thought- the letters in the letter- M.VLO- that is not
quite right but for refenence it makes sence-  they are same as
abriviation for some type of medicine-  have to find out what will post
knews later.  granted shakespeare happened way before this medicine
did, but funny though no?

I hope some of this made sense.

Diana

Our musical director John Hopkins selects up to 10 numbers for the
chorus of 18 nuns. From madrigals down to pop, no orchestra.

Since the show has so many musical statements, there must be an
organization and evolution of the musical plot. Please come with your
thematic suggestions (love, madness, etc.) and interpretation of the
main characters, who should/could their musical identity.

Folks who plan addition for Feste the Clown must see John for musical
auditions.

Most likely will have them on Sun Jan. 16 during the callback.

Anatoly

Why are they so cruel to him?

----

Please select one or more of the following:

    o Because he is a jerk
    o They are bad people
    o They have fun
    o He started it
    o Shakespear makes his point
    o He is madman
    o He is the only tragic character
    o I like him


by going to the following Web form:

    http://www.egroups.com/vote?id=945915443040&listname=12night

Thank you!

Raf:  That is a good point about how to relate this idea of aliens alienated
from sex to the audience.

Have a few ideas:

If we are aliens, and if it is true what Anatoly is saying about how WE ARE
LIKE the audience if we are aliens - then the AUDIENCE IS PART OF OUR
SPECIES.  Illyria doesn't exist on Earth - Just on Anatoly's website - so
why not just assume that the audience is actually part of our experiment -
that the audience is an elite group of our SEXLESS Species (aren't we as
human beings become more and more androgenyous?) who have come to observe
this entire society based on sex.  The idea then comes HOW TO COMMUNICATE
with the rest of our POST HUMAN species.

Forget the social security numbers on the back, forget the sexual
orientation on the back - the only thing the audience has to know is that
we're aliens.  We should look like the classic alien heads do with the large
head and the black eyes because after all that is what we recognize as
"alien," today (and I tell you what - it's not a different species we're
recognizing, BUT OUR OWN).  Everyone is talking about aliens aliens aliens,
X-files, Roswell, Independence Day, you name it,  it's the newest thing the
newest enemy - WE ARE THE ALIENS.  We are our own enemy alienated from
ourselves.

Then if these aliens are "Post-humans" visiting a place where sex is king
(perhaps we should be post-americans - this country is so sexually repressed
it makes sense) then all we need to do to communicate with the audience in
such a manner using THEIR icons....

Ex:  Intermission - one of us holds up a picture of, I don't know, Viola
lets say - for the audience to see.  Another of us keeps holding up
different pictures next to it:  One of Bill Clinton, one of O.J. Simpson,
one of John Travolta, one of John Wayne Bobbit, etc etc etc.. it will be a
montage, and somehow to get the audience to clap at the combination they
like the most.  THEY will be defining for our experiment HOW THEY SEE EACH
CHARACTER....

Then we go a step further... we make sure to have pre-recorded footage of
all the images.  The combination they clap at the most is the one we show on
the screen and cut in between the images during the show!!! Then the
audience will be the aliens for sure, and we will be part of them.  We don't
have to look like them  (after all we will be on another planet filming the
thing, and they will be in the comfort of Earth observing this thing - this
whole large head big black eyes thing could simply be the human space suit).

Tracy:  Who is the editor?  Who is the switcher operator?  The alien
commander of the mission:  She is sitting up in a space ship (I like that)
feeding the audience live footage on the screen AND A HOLOGRAPHIC IMAGE
(like in trek the next generation) of the action they see on the stage.
What is happening on the stage isn't actaully happening before them - it is
a re-creation that is so real, it feels like they are there.  They just get
the advantage of a screen as well.

TRACY!! You could even play with this idea (like they do on Next Generation)
of STOPPING the action and telling the computer to add DIFFERENT ELEMENTS!!
Talk with Anatoly about this.


What about this idea?

1.) Is the action taking place on another planet that is simply like Earth?

2.) Are we Earthling aliens come to record this planet's sexual lifestyle to
liberate ourselves?

3.) How do we communicate or INTERACT with the audience as aliens to help us
with our experiment?

Talk to me talk to me talktome,
Kyle.

and more alien goop! (I feel like diana at the moment) ;)

how is the switcher related to the aliens? is the switcher like a lackey
who wasn't allowed to come down and actually visit the planet?  is the
switcher in space?  circling the earth as they send what the photography
crew has shot back to the homeplanet?

or, is the switcher the high queen alien ambassador?
or is the switcher just a switcher trying to make the whole thing make
sense for internet viewers?

	 -tracy

------------------------------------------------------------------------------
The eye of man hath not heard, the ear of man hath not seen, man's hand is
not able to taste, his tongue to conceive, nor his heart to report, what
my dream was.  - Nick Bottom
--------------------------------------------------------------------msnd-ws---

ahh, more important than how the alien feels and lusts... (isn't that more
method) is how the lustful alien moves as compared to a non-lustful
alien.  are our camer crews going to have a specific alien walk (or more
specifically, an alien trying not to look alien discovering its
lust... woooo...)heck.  do they hold camera's like japanese tourists? do
gesture like aliens?  oooh... this sounds like more fun to me than trying
to figure out the alien psyche.

