Index I-11Los Angeles Olympics Arts Festival (1984), 301Los Angeles Poverty Department (theatrecompany), 276Losches, Florian, 273The Lot Drawers (Diphilos), 187Louis XIV, King of France, 107, 204, 241Lutvak, Steven, A Gentleman’s Guide to Loveand Murder, 47, 52, 136, 252, 288Lydia (Solis), 260, 262, 263M. Butterfly (Hwang), 76, 260Mabou Mines company, 217Mac, Taylor, 234macaronic (mingling mix of languages) theatre,262–263, 265Macbeth (Shakespeare)adaptations of, 154, 154the conflict in, 33–34Karin Henkel’s production of, 271Kenneth Branagh’s direction of, 94on “life as tale of sound and fury,” 95mysterious “apparitions” in, 97San Quentin production of, 277Sleep No More reconstruction of, 286, 286stage blood used as part of costume, 118unusual contemporary costuming used for,120MacBird, 256MacDevitt, Brian, 103, 259Machiavelli, Niccolò, 201Clizia, 187Mack, Cecil, Runnin’ Wild, 243Macmillan, Duncan, The Forbidden Zone,308, 309Madama Butterfly (Puccini opera), 260The Madness of George III (Bennett), 25The Madwoman of Chaillot (Giraudoux), 119Maeterlinck, Maurice, The Intruder, 221Magic Theatre (San Francisco), 260Mahabharata (Brook), 21, 306Mahabharata (Indian epic), 206Mahoney, John, 291The Maids (Genet), 118Major Barbara (Shaw), 66, 218makeupancient roots reflected by, 126Asian theatre use of, 126avant-garde and expressionist use of, 126avoiding use of, 126–127“blackface,” 126, 242ceremonial, 125circus and classic mime, 126creating a face that “reads” to the houseusing, 125importance to costume design, 120, 125–127the makeup kit, 128paradoxical and physiognomic clues providedby, 120makeup artists, 141Malone Dies (Beckett), 233Maloney, Peter, 122Malpica, Javier, Papá está en la Atlántida(Our Dad Is in Atlantis), 264Mamet, David, 74Glengarry Glen Ross, 65, 274A Life in the Theatre, 49Mamma Mia (musical), 242Manchester International Festival, 148Mandvi, Aasif, 48Manhattan Theatre Club (New York), 69, 159,276, 289, 291Maniutiu, Mihaihigh concept productions by, 157Job Experiment, 161Romanian theatre work by, 299, 300Mann, Aimee, 78Mantello, Joe, 268Marat/Sade (Weiss), 304Marcos, Ferdinand and Imelda, 284Margulies, Donald, Time Stands Still, 159Marin Shakespeare Festival, 277, 278Marisol (Rivera), 260Mark Taper forum (Los Angeles), 12, 62, 74, 76,112, 114, 262, 268Mark Twain Tonight, 281Market Theatre (Johannesburg), 298Marks, Ken, 81Marks, Peter, 254Marlin, Shyla, 265Marlowe, Christopheras accomplished playwright, 91, 202Tamburlaine the Great, 203Marowitz, Charles, Shrew, 153–154Marsh, Dominic, 315Martinez, Rafael E., 264, 264Marx, Karl, 215Mary Poppins (musical), 250Mary Poppins set design, 101, 250masksAntigone (Sophocles) use of, 13antiwitchcraft, 192classic period of Greek theatre, 194, 194extra-large masks used in 2014 production ofGreek plays, 313history of theatre, 13–14makeup as inspiration for Greek, 120Poromaskers (Senufo tribe, West Africa’sIvory Coast), 192shaman use of, 191See also costuming; makeupmaster electricians, 142Master Harold...and the Boys (Fugard), 298Masterson, Guy, 168Mastrobuono, Alessandro, 198Maternity (Brieux), 218Matthews, Fiona, 50May, Jodhi, 167Mayet, Frederik, 198Mayne, Tshidi, 252Mays, Jefferson, 47, 52, 267, 281McAlpine, Ryan, 180McClendon, Forrest, 64McDonagh, MartinThe Beauty Queen of Leenane, 296Behanding in Spokane, 105, 296The Cripple of Inishmaan, 41, 296as English dramatist, 295Lieutenant of Inishmore, 273, 296The Pillowman, 273, 296McDonald, Audra, 244McDonald, Peter, 297McDormand, Frances, 172McElroy, Michael, 268McIntyre, Blanche, 26McKellen, Ian“A Knight Out” performance of, 266on experience of stage acting, 18in panto performance, 297Waiting for Godot role of, 49, 51, 231, 288McKinnon, Pam, 62, 68, 258McNally, TerrenceCorpus Christi, 274It’s Only a Play, 26A Perfect Ganesh, 130McNeil, Jared, 305McNichols, Steve, Stomp, 279McNulty, Charles, 258, 317McPherson, ConorThe