Revista 22 magazine loves "Medley of Sondheim"

BUCHAREST:  The reviews are out, and they're still giving us love.

In a critical report devoted to this year's edition of the International Festival for Musical Performing Arts "Life is Beautiful!", the critic Ioana Moldovan of the Romanian weekly magazine Revista 22, reserves praise for my production of A Medley of Sondheim which performed this past November at the Teatrul Metropolis.

Revista 22 critic Ioana Moldovan

Moldovan's performance review, entitled "Unsprezece zile frumoase în noiembrie (Eleven Beautiful Days in November," individually singles out the incredible Broadway artists who brought to life the music of Stephen Sondheim.

Moldovan praises these Broadway performers for their ability "to reconstruct, even for a moment, that special atmosphere and the entertaining world of [Sondheim's] shows."

She also notes the excitement of the Romanian audiences whom, she observed, "hardly wanted to accept the end of the show."

Moldovan's review echoes similar praise from top Romanian musical artists who saw the Sondheim show.

Alexandra Craescu, the leading star of Rebecca, a major production of the Teatrul National de Opereta "Ion Dacian," commented: "They were absolutely amazing. I love them all. Great voices, great acting, great technique—I love them. I want to hear them again here in Romania. They've changed my life!"

Cezar Ghioca, a U.S.–trained Romanian director who specializes in musicals, operettas and musical revues, stated: "Wonderful evening! I went home floating in a balloon of happiness—a wonderful treat to be able to take back home in Bucharest, straight from the theatre, that anti-gravitation state that only a Broadway show can create. Thank you."


Playbill, a Broadway publication, has published, "A Sondheim-inspired Romanian Adventure With Ali Ewoldt and Friends," a news story by Matt Blank and a photo diary documenting A Medley of  Sondheim, the first USA production to ever debut at the International Festival of Musical Performing Arts in Bucharest.  The photo diary was created by Ali Ewoldt, the leading actor who played Maria in of the 50th anniversary revival of West Side Story.  Here is the link:
http://www.playbill.com/news/article/157088-PHOTO-EXCLUSIVE-A-Sondheim-Inspired-Romanian-Adventure-With-Ali-Ewoldt-and-Friends



This is Moldovan's review in the original Romanian language:

Şase artişti americani de origine filipineză au adus la Bucureşti o oră din muzica lui Stephen Sondheim, cel mai mare compozitor american în viaţă. Arii din musicaluri celebre precum: West Side Story, Sweene Todd sau Anyone Can Whistle au entuziasmat publicul, care cu greu a vrut să accepte încheierea spectacolului. Reacţia este oarecum firească, fiecare dintre cei şase artişti: Albin Knopka, Jose Llana, Joan Almedilla, Ali Ewoldt, Angel Desai şi Orville Mendoza fiind nume consacrate pe Broadway, care au reuşit să reconstituie, chiar şi pentru o clipă, atmosfera specială a acelei lumi de spectacol.

http://www.revista22.ro/unsprezece-zile-frumoase-n-noiembrie-12616.html

A Medley of Sondheim at Teatrul Metropolis in Bucharest

A magazine devoted to politics and culture, Revista 22 is published weekly (since 1990) by the Group for Social Dialogue in Bucharest.  In English, the name of the magazine translates as 22 Magazine.  It was named in memory of December 22, 1989, the day the communist regime in Romania was overthrown.

Moldovan's article, which was published on December 20, 2011, states that a total number of 450 artists were invited to this year's edition of the festival, of which 310 artists came from abroad. Twelve countries were represented in "Life is Beautiful" — Italy, U.K., Germany, Slovakia, Ukraine, Hungary, Russia, Bulgaria, France, USA, Georgia and Romania — and the total number of audiences reached 4,000 spectators.


"There is every chance that the festival will continue to grow and become a landmark in the performing arts music scene in Romania and elsewhere," said Alina Moldovan, deputy general director of the National Operetta Theatre" Ion Dacian," which annually organizes this one-of-a-kind international festival. —RG

"in the theater of One World" declares "Radio Muezzin," "Macbeth After Shakespeare" and "Chinglish" among the world's best theater of 2011

NEW YORK CITY:  The arts-and-culture magazine in the theater of One World announces its top-10 picks for the world's best theater of 2011.  Click here to read the article.