	 -tracy

------------------------------------------------------------------------------
The eye of man hath not heard, the ear of man hath not seen, man's hand is
not able to taste, his tongue to conceive, nor his heart to report, what
my dream was.  - Nick Bottom
--------------------------------------------------------------------msnd-ws---

Hey it is diana- so i sent it before i was done with it, accidentally.

damn lack of a tab here.  errr

yeah so anyway, the thir mask was provided as a way for the entourage
to grow and again acceptance in ileyeras (sorry, i know it is wrong...)
festive society.  SI girlie photos i thin kwould be a accepted and
liked thing in illyeria.--

but to my concern- if these filmers are here for some such sex related
quest or resason, itsnt that going to have to dictate a certain ammount
of how things are shot?  whith waht Rapheala said, how much will the
audience see of character of filmer--EVERYTHING.  because you can do
what no actor can,a nd that is rip out you eyeballs and rip out hte
audiences eyeballs and repalce theirs with yours.  and then make it
work.  you let, nay force the aud to see what you do- prereccorded or
not.  where you look, or where you DO NOT look is quite telling.

with three sisters it was very easy to tell what kind of mood our
filmers were in by their shots- don't know if you guys knew or not-
same with tracy- style of switches told much about her.  the
camera-actor thing is quite true.

i see it as not so much worrying about a "caharcter choice" per say-a
note in program can always be given.  I would worry about hte "camere
character" choices.  Is you camaera male or felame?  How does it feel,
does it know you are an alien?  is it an alien as well?  does teh
camera lust?  i see the camera dn then teh screen and film as being the
output of character here.

almost want to say for actor we have actor + artist = medium, here is
it actor + operator = camera?  camera + operator = actor?  who knows.

i have to go biology beckons.  see Rapheala, i am studying... i love my
foveia centrallis even if i cannot spell it....
DIana

Hey yall, itis Diana.

For those of you who have not had the pleasure of my e-mailing beore, i
am a lazy at best typist.  so, forgive, and enjoy the added fun of
decphering it all.

Ok- thanh you kelly for hte well-typed production notes.   they are
going to be a big help during all this.  Hope yo keep it up.

What i was understanding was that the finm cre were still to be space
aliens- ok, here is a more clear notion of what is i my head.

THere exists:
  iner core- alien, from space, green, little
   mask one- japenese tourist
   mask two- created as mask one didn't provide enough cover- film crew
   mask three- sports illustrated swimme chickie lolling in sand
photographer

Kelley Stables wrote:
>
> Hello all,
>  This is what went on:
>
> <<SNIP>>
>
>  There has also been some rethinking of the music. The idea of all
> Christmas music has changed to including more of the locations
> influence.

Speaking of music, I found a great theme for Sebastian.  It's a Surf
instrumental called "Love Pipe," by a Siberian-cum-Californian surf rock
combo called the Red Elvises, who came up to the Palmer Fair two summers
ago.  I'll have to play it for Anatoly or somebody.  (This is assuming
Sebastian's still planned as a surfer...  I wouldn't expect him to have
his own theme in the production, but I thought if he had one, this'd be it.)

>  The issue with the film crew has been resolved! The camara crew is
> made up of Sports Illusrated Swimsuit Camara Crew memebers.

Hmm.  How is this going to be depicted, and explained?  I like it better
than the aliens idea (which could easily be confusing and distracting to
the audience), but at this point, not as much as the Japanese tourists.
--
Brandon Seifert <looney@...> | UIN:  4170467
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
"Gentlemen, it's now quite apparent that the enemy are not only fighting
this war on the cheap, but they're also not taking it seriously."
----------------------------------------------------------------------------

that is pretty funny. but can we pul it of for the audience to understand
oour story. remeber strong choices also have to be able to projected,
difference between thought and internatlization and external projection.
rafaela


On Wed, 15 Dec 1999 fskwe@... wrote:

> So we're to be aliens huh?
>
> What is our major difference from humans?  Our superhuman power?  No
> sex.  We have no sex.  It's like Barbarella - we just take a pill and
> touch hands and we have this kind of mental orgasm.  We don't need sex,
> in our ultra-modern world we have devised a pill that is far better
> than the real thing.  As a matter of fact, we haven't seen the real
> thing in so long that we've forgotten what it was.  All of our genitals
> have been removed at birth because we do not need them and procreation
> is a surgical procedure and babies are kept in petri-dishes until fully
> formed enough to be placed in microwaves where they will grow until old
> enough to crawl.
>
> No sex and that's our problem - we've left the planet in search of sex.
>  We've forgotten what it was like so therefore it must be better than
> our synthetic equivalent.  The film crew is a specialized
> hyper-androgenous team of rebels who have broken off from their home
> planet to record Earthlings who have this whole Caribbean society
> (illyria) based on sex - to record and bring back as propaganda for our
> fellow Aliens (We don't have a special name yet) to see that our sex
> organs are not like the earth equivalent of tonsils.  That we need our
> Earth equivalent of balls and vulvas, but not so much for the
> procreation aspect, but the idea that we're missing out on a lot of fun.
>
> Like the first Television signals sent into space - we recieved
> sattelite imagery signals from an Earth space station known as
> "Cinemax."  Our Rebel alliance happened upon this information which led
> us to the discovery of Earth and the re-discovery of sex. sex organs,
> sex movies, sex parties, sex games, sex farms, sex beaches,.. the
> Caribbean in general....
>
> We have altered our appearance to fit in with earthling fuck culture in
> Illyria.  We have created false appendages with which to strap around
> our crtoches which will give the appearance of the human earthling
> dong.  We have had boobs implanted in øur pectorals and wear t-shirts
> that advertise viagra, and our social security numbers are neatly
> printed on our backs along with words which will identify us with a
> certain Earthling sexual orientations:
> Queer, Straight, Both Ways, or Sheep.
>
> Our goal is to get enough footage to figure out how to re-create our
> sex.  We will understand once we see the humans do it - and then free
> the androgenyous slaves of our own world.
>
>
> ------------------------------------------------------------------------
> Accurate impartial advice on everything from laptops to tablesaws.
> http://clickhere.egroups.com/click/1701
>
>
>
> -- Talk to your group with your own voice!
> -- http://www.egroups.com/VoiceChatPage?listName=12night&m=1
>
>
>

