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Pamphlet for the inaugural performance in the Hoover-Leppen Theatre in Chicago featuring performers Ann Hampton Callaway and Liz Callaway.
THE STORY: Nestled in the Catskills—1962's land of dirty dancing and Borscht Belt comedy—an inconspicuous bungalow colony catered to a very special clientele: heterosexual men who delighted in dressing and acting as women. These white-collar professionals would discreetly escape their families to spend their weekends safely inhabiting their chosen female alter-egos. But given the opportunity to share their secret lives with the world, the members of this sorority had to decide whether the freedom gained by openness was worth the risk of personal ruin. Based on real events and infused with Fierstein's trademark wit, this moving, insightful, and delightfully entertaining work offers a glimpse into the lives of a group of "self-made women" as they search for acceptance and happiness in their very own Garden of Eden.
A bold and provocative look at how the nonprofit sphere’s expansion has helped—and hindered—the LGBT cause What if the very structure on which social movements rely, the nonprofit system, is reinforcing the inequalities activists seek to eliminate? That is the question at the heart of this bold reassessment of the system’s massive expansion since the mid-1960s. Focusing on the LGBT movement, Myrl Beam argues that the conservative turn in queer movement politics, as exemplified by the shift toward marriage and legal equality, is due mostly to the movement’s embrace of the nonprofit structure. Based on oral histories as well as archival research, and drawing on the author’s own extensive activist work, Gay, Inc. presents four compelling case studies. Beam looks at how people at LGBT nonprofits in Minneapolis and Chicago grapple with the contradictions between radical queer social movements and their institutionalized iterations. Through interview subjects’ incisive, funny, and heartbreaking commentaries, Beam exposes a complex world of committed people doing the best they can to effect change, and the flawed structures in which they participate, rail against, ignore, and make do. Providing a critical look at a social formation whose sanctified place in the national imagination has for too long gone unquestioned, Gay, Inc. marks a significant contribution to scholarship on sexuality, neoliberalism, and social movements.
After the sudden death of his sister, Marvin turns to his girlfriend, a therapist and a co-worker for comfort, only to find himself alone in his grief. When he loses his cell phone, Marvin falls for the mysterious woman who has procured his phone. Marvin, however, soon finds himself embroiled in a dark underworld when a threatening detective shows up at his office, making it clear that the mysterious woman on the phone is not who she says is.
Based on Sam Raimi¿s 80s cult classic films, EVIL DEAD tells the tale of 5 college kids who travel to a cabin in the woods and accidentally unleash an evil force. And although it may sound like a horror, it's not! The songs are hilariously campy and the show is bursting with more farce than a Monty Python skit. EVIL DEAD: THE MUSICAL unearths the old familiar story: boy and friends take a weekend getaway at abandoned cabin, boy expects to get lucky, boy unleashes ancient evil spirit, friends turn into Candarian Demons, boy fights until dawn to survive. As musical mayhem descends upon this sleepover in the woods, ¿camp¿ takes on a whole new meaning with uproarious numbers like ¿All the Men in my Life Keep Getting Killed by Candarian Demons,¿ ¿Look Who¿s Evil Now¿ and ¿Do the Necronomicon.¿
A dissection of the impact on society of the war in Iraq When one man goes to war he leaves the city, his wife and brother. A year later only the wife and brother remain. Christopher Shinn's new play asks what happens when people and events apparently thousands of miles away affect the heart and soul of a city.'Christopher Shinn's clever, intricately calculated and quietly moving new play" Daily Telegraph'Subtle, insinuating, beautifully written new play' Whatsonstage'an impressive analysis of the collective American psyche rooted in details of real family life' Guardian
BH Piano
"Ubu and the Truth Commission" is the full play text of a multi-dimensional theatre piece that tries to make sense of the madness that overtook South Africa during apartheid.
In 1848, Karl Marx declared that a communist specter was haunting Europe. In 1994, Jacques Derrida considered how the specter of Marx would haunt the post-Cold War world. In Specters of Revolt Gilman-Opalsky argues that the world is haunted by revolt, by the possibility of events that interrupt and disrupt the world, that throw its reality and justice into question. But recent revolt is neither decisively communist nor decisively Marxist. Gilman-Opalsky develops a theory of revolt that accounts for its diverse critical content about autonomy, everyday life, anxiety, experience, knowledge, and possibility. The 1994 uprising of the Mexican Zapatistas set the stage for new forms of revolt against a newly expanded power of capital. In the 20 years since, on up through the recent phase of global uprisings that began in 2008 with the Greek revolts, insurrection has spoken in the "Arab Spring", in Spain, Turkey, Brazil, and in the U.S. in Occupy Wall Street, Ferguson, and Baltimore, among other places. In light of recent global uprisings, Gilman-Opalsky aims to move beyond the critical theory of revolt to an understanding of revolt as theory itself. Making use of diverse sources from Raoul Vaneigem and Felix Guattari to Julia Kristeva and Raya Dunayevskaya, Specters of Revolt explores upheaval as thinking, the intellect of insurrection, and philosophy from below.