The Man Who Came To Dinner

Although, after witnessing friday night’s performance of the Man Who Came to Dinner, I have reconsidered my stance. In this essay, I will explore the genre, protagonist (s), antagonist (s), strongest actor, weakest actor, the set design, and my overall opinion both in friday night’s performance and my stance on plays as a whole. Like I said before, not the most ideal show for a music lover, the play lacks or even sometimes offers no music what so ever

Within this essay, I shall be evaluating my final major performance of ‘Rent the Musical’. I shall explore the challenges I encountered within the final days of approaching show day and the methods I used to conquer them. While, also expanding on the knowledge I have gained throughout the past few weeks, as a musical theatre performer. Whilst, ultimately reflecting on the overall process and development of my character Maureen and the final outcome of my performances.

This past week, I had the opportunity to experience a magnificent play called Born Yesterday by Garson Kanin. This performance was the third of three plays I saw at the Arizona Repertory Theatre. The other two plays were Epic Proportions by Larry Coen and David Crane and Hands on a Hardbody by Doug Wright. These were the first plays I have been to, not only while attending the University of Arizona, but in my generation as a teenager. All together, these performances were amazing and have brought a newly improved insight to my perception of theatre. The hard work and dedication by the actors, directors, producers, cast members, and sound developers were absolutely incredible and I have tremendous respect for their efforts during the overall sequence of producing the plays. The most recent performance I saw, Born Yesterday, can be described and reflected on through various topics such as lighting, sound, directing and producing.

Above all, I wouldn’t be where I am today without theatre. Without the chance to perform throughout my life, I would be disconnected from the wide array of communities and histories that’s been imbedded in my daily routine. Unfortunately, it’s speculated that the theatre is a dying art form, because of the expanding popularities of movies (“Is”), but I think that it’ll remain a well renowned part of expressing imagination and interpreting history as years pass; it only takes cooperation with school faculty and young students that go above and beyond to change their

Ever since I can remember I have loved theatre. It’s been a constant presence, and an important touchstone, in my life. However, for as long as I’ve loved theatre, I have also been ridiculed for my enjoyment of it. As a child, my interest was tolerated as something precious, something I was bound to grow out of. My parents and teachers would sit in the audience, clapping and cheering me on, all the while thinking to themselves “I bet she’ll make a great lawyer one day.” They thought, like most of society, theatre was an unnecessary luxury; a pastime for the rich and powerful, for those who didn’t have to worry about putting food on the table, or clothes on their children’s backs. Certainly not

I started getting interested in Theatre late my 7th grade year. I was in English class when Caitlynn O'Hair was talking about that the musical at the end of the year that they were doing The Lion King musical for the musical theatre program for Burnet Middle School. I wanted to watch it, but for whatever reason, I couldn't go. But, since the class she was in sounded interesting, I put it as one of my electives to take for the next year. My 8th grade year in that class was amazing, and I made lots of friends there. During that class, the teacher, Mrs. Fisher mentioned that if

At the age of eight, my mother took me on a trip to New York City. On it, I saw the Lin Manuel-Miranda show In the Heights. Unlike my eight-year-old self, my mother loved performing arts, and she occasionally played CD’s from musicals in the car, which I groaned about. Given this, it is not hard to imagine I was less excited than the average person to see a broadway show; however, when my mother mentioned, “Chad from High School Musical is in it,” I perked up. As I walked into the theatre, my attitude improved again from the astonishingly vast house, filled with endless rows of red, velvet chairs leading towards an expansive stage trimmed with gold. Nevertheless, I still did not appreciate the opportunity to witness a Tony Award-winning musical, as I would in three hours. When the lights dimmed, the whole theatre fell silent, yet still buzzed with anticipation.