Hello all,
  This is what went on:

  Anatoly has more cleaning up of the cast list to do, getting rid of
alot of the extras, such as the sailors and pirates. There will also
ultimately be two scripts, one for acting and one for the film crew.
The film crews script will be written during the film class.

  There are still a lot of ideas being brought up dealing with the
screen. Whether it will be the live feed, or pre-recorded. The titling
idea, someone writing what they think as the play is going on and being
projected live onto the screen, is also being suggested as being a
split screen with the play going on, whether that is live or
pre-recorded is being decided. The internet broadcast will not be a
live feed as it was with 3 Sisters, that will be pre-recorded.

  The entire idea that the audience are spect"actors" (instead of
spectators) involved with the performance will be furthered with the
idea of a JB student going around and interveiwing various memebers
before the play seeing what they think it will be like and what they
think of Shakespeare, then during intermission and post-show to get
feedback. This would be a live-feed through to the screen in the
theatre.

  There has also been some rethinking of the music. The idea of all
Christmas music has changed to including more of the locations
influence.

  The issue with the film crew has been resolved! The camara crew is
made up of Sports Illusrated Swimsuit Camara Crew memebers.

That's all!
Kelley

If this is Kyle,
please sign your posts.

I came to a conclusion that Tara is right that most alienated from sex are
the Sport Illustrated shooting crew (not Playboy as I suggested). Tara is
already designing the film-crew costumes, you and Rafaela have to see her
for measurements.

Think about aliens among humans.

Anatoly

----- Original Message -----
From: <fskwe@...>
To: <12night@eGroups.com>
Sent: Wednesday, December 15, 1999 8:22 PM
Subject: [12night] Aliens Alienated from Sex


> So we're to be aliens huh?
>
> What is our major difference from humans?  Our superhuman power?  No
> sex.  We have no sex.  It's like Barbarella - we just take a pill and
> touch hands and we have this kind of mental orgasm.  We don't need sex,
> in our ultra-modern world we have devised a pill that is far better
> than the real thing.  As a matter of fact, we haven't seen the real
> thing in so long that we've forgotten what it was.  All of our genitals
> have been removed at birth because we do not need them and procreation
> is a surgical procedure and babies are kept in petri-dishes until fully
> formed enough to be placed in microwaves where they will grow until old
> enough to crawl.
>
> No sex and that's our problem - we've left the planet in search of sex.
>  We've forgotten what it was like so therefore it must be better than
> our synthetic equivalent.  The film crew is a specialized
> hyper-androgenous team of rebels who have broken off from their home
> planet to record Earthlings who have this whole Caribbean society
> (illyria) based on sex - to record and bring back as propaganda for our
> fellow Aliens (We don't have a special name yet) to see that our sex
> organs are not like the earth equivalent of tonsils.  That we need our
> Earth equivalent of balls and vulvas, but not so much for the
> procreation aspect, but the idea that we're missing out on a lot of fun.
>
> Like the first Television signals sent into space - we recieved
> sattelite imagery signals from an Earth space station known as
> "Cinemax."  Our Rebel alliance happened upon this information which led
> us to the discovery of Earth and the re-discovery of sex. sex organs,
> sex movies, sex parties, sex games, sex farms, sex beaches,.. the
> Caribbean in general....
>
> We have altered our appearance to fit in with earthling fuck culture in
> Illyria.  We have created false appendages with which to strap around
> our crtoches which will give the appearance of the human earthling
> dong.  We have had boobs implanted in øur pectorals and wear t-shirts
> that advertise viagra, and our social security numbers are neatly
> printed on our backs along with words which will identify us with a
> certain Earthling sexual orientations:
> Queer, Straight, Both Ways, or Sheep.
>
> Our goal is to get enough footage to figure out how to re-create our
> sex.  We will understand once we see the humans do it - and then free
> the androgenyous slaves of our own world.
>
>
> ------------------------------------------------------------------------
> Accurate impartial advice on everything from laptops to tablesaws.
> http://clickhere.egroups.com/click/1701
>
>
>
> -- Talk to your group with your own voice!
> -- http://www.egroups.com/VoiceChatPage?listName=12night&m=1
>
>
>

So we're to be aliens huh?