At the top of the hierarchical list are Radio Muezzin (Germany/Egypt), a documentary work by the Swiss director Stefan  Kaegi; Macbeth After Shakespeare (Slovenia/Croatia), staged by Ivica Buljan; and David Henry Hwang's Broadway play Chinglish, which originated at the Goodman Theatre of Chicago.

Of Radio Muezzin, the global roundup, "My picks for the world's best theater of 2011, states" "You might say that Radio Muezzin stages a Western country's (Germany's) attempt to promote diverse Egyptian voices abroad. It is also about the Egyptian government's decision to use technology to silence individual voices. In Sarajevo [where Gener saw this documentary theater]..., it was about the triumph of a group of passionate muezzins to perform the story of their lives despite the decision of one of their own to almost sabotage Kaegi's outstanding show."

Radio Muezzin | Photo by Amer Kuhinja

Macbeth After Shakespeare, a Slovenian/Croatian staging of the Heiner Muller drama, is described as "stunning" and "a revelation."

The article praises Hwang's Chinglish quite simply "the best American play of 2011."

Jennifer Lim in Chinglish by David Henry Hwang

J.T. Rogers's Blood and Gifts is "the world's greatest example of a political drama that hits your heart and mind." And Sleep No More "will go down in history as the classic example of a site-specific theater masterpiece."

Moreover, the Romanian director's explosive staging of Faust at the Sibiu International Theatre Festival and the National Theatre of the French community in Brussels is praised as "the greatest Romanian production of this decade."

The Belarus Free Theatre's Being Harold Pinter, which made stops in Chicago and New York City, is described as "a landmark in the history of Pinter productions."

In addition to the top-10 selections, in the theater of One World's best-of-the-year list includes 10 honorable mentions and 15 special mentions from the U.S. and around the world.

The Telling Orchestra from Norway "is hailed as "unquestionably the best theatrical performance by a pavilion at the 2011 Prague Quadrennial of Performance Design and Space.

Film and theater director Loy Arcenas's re-staging of Ralph Pena's Flipzoids "confirms this play's status in the canon of American drama," says the article, adding that Septimus and Clarissa, Ripetime's staging of Ellen McLaughlin's adaptation of Virginia Woolf's novel Mrs. Dalloway is "one of the best stagings of Woolf's work I've seen."

Lynn Nottage's By the Way, Meet Vera Stark was named this year's best comic play.

The Broadway revival of Anything Goes is praised as "a joy from start to finish" -- "a kick-ass lush production that you will not likely ever see in a long while (if you don't go see it now)."

Sutton Foster in Anything Goes at the Stephen Sondheim Theatre

Here are my picks for the world's best theater of 2011:
1) Radio Muezzin (Germany/Egpyt)
2) Macbeth After Shakespeare (Slovenia/Croatia)
3) Chinglish (USA)
4) Silviu Purcarete's Faust (Romania)
5) Being Harold Pinter (Belarus)
6) When Father Was Away on Business (Serbia)
7) more...more...more...future (Democratic Republic of Congo)
8) Blood and Gifts (USA)
9) Sleep No More (U.K./USA)
10) Cries and Whispers (Netherlands/Sweden)

The honorable mentions are:
11) The Telling Orchestra (Norway)
12) Flipzoids (USA)
13) The Book of Mormon (USA)
14) Septimus and Clarissa (USA)
15) Correspondences (Haiti/Mali/South Africa/France)
16) The Normal Heart (USA)
17) Anything Goes (USA)
18) Prometheus Landscape II (Belgium)
19) By the Way, Meet Vera Stark (USA)
20) Silenciados (Spain)

in the theater of One World made a point of expressing enthusiasm for 15 others shows which are given special mention.

These Special Mentions are:
1) Honey Brown Eyes, written by Stephanie Zadravec and directed by Erica Schmidt (USA)
2) Invasion! by Jonas Hassen Khemiri and directed by Erica Schmidt (Play Company, USA)
3) Kom Ta Min Hand (Come, Take my Hand) at the Swedish Theatre Biennial in Gavle (Sweden)
4) Arcadia written by Tom Stoppard and directed by David Leaveaux (Broadway)
5) Hypermnesia (Serbia/BITEF), written by Serbian and Bosnian actors, and staged by Bosnian director Selma Spahic at MESS Sarajevo (Bosnia and Herzegovina)
6) Venus in Fur written by David Ives (Manhattan Theatre Club on Broadway, USA)
7