For this Discussion I chose to view Guess Who’s Coming to Dinner starring Sidney Poiteir and Katherine Houghton. Sidney and Katherine met during a vacation in Hawaii and flew back to San Francisco together to inform her family about her new fiancé. The first person Katherine introduced Sidney to was the maid, Tillie. Tillie, a black female, seemed very disgusted to see Joanna with a black male. Katherine’s parents seemed to have the same reaction during introduction with the doctor. Her parents instilled in her the idea of racial equality, but in no way did they think she would be bringing one home to marry him. Throughout the film, Tillie continued to give Sidney the cold shoulder and during one scene confronted him discrediting him being

In this unit we were studying two contrasting plays which were the Cherry Orchard was written by Anton Chekhov and Metamorphosis written by Franz Kafka. As a class we first read the plays and then explored these plays through a series of workshops and as a result this helped deepen my understanding of the plays and help develop and strengthen my acting skills.

I was in my black Ford car going to Mr. Body´s dinner party . I put my gun in my right coat pocket. When I pulled up to the Mansion, I knew that this night would be Body´s last. I stepped out of the car, I was the second one there. Professor Plum was the first. I walked up the double stone walkway which led me to a large wooden door. I turned the brass door knob, I thought to myself that the knob was closer to the ground but I dismissed that thought. I walked in the large room, and there was a hallway, I walked through the hallway leading to the lounge. When I entered I saw Mr. Body and Prof. Pum. They were sitting and chatting on the white sofa.

Immediately I was inundated with an unexpected freshman workload that took away from precious reading time. In the spring, I took a chance and I auditioned for the upper school play, William Shakespeare’s The Tempest. I was first introduced to Shakespeare on my fifth birthday when I received a book called Tales from Shakespeare by Tina Packer, and the vibrant illustrations immediately captivated my young mind. Ever since, I have been drawn to his plays. Despite having no previous acting experience, I was cast as Caliban and I was immersed in the magical world of theater. Caliban is the monstrous child of a sea-hag who inhabited a magical island until the wizard Prospero arrived and enslaved him cruelly. Playing an abused sea monster-like creature who later discovers alcohol was a definite stretch from my innocent 14-year-old self. I had to unlearn how to be human. I watched videos on gorillas in order to embrace my animalistic nature, spent many hours discovering the range of my voice, and wore out my kneepads on stage. My love of Shakespeare as an actor enriches my experience as a reader. I am fully immersed in all of the character’s interactions and I am able to understand the story line better. In English classes when I had to read Hamlet or Twelfth Night, I performed “one woman shows” in my bedroom while I was

In The Man Who Came to Dinner was about an old radio celebrity named Mr. Whiteside who was invited to dinner at Mr. and Mrs. Stanley house but he had fallen and slipped on ice and ended up in a wheelchair. His extended stay starts to get on everyone’s nerves and tension starts to brew in the Stanley household. Mr.Whiteside decides he is suing Mr.Stanley for his injury while he continues to stay at his house.

All of my life acting and performing have been a large part of who I am. Many of my earliest memories involve me acting or performing in some way. Whether it was going all out for our classroom “performance” of the water cycle or creating my own play to put on at home, I have always had a passion for theatrics. I am not entirely sure what sparked this flame, but I know what fueled it: the performance of Beauty and the Beast at the Coronado. Before this, I already knew I wanted to perform, but did not exactly know what it meant yet. After this performance, seeing the actors as actual humans with lives outside of the stage or screen, I realized more of what acting and performing was and what it really meant. I cried when The Beast died in Beauty

Antonin Artaud has invoked a profound instigation and impact on the 20th-21st century’s theatrical stage and screen acting, including the chosen monologue from the play ‘Seven Stages of Grieving’ through the application of his theatrical conventions to the performance.

Our choice to tell stories should exist in the same moment that we identify an audience who needs to hear that story – now, in this context, in this time, and in this medium. The best relationship with an audience begins dramaturgically, at the beginning of a rehearsal process. We must ask: How can we keep our minds open to the audience we have and also to the audience we want and the audience with whom we hope to collaborate? How do we enter a community and work with new people, learn from them and hope they learn from us? Partner with our similar goals and share resources. Work with them and never for them. Theatre isn’t a service—it’s a