What is our major difference from humans?  Our superhuman power?  No
sex.  We have no sex.  It's like Barbarella - we just take a pill and
touch hands and we have this kind of mental orgasm.  We don't need sex,
in our ultra-modern world we have devised a pill that is far better
than the real thing.  As a matter of fact, we haven't seen the real
thing in so long that we've forgotten what it was.  All of our genitals
have been removed at birth because we do not need them and procreation
is a surgical procedure and babies are kept in petri-dishes until fully
formed enough to be placed in microwaves where they will grow until old
enough to crawl.

No sex and that's our problem - we've left the planet in search of sex.
  We've forgotten what it was like so therefore it must be better than
our synthetic equivalent.  The film crew is a specialized
hyper-androgenous team of rebels who have broken off from their home
planet to record Earthlings who have this whole Caribbean society
(illyria) based on sex - to record and bring back as propaganda for our
fellow Aliens (We don't have a special name yet) to see that our sex
organs are not like the earth equivalent of tonsils.  That we need our
Earth equivalent of balls and vulvas, but not so much for the
procreation aspect, but the idea that we're missing out on a lot of fun.

Like the first Television signals sent into space - we recieved
sattelite imagery signals from an Earth space station known as
"Cinemax."  Our Rebel alliance happened upon this information which led
us to the discovery of Earth and the re-discovery of sex. sex organs,
sex movies, sex parties, sex games, sex farms, sex beaches,.. the
Caribbean in general....

We have altered our appearance to fit in with earthling fuck culture in
Illyria.  We have created false appendages with which to strap around
our crtoches which will give the appearance of the human earthling
dong.  We have had boobs implanted in øur pectorals and wear t-shirts
that advertise viagra, and our social security numbers are neatly
printed on our backs along with words which will identify us with a
certain Earthling sexual orientations:
Queer, Straight, Both Ways, or Sheep.

Our goal is to get enough footage to figure out how to re-create our
sex.  We will understand once we see the humans do it - and then free
the androgenyous slaves of our own world.

Pre-publication version of a review of "Juliet and her Romeo" and of
the "Marquee" column to be published in the Moscow Times Dec. 10, 1999.
Any and all quotations of, or references to, these articles must cite
John Freedman.

Copyright 1999 John Freedman
-------------------------------
By John Freedman

What more proof need we than "Juliet and her Romeo" at the Chekhov
Moscow Art Theater to remind us again that Russia and the West are on
opposite sides of the world?

The rage out west these days is to file Shakespeare to a nub. That's
what the Welsh Volcano Company did with a searing, two-hour, two-actor
version of "Macbeth" that roared through town a month ago. And that's
what the popular Reduced Shakespeare Company does in London with its
"The Complete Works," billed as "all 37 plays in 97 minutes."

In Russia, the land of long winters, long novels and long periods of
social transition, we get Shakespeare Enhanced -- Vladimir Berzin's
production of Klim's contemporary play based on the Bard's "Romeo and
Juliet" runs nearly four hours. And I'll tell you what: They are four
of the most tantalizing, moving and beautiful hours I have spent in the
theater this season.

"Juliet and her Romeo" is not for everyone. This is no mere
sleight-of-hand to make an old play look hip. It is a challenging
revival of the Romeo and Juliet myth in a new context, an independent
work, as was Shakespeare's play that built on versions by Massuccio
Salernitano, Luigi da Porto, Arthur Brooke, William Paynter and many
others. Remember them?

Klim, best known as a director with a decidedly avant-garde bent,
debuts here as a playwright. As a director, he has an affinity for
slow, actionless shows that -- when successful -- turn stage time into
dream time. This is evident in "Juliet and her Romeo."

Berzin, like Klim, is a graduate of Anatoly Vasilyev's School of
Dramatic Art and he displays the cool, refined aesthetic stamp of that
training. Furthermore, he has a knack for evoking simplicity and
clarity in material that is at times so complex as to be diffuse.
Klim's splendid play roams boldly, but Berzin and his extraordinarily
strong cast always keep it down to earth and within our grasp.

Perhaps recalling that the first Romeo and Juliet-type story appeared
in second-century Greece, Klim sought immediately to establish a link
with the past. As did the ancient Greeks, he initiates the action, and
repeatedly comments on it, with "reports" from a Chorus, here performed
brilliantly by Alexander Semchev.

In the witty, self-referential opening monologue, Semchev's Chorus
reminds us where this play originated -- reciting in English the final
lines of Shakespeare's play and drawing in the Biblical characters of
Adam and Cain -- while reminding us and himself that a tale must be
accessible to its audience if it is to be any good.

More characters drift in, including Abram (Abraham) and Samson, but
soon everyone merges with one of the characters in "Romeo and Juliet."
Semchev assumes the expanded role of Friar Laurence, turning in a
powerful performance of the man who knows too well that "God is lonely"
and happiness is as fleeting as the smiles on two young lovers' lips.

Throughout, Klim sheds new light on characters Shakespeare left in the
shadows.

Mercutio (Yegor Beroyev) shows us unexpected depth in a profound,
though tantalizingly abstract monologue about the dream that is life.
Lady Capulet (Yulia Chebakova) emerges as a sensitive, intelligent and
melancholic woman whose attachment to her nephew Tybalt (Andrei
Finyagin) may be deeper than we knew. Tybalt is given a powerful new
scene when brought back to the Capulet home to die. As the dead
Mercutio's shadow stalks the room, summoning Tybalt to the land of the
dead by rhythmically and insistently ringing a small bell, Tybalt alone
assumes the guilt for his death.