Night Alive, 296The Seafarer, 288, 296The Weir, 288, 296McTeer, Janet, 162–163Meadow, Lynn, 69Medea Redux (LaBute), 80Medieval drama, 197, 199Medoff, Mark, Children of a Lesser God, 267Meehan, Thomas, Rocky the Musical, 10The Meeting by the Lake (Chinese xiqu), 30Meisner, Sanford, 45748melodrama genre, 25No Exit (Sartre) example of philosophicalmelodrama, 231–232Memphis! (musical), 249Men of London, 8Menander (Greek dramatist), 194, 195Mendes, Sam, 25Menken, Alan, 251, 252The Merchant of Venice (Shakespeare), 27, 65,155, 292The Mercy Seat (LaBute), 99Merkerson, S. Epatha, 63Merlin, Jesse, 135Merrily We Roll Along (Sondheim), 102The Merry Widow (Lehar), 243Metamorphosis (Berkoff), 304metaphoric scenery, 91–94metatheatredescription of, 229Six Characters in Search of an Author( Pirandello) example of, 229–230, 229metatheatre (or metadrama) plays, 314“the Method” (acting style), 41, 43, 44–45Meyer, Patrick, K-2, 96Meyerhold, Vsevolod, 146–147, 222A Midsummer Night’s Dream (Shakespeare),21, 53, 88, 95, 314Brook’s production of, 92, 93, 306The Mikado (Gilbert and Sullivan), 242Miles, Ruthie Ann, 284Millennium Approaches, 75Miller, Arthur, 74After the Fall, 30All My Sons, 135, 287The Crucible, 71Death of a Salesman, 23–24, 33,46–47The Misfits, 82puzzling over a play’s duration, 21The Ride Down Mount Morgan, 51Ming Cho Lee, 96Minnelli, Liza, 150The Miracle Worker (Gibson), 35, 53Miranda, Lin-Manual, 246, 254, 267, 269Mirkovich, Sean, 277Mirren, Helen, 47Misalliance (Shaw), 71The Misanthrope (Molière), 58mise-en-scene, 29Les Misérables (Schönberg and Boublil), 251The Misfits (Miller), 82Miss Julie (Mitchell), 307Miss Julie (Strindberg), 220Miss Saigon (Boublil), 242, 252, 262, 269
I-12 IndexMitchell, John Cameron, Hedwig and the AngryInch, 45, 140, 252, 288Mitchell, KatieThe Cat in the Hat directed by, 307, 308Chekhov productions by, 307The Director’s Craft by, 307The Forbidden Zone production, 308, 309Greek classics productions by, 307high concept productions by, 157Iphigenia production by, 307Miss Julie production, 307The Phoenician Women directed by, 306–307roots in Stanislavsky’s acting system, 307as theatrical luminary, 306–309A Woman Killed with Kindness directed by,307Mitchell, Maude, 217Mnouchkine, ArianeLes Éphémères (Ephemeral Things), 145high concept productions by, 157Mogle, Dean, 120Molière, Jean-BaptisteThe Bourgeois Gentleman, 27, 117, 241comédie ballets written by, 241Dom Juan, 204, 298Louis XIV patronage of, 204The Misanthrope, 58The Rehearsal at Versailles, 145roles played by, 11Royal era theatre and genius of, 204, 204The School for Wives, 175–186Tartuffe, 157, 278Theatre of Paris founded by, 8The Versailles Rehearsal, 145, 314Molina, Alfred, 12Molloy (Beckett), 233Molloy, Dearbhla, 122Monroe, Marilyn, 41Monsters of Grace (Wilson), 302Montserrat, Everest Canto de, 145Monzaemon, Chikamatsu, 213Moody, Nikki, 121Moore, Jason, 153Morgan, Judson Pearce, 171Morgan, Peter, The Audience, 288Los Moros y Los Cristianos (The Moors and theChristians), 260Morton, Jelly Roll, 249Morven, Cristie, 123Moscow Art Theatre, 41, 44, 146, 218, 222, 293Moses, Daniel David, 296Mother Courage (Brecht), 29, 40, 47, 76, 96, 134The Motherf**ker With the Hat (Guirgis), 274Motley (three women costume designers),119, 120Motown: The Musical, 250Mouawad, Wajdi, 296The Mountaintop (Hall), 259, 261movementas actor’s instrument, 47, 53–54, 56, 169business of actor’s small-scale, 168–169staging (blocking) and directed stage actions(business), 56movement artBlue Man Group, 278, 280Stomp (Cresswell and McNichols), 279–280Tubes (Wink, Goldman, and Stanton), 280Mozart, Wolfgang Amadeus, A Magic Fluteproduction by Peter Brook, 305Mrozek, Slawomir, 232Mrs. Warren’s Profession (Shaw), 218Much Ado about Nothing (Shakespeare),106, 168Mudmen hunting ritual (South Pacific), 189Mugavero, Betsy, 176, 177, 183, 185Mühe, Ulrich, 275Mullally, Megan, 