Fringe Festival 2017!

Recommendations

Info

Table of Contents Welcome to the Fringe page 1 Chuck Berry page 3 The Inventor and the Escort page 13 That Pretty Pretty page 19 Clybourne Part page 25 The Aeroplane page 31 Build page 41 Vonnegut Comes to Sacred Fools page 51 Each program section will consist of a 5.5”x8.5” full color cover photo, and each production will receive 350 copies for distribution. 4 pages of content $175 8 pages of content $300 Advertising space for Fringe programs is available and those that use the FootLights programs will receve a 50% discount off of the listed ad prices. ¼ page $150 ½ page $260 full page $400 All participants that use the FootlIghts program will have their production featured in our Cover Carousel ,which can be found at http:footlights.click, and will given special attention in our social media efforts. To Place you order go to http//footlights.clic/submityourlisting/ Please add the word Fringe to the front of the show title to tae part in this program.
Chuck Berry and Creating Commercialated Culture by K EV IN D ELIN (@k d e l in ) Chuck Berry may be dead but you know he won’t stay buried. He’s just too irrepressible for confinement to such a singular state. He was like his music: audacious and muscular. His huge hands easily enveloped the fretboard of his Gibson ES-335 and pulled sounds from it that would electrify the soul. Is it possible to remain still while experiencing the pure energy coming from his records? I wouldn’t know. I’ve never been able to do it. Today, his presence is everywhere in the American landscape. Urban streets. Country roads. Everyone can identify his songs from his lics. t’s hard to find anyone who can resist his hooks. Chuck Berry and his distinctive style have permeated the culture to its deepest sonic vocabulary. Yet, as an early rocker, he had a couple of obvious strikes against him. First, there was the issue of racism. Many consider Ike Turner’s 1951 record Rocket 88 the starting point of the rock ‘n’ roll era, when “separate but equal” was still the law of the land. Though the doctrine was legally overturned by the 1954 Supreme Court’s unanimous decision in Brown v. Board of Education, the deeply-rooted “separate but equal” political and social legacy wouldn’t be overturned for years, even decades. In the 1950s, you could peddle jazz, blues, and R&B records to the black community and a few sophisticated whites in urban areas. To reach the wealthy demographic of baby-booming, white teens in the suburbs, however, required something more familiar. (Cont’d on page F4) visit footlights.click F1
Page 3: Fringe Festival 2017! by PETER FINL
Page 8: (Ch u ck B er r y f r om page F1 )
Page 11: white clientele by voicing the diff
Page 15 and 16: KADM Productions Presents Written a
Page 17 and 18: Matt Morillo (Writer/Director) All
Page 20 and 21: igger dream kentwood players presen
Page 22 and 23: A note from Son of Semele’s Artis
Page 24: PRODUCTION TEAM Christina Bryan (St
Page 27 and 28: CLYBOURNE PARK by Bruce Norris Dire
Page 29 and 30: Damon Rutledge (Albert/Kevin) - Fre
Page 32 and 33: igger dream kentwood players presen
Page 34 and 35: LOFT ENSEMBLE STAFF ARTISTIC DIRECT
Page 36 and 37: CAST & PRODUCTION STAFF MAX MARSH (
Page 38 and 39: CAST & PRODUCTION STAFF ASHLEY SNYD
Page 40: BECOME A DONOR AND HELP LOFT FLY Do
Page 47 and 48: (Ch u c k B er r y f r om page F7 )
Page 49: visit footlights.click F11
Page 52 and 53: Director Ben Rock and actor Eric Cu
Page 54:
(V onnegu t f r om page F1 4) hen
show all

Fringe Festival 2017!

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?