That is a recurring aspect of Klim's play, for in another moving scene
in the crypt where Romeo (Alexander Salminov) slays Paris (Valery
Troshin), the dead again will exonerate his killer. Troshin's Paris,
dressed as a Greek warrior, explains in a searing monologue that his
death came as retribution for his own violation of the laws of the
gods.

Yekaterina Galakhova's Juliet, blessed with a striking medieval beauty,
is a fiery, independent girl with a wisdom that belies her tender
years. She is the one who fearlessly yet knowingly engineers her fate,
for she understands that love is not to be wasted at any cost.

Larisa Lomakina's gorgeous, understated set expands space and confers
upon it a sense of anticipation. Its primary feature is an ornate
ceiling (a close replica of the one at Vasilyev's School of Dramatic
Art) hanging over a bright green astro-turf carpet. No columns support
it. Perhaps it hangs miraculously; perhaps it will collapse at any
moment.

Berzin's accomplishment is significant. This deeply affecting
production has none of the kitsch, nervous laughter or cheap sarcasm
that so many bankrupt postmodern "avantgardists" hide behind. It is new
theater for a new era, confident in its right to express new ideas as
it is devout in its respect for the traditions that preceded it.

***"Juliet and her Romeo" (Dzhulyetta i eyo Romeo) plays Dec. 12 and 16
at 7 p.m. on the New Stage of the Chekhov Moscow Art Theater, 3
Kamergersky Pereulok. Tel. 229-8760. Metro Okhotny Ryad. Running time:
3 hours, 50 minutes.***

MARQUEE COLUMN
Andrei Zhitinkin's production of Shakespeare's "The Merchant of Venice"
at the Mossoviet Theater is actually two distinctly different, almost
mutually exclusive shows: There is Mikhail Kozakov's riveting,
hair-raising performance of the wealthy Jew Shylock, and there is
everything else.

Everything else is a fad-crippled attempt to modernize the play. Cool
cats in leather pants reciting soliloquies over cell phones jive to Ray
Charles and Joe Cocker, while two women seeking a man for the fair
Portia run the equivalent of a TV game show to ferret the winner out of
the contenders. This all transpires in Andrei Sharov's colorful, but
derivative set -- a Venetian canal (the fourth stage pond I've seen in
recent years) separates the actors from the audience, while a huge
sculptured torso looms over everything. Perhaps indicating that art and
commerce are opposites, on one side the torso is the Venus de Milo, but
when it turns around its hollow backside is Shylock's office.

I can imagine this being of interest. However, aside from Kozakov and a
few spry moments from Natalya Gromushkina as Shylock's restless
daughter, the performances here range from the lame (Yevgeniya
Kryukova's Portia) to the invisible (Alexander Goloborodko's Antonio,
the merchant of Venice).

Kozakov is something else altogether. Plunging headlong into the
paradoxes and outright danger of Shakespeare's most odious character,
Kozakov is nothing short of miraculous.

Shylock, of course, bitter about his treatment at the hands of the
city's Christians, seeks revenge by setting Antonio up in an evil deal
by which he literally will pay with a "pound of flesh" if he defaults.
Kozakov hides none of Shylock's malice while giving him such spiritual
and emotional depth, and such righteous anger, that he actually emerges
as sympathetic. When the deal backfires, we witness an agonizing moment
worthy of tragedy.

Make no mistake: This is no bending or reinterpretation of
Shakespeare's play. It is brilliant, stunning acting invested with
revelatory powers. Kozakov is a must-see, no matter what surrounds him.

-- John Freedman

Hi all, here's an event that you may be interested in.

Event: Audition for 12th Night
Date:  Saturday January 15, 2000
Time:  10:00 am - 12:00 pm
Description: Monologues, bring your resume, get the audition form

To add this event to your personal calendar, simply click on the following link:
http://www.egroups.com/cal?md=copy&prevMd=d&day=10971&eid=428239

If you have any other comments, you can reply to this message.

eGroups.com Calendar

Actors must do it BIG (comedy), each with his/her master-guester (a must).

Actor-Artist: use your imagination, develop the style of greetings which exists only on Illyria (doesn't exist). Kissing and hugging is the federal law and the violators must be punished by the public ass-kissing (it's only once a year ceremony of Christmas day, we just missed it and won't see it live on stage). But the style of Illyrian kissing and hugging is very unique (please take time to read a few books on traditions of Illyria, they are on reserve in the library).

Tripple your reactions for the 12th Night! (read Biomechanics pages in Directing or Acting directories).

If I would have a chance to move "The Three Sisters" further, I would push the comedy.

It's all about the Big Game (Life) and we PLAY it!

The tragic moments (3 Sisters) couldn't be bigger because the comic structure wasn't strong enough to bounce from it (Beckett's lessons).

In 12th Night I want to go after the tragedy of idiots (Orsino and Malvolio, especially, are very serious fellows, too serious -- and must be punished for it).

They all must be very stupid people not to see a woman in man's dress! I want to see this kingdom of celebrated super-human stupidity.

Please, read something on style of Commedia, the theatrical theatre (biomechanics are from this tradition of carnaval and circus).

Read big book by Mikhail Bakhtin on the nature of laughter (when the world is turned upside down). Use counter-text technique (go for the opposite reaction to the text).