26Mumford, Peter, 109Murphy, Michael, Sin, a Cardinal Deposed, 272Murray, Diedre, 250musicBen Jonson’s musical masques (dancedramas),241choral entrance of The Eumenides( Aeschylus), 240early extravaganzas shows with dancing and,242elements of tragedy, 28Greek theatre use of dancing, acting, and, 195Renaissance plays and use of, 240used in Shakespearean plays, 240–241Sondheim’s “pointillist” style of, 249sound effects and, 127, 128theatre history role of, 240–242The Music Man, 150musical comedy genre, 25, 243musical drama genre, 243musical theatreBig River performance for the hearingimpaired,268Broadway musical, 242–245contemporary, 246–254early role of music in theatre, 240–242film versions of musicals, 245genre of, 27musical comedy genre of, 243Mutu, Tam, 200My Children! My Africa! (Fugard), 298My Fair Lady (film), 245My Fair Lady (Lerner and Loewe), 242, 245My Mother Has 4 Noses (Brooke), 3My Name is Rachel Corrie, 272The Mysteries (Kulick production), 198The Mysteries (Rivera), 260, 262mystery plays, 199Naiambana, Patrice, 34National Endowment for the Arts (NEA), 271National Festival for People With Disabilities,267National Theatre (Cluj, Romania), 8, 300National Theatre Live, 296National Theatre (London), 74–75, 76, 125, 137,194, 197, 231, 236, 295, 296, 308National Theatre of Craiova, 196National Theatre of Scotland, 272, 274National Theatre of the Deaf (Connecticut), 267Native American theatre, 262, 265Native Voices theatre company (California),262, 265naturalism theatre, 219–220Natyasastra (treatise on theatre) [Bharata Muni],206Naughty Marietta (Herbert), 243Naulin, John, 135Needham, Matthew, 26Negro Ensemble Company, 258Nelson, Anne, The Guys, 71Nelson, Richard, Franney’s Way, 130Nero, Emperor, 197Neuauser, Danton and Karin, 273New World Stages, 153New York City Center, 97, 223New York Classical Theatre, 285, 285, 286New York Public Theatre, 63, 284, 291New York Shakespeare Festival, 40, 269New York theatreBroadway, 1, 287–288Broadway musicals, 242–245off-Broadway and off-off-Broadway, 288–290the wait for theatre reviews, 316–317New York Times, 316New Yorker, 244Newman, Paul, 41Newsies (musical), 2, 250Next to Normal (Yorkey), 242, 252,253–254, 254Ngaujah, Sahr, 252Niblo’s Garden (New York City), 242Nicholaw, Casey, 153Nichols, Mike, 75, 174Nigerian masquerade, 14The Night Alive (McPherson), 296Nixon, Cynthia, 69No Exit (Sartre), 231–232No (Japanese theatre), origins and descriptionof, 209–211No Man’s Land (Pinter), 49No, No, Nanette (Youmans), 243Noises Off (Frayn), 313nonprofit theatres, 291nontraditional casting, 267, 269The Normal Heart (Kramer), 266, 268The Norman Conquests (Ayckbourn), 237Norman, Marsha, 257Bridges of Madison County, 113, 124Norris, Bruce, Clybourne Park, 62, 288, 291North American Shakespeare festivals, 292Not I (Beckett), 3Nottage, Lynn, 74Crumbs from the Table of Joy, 159Pulitzer Prize won by, 258Ruined, 159, 259, 273, 291Novoselov, Denis, 314Nowra, Louis, The Emperor of Sydney, 298Ntshona, Winston, 300Nübling, Sebastian, 154, 166Nuemann, Bert, The Insulted and Injured, 109Nunn, Trevor, 252Oakley, Annie, 245Oberammergau Passion Play, 198O’Byrne, Brian F., 122O’Casey, Sean, 296The Octoroon (Boucicault), 265An Octoroon (Jacobs-Jensen), 265Odéon Theatre (Paris), 298, 314Odets, CliffordAwake and Sing, 220Waiting for Lefty, 17, 276The Odyssey (Homer), 81Oedipus (Aristotle), 22, 23Oedipus Tyrannos (Sophocles), 22, 27, 86–87,197Of Thee I Sing (Gershwin and Gershwin),242, 244Off-Broadway Public Theatre, 291off-Broadway theatres, 288–289off-off-Broadway, 289–290Offenbach, JacquesLa Belle Hélène, 243Orpheus in the Underworld, 243La Périchole, 243
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You Be the StarCohen and Sherman’
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About the AuthorsROBERT COHEN was t
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