Chekhov was right when he thought that he writes comedy (if only the soap operas could know it) -- comedy is the ground. If you have it, you can build drama and tragedy on the top.

Anatoly

Kyle, Raf, Sean -- see Tara for costumes! You won't audition but you
will be on stage all the time.

I still debating what is better -- German/Japanese TV Crew shooting the
documentary about Illyria, or aliens who finally arrive to Earth
(landed in Illyria) -- and what they know about humans is the events of
our story.

I like the aliens -- they are the extention of the audience; react to
all events like children, very strong, very open, trying to explain in
their language (you have to make up some new language) who is who
(Viola-Sebastian).

They are green, but nevertheless looks like professional filmmakers.

You deside what gallaxy or planet you are from.

Anatoly

PS. This crew takes the show into a different dimension (futurim) --
good for "creative world" concept. They have to posses some super-human
qualities. They try very hard to look human, the Hawaii shirts but with
the social security numbers on their foreheads.

As I promised with Shakespeare we will use Biomechanics, instead of
Method. This is comedy oriented acting, developed by Meyerhold from the
Commedia traditions (some Kabuki -- read bio-webpages @
http://members.theglobe.com/rusam/acting/bio.html).

To illustrate the difference I post an article from another List.

Anatoly.

I wrote an article on Second City for DRAMATICS, which I sent to this
list a month or so ago.  A Chicago paper, PERFORMINK, asked me for yet
another one, so I took the opportunity to (as high school teachers
would put
it) compare and contrast Second City and the Actors Studio.
     Hope you enjoy -- Jeff

----------------
     There's an easy way to write the Second City 40th anniversary
story: you
make a list of all of the famous people who clocked time there and
imagine
the reader going "ooh" and "ahh" at the parade of celebrity.  You start
with
Mike Nichols and Elaine May (who actually were alumni of Second City's
predecessor, the Compass Players), touch base with Alan Arkin and
Barbara
Harris, list all of the folks who went on to Saturday Night Live and
SCTV,
doff your cap to the gone-but-not-forgotten (Del Close, Severn Darden,
Tony
Holland, Bill Alton, Gilda, Candy, Belushi and Farley), and bingo,
you've got
enough stuff to fill up a page.
     But the celebrity count is just the surface.
     Second City is important not only because of the talents it grew,
but
because of its influence on American (and indeed world) theatre, TV and
film.
  In fact, I believe that Second City represents one of the two main
streams
in the story of the American stage.
     The other and more commonly-celebrated stream is the one that goes
back
to when a group of young New York actors became fascinated with
Stanislavsky
and his techniques.  Out of that came the Group Theater, "Method"
acting, the
Actors Studio, and such affiliated artists as Marlon Brando, Robert De
Niro,
Elia Kazan, Kim Stanley, Paul Newman, Joanne Woodward, Arthur Penn,
Geraldine
Page, Al Pacino, James Dean, Montgomery Clift, Harold Clurman, Stella
Adler
and Robert Duvall.   Largely under the leadership of Lee Strasberg,
most of
these people were trained to give life to Tennessee Williams, Arthur
Miller,
William Inge, Clifford Odets, Lillian Hellman and others who came of
age in
the aftermath of the Depression and World War II.  As you read these
names,
probably you didn't imagine many of these people smiling.  This is a
roll
call of the heavy hitters of the American dramatic tradition, people
who tend
to suffer and sweat and howl a lot.
     If the Actors Studio is emblematic of New York and Serious, Second
City
is emblematic of Chicago and comic.  Instead of Stanislavsky, Second
City's
work is based in the theories of Viola Spolin and her theatre games.
Instead
of Lee Strasberg, the dominant director is founder Paul Sills (who
happens to
be Viola's son).  And the writers to whom Second City alumni have
gravitated
have been Neil Simon, Herb Gardner, Jules Feiffer, David Mamet, Joseph
Heller, Murray Schisgal and others whose satiric impulses grew in
response to
the McCarthy era, Vietnam and Watergate.  Rather than suffer, these
players
thrived on mocking and undermining the authority of anyone in a uniform
or
draped in the mantle of privilege.
     While we tend to imagine the leading players of the Actors Studio as
solitary figures, looking with haunted eyes at an alienating world, more
often than not I think we imagine Second City players as members of
cheerful
and rowdy gangs, banding together to challenge the bullshit.
     I don't mean to suggest that these are mutually exclusive groups.
Barbara Harris, for instance, is a member of the Studio, and Mike
Nichols
(another Studio member) counts Lee Strasberg and Elia Kazan among his
major
influences.  Rather, what I'm getting at is that these are two sides of
the
same coin.
     Improvisation is important both at the Studio and Second City.  At
the
Studio, it is used to help enrich the actors' understanding of dramatic
action hidden under the text; at Second City, it is a tool for creating
the
dramatic action and what might be called the text.  Both traditions,
too,
embrace the general American tendency to see acting as autobiographic.
Studio actors find those things in themselves that resonate with the
characters they've been assigned; they don't go to the characters so
much as
they pull the characters to them.  At Second City, since the material is
improvised, what the actors play must necessarily come from within them,
expressing the concerns and perspectives of the performers.  Both the
Method
actor and the Second City player also understand that dramatic action
is the
byproduct of characters pursuing objectives.
     One of the things that made the movie Analyze This so funny is that
it is
a marriage of these two schools.  In it, Harold Ramis, a
director-writer-actor who began at Second City, took on The Godfather
movies
(which starred Pacino, De Niro, Strasberg, Duvall, Michael V. Gazzo,
and a
lot of other leading Studio folk) and got De Niro to parody his own
Studio-based work.
     Why isn't the Second City influence as widely acknowledged as the
Studio?
  For one thing, comedy is rarely taken as seriously as drama, so it
stands to
reason a theater that specializes in comedy is less likely to be given
much
respect.  The Cambridge Guide to the American Theater doesn't deign to
give
Viola Spolin a separate listing in its pages.  The fact that her
theories are
the foundation of literally thousands of theaters here and abroad cuts
no
mustard with the editors.  Instead she's mentioned in passing in one
article.
  (John Simon, the critic notorious for his unpleasant reviews in New
York
Magazine, is rewarded with his own listing.  Go figure.)
     Also, frankly, Paul Sills isn't as self-promoting as Strasberg was.
  For
years he has been content just to do the work.  Anyone with a pair of
eyes
can see the relationship between his story theater pieces and such
landmark
productions as Nicholas Nickleby, The Grapes of Wrath and Ragtime, but
you
won't hear this from him.  In fact, you won't hear much of anything
from him.
  It would be hard to name a major director who has given fewer
interviews.
When he talked with me for my oral history of Second City, Something
Wonderful Right Away, I got the feeling he would have much rather had
oral
surgery done than try to put his artistic philosophy or process into
words.
     Still, whether the critics and scholars have noticed it or not,
Second
City's shadow has been cast beyond the few thousand people it makes
laugh
every week in its home on North Wells.
     Ironically, for a company that has little use for the written word,
it
has had a substantial effect on the written word.  David Mamet was a
bus boy
at Second City, and what he picked up there can be seen particularly
clearly
in such pieces as Sexual Perversity in Chicago, The Duck Variations, A
Life
in the Theatre and Edmund, all of which are constructed out of short
sketch-like scenes.  (Second City returned the compliment once by
naming a
show Sexual Perversity Among the Buffalo.)
     Lanford Wilson told me that during the time he spent in Chicago
when he
was a young man, he found himself drawn to Wells Street time and again
and
that the work he saw done there helped shape his ideas of how to write
for
actors.  He was particularly impressed by the intellectual wit of the
late,
great Severn Darden and used quotes from Darden's famous parody of a
University of Chicago professor's metaphysics lecture to begin and end
his
play Sympathetic Magic.
     And also, yes, while acknowledging debts, I should acknowledge
mine: My
recent play Bluff very consciously borrowed Second City staging devices
in
order to tell its story without going to black till the end.  I found it
interesting that nobody in any of the reviews made the connection.
     One can point to scores of writers whose styles were either
informed by
watching Second City or having performed there.  But the influence
extends to
other writers.  Just as composers write for the instruments available to
them, so playwrights and screenwriters can't help but respond to the
actors
on the scene today, and many of today's leading players have this in
their
background.  Let's face it, you're going to structure a part
differently for
Bill Murray than you will for Ian McKellan.
     Improvisational experience proved useful in writing for film and
television.  Paul Mazursky told me that the bulk of the script of Bob
and
Carol and Ted and Alice was created when he and Larry Tucker turned on
a tape
recorder one weekend.  Over the years, much of the material for Saturday
Night Live has also been created by alumni doing in NBC offices what
they
used to do six nights a week in Chicago.  And the influence on Whose
Line Is
It Anyway? goes without say (which is probably why I'm saying it).
     Second City also had a considerable influence on the stuff that
interrupts TV shows.  Back in the â€~60s, an alumnus named Bill Alton
found
that his improvisational skills were helping him to get cast in
commercials.
Reasoning that these same skills would be useful for producing and
directing
commercials, he began a production company in New York that did just
that,
building spots in collaboration with many of his former fellow company
members, winning a wall full of awards and helping to establish a hip,
loose
style that supplanted the traditional hard sell.
     Beyond all this, the example of Second City has been inspirational.
Forty years ago, a group of young people without name or reputation
took over
what had been a Chinese laundry and built a small stage that became
famous
internationally.  Because they could pull this off, others knew they
could,
too.  A couple of Second City alumni helped found Victory Gardens.  A
Second
City wannabe named Stuart Gordon founded the Organic.  Steppenwolf
followed
their example, too, and subsequent companies like the Annoyance, Road
Works
and the Shattered Globe have embraced the tradition of creating cheap,
vital
theater out of next to nothing.
     In one of his lectures, Severn Darden commented, "Spinoza said we
look at
the world through the lens of philosophy.  He said that because he was
a lens
grinder.  Heaven know what he would have said had he been, say, a
pudding
manufacturer."  It may be that as Chicagoans we view the theatrical
world
through the lens of Second City.  As we look at the remarkable group of
people whose work at Second City and beyond will be celebrated on
December
16, I think we have cause.

----------------------------------
Jeffrey Sweet
Resident Playwright, Victory Gardens Theatre
Faculty, Actors Studio at the New School
Council, the Dramatists Guild of America
http://members.aol.com/DgSWEET/index.html

I post it @ http://members.theglobe.com/rusam/shows/12night/illyria.html

My lesson from "3 Sisters" -- the concept has to be pushed as far as
possible during the pre-production period.

Also, I post the set design (picture).

All camera-performers should get together with me to discuss the first
round results.

Anatoly

From http://members.theglobe.com/rusam/shows/12night/12nts.html

Hot summer, beach towles, ambrellas, sun glasses, scuba diving masks,
chorus of Catholic nuns and surfers with their boards, waiters with
drinks, drunk locals, life guards, rap, exercise equipment and washing
themselves (traps -- real water), drinking a lot, somewhere in Mexico
or Carrabians. All speak with all possible accents, the tourists.
Split Stage -- two houses of Illyria, Banana Republic. (Narrative is
too linear -- it must be told very fast!)

Love Story doesn't have the sex energy of The Taming of the Shrew. This
is Rio Carnaval Time -- masks and party costumes. Olivia must be hot
and Orsino is a closet bisexual, can't come in the open in the country
of machismo.

Who is Feste (Clown, his street name)? Big Lobowsky who lost his US
passport? He was there with his small-time rock-band. Is he a
"personal" trainer of Olivia? Malvolio is Olivia's British butler, envy
that this clown has sex with her.

Assign nationality to all characters! Orsino and Olivia = latino.
Viola, California girl, can't get to US, where she and her brother are
wanted as drug dealers (mistaken identity). Here is a good reason for
cross-dressing! She puts on a fake German or Italian accent.

Orsino is a local official, made his fortune selling dop to Americans.
Briefcases with cash, counting money all the time. Vilentine and Curio
his police officers.

Sebastian, the brother, is a surfer-dude.

"Sir" Toby and "Sir" Andrew are ministers of something (the British
left the titles for the local administration, still under the British
flag and Queen).

"What You Will"? The Feast of Misrule -- 12th Night of Christmas,
January 6, in this tropic country is the summer.
Pagan Grand Carnaval, Dyonisia Saturnalia, and the nuns with their
Chritmas (chorus) songs! Night scenes.

Dyonisia Saturnalia to celebrate the birth of Christ! Illyria is erotic
delirium (Mlavolio with the Hustler magazine). Sexual preferences (more
later with Wilde) -- Viola is better in place as a man, not as a woman?

Duel? Feast-fight! bad karate-movie. Make fun of this "romance"
love-books for women's market.

Waiters are dressed as matadors. Sombrerors, guitares, romantic music,
lato dances...

Religious conflict on this island -- anglican Church and Catholic.
History of Illyria. Nuns singing christmas songs. Sound of the ships
arriving and leaving the port. I need ocen to be present! But nobody
knows where are they exactly (Pinter's touch) and they don't care --
somewhere in the offshore independent country established by the
pirates in 17th century.

For of them at the end, orgy, sex-party together. we won't see... Three
hours of foreplay and the audience goes home to do it.

"Created World" is a tricky concept. No period -- but why do they speak
in such antiquated manner?

Film crew on stage -- part of the cast. They are shooting news, movie
-- documentary? "Sex, drugs and videotapes"!

Biomechanics -- method, not style (see Meyerhold Pages).

Commedia -- very physical, sexual.

Mise-en-scene: over stage, as far away from each other as possible,
they scream (so much noise on the beach)! Top and bottom, left and
right, diagonals, upstage to downstage.

Dramatic Literature class -- reading LINE-BY-LINE technique.

Bring them together with the Film Directing class for several nights
for the CAST.

There are more anti-Shakespeare complains by the director on this page.


Anatoly

TO: John Hopkins & the List

Dear John,
I don't know if you realise that we have two veisions of the 12th Night
production -- on stage live and on video to be web-broadcast via
internet. The script will be filmed by the Film Directing class
(THR470) in scenes (10 min. or so each student) and edited by Kyle Erck
into 2-hour long web-movie.

We will need several thematic musical lines for introduction (credits,
titles, ect) and transitions between the scenes.

Love Theme (romantic) and Madness (product of Love), three main
characters' themes (Orsino, Viola, Olivia) and maybe Fool
(story-telling).

John, please post some titles you are thinking about to use for our
chorus (and where to get the music) -- I would like our directors to be
familiar with the music before they start storyboarding (especially the
transitions between the scenes, which must be cut to music).

Please come to see 3 Sisters, we open on TR 8.15 -- you will understand
better how the video line looks like.

Anatoly

You can subscribe yourself or your friend directly by sending email 12night-subscribe@egroups.com (and unsubscribe yourself, too). Please write some self-introduction when sign (you can even post your photo).

It will take some time to make 12th Night a home (to place links, articles, etc.) and you are welcome to do it as well.

If you are interested in Virtual Theatre (technical) aspect of this production, visit vTheatre page @ Theatre with Anatoly (http://members.theglobe.c om/rusam) or Film-North ( http://afronord.tripod.com/vfilm.html for the Film Aesthetics of the Webprodcasting).

Thanks,

Anatoly Antohin, director

Questions?

Email me or Dale Seeds, our designer. Or Kelly -- Stage Manager. Or our playwright.

Check the Shakespeare pages @ THR 215 Dramatic Literature class I teach in the Spring.

Cast, crew, students for the University of Alaska Fairbanks production of Twelfth Night.

Group Manager: 12night-owner@egroups.com

To subscribe, send a message to 12night-subscribe@egroups.com or go to the e-groups's home page at http://www.egroups.com/group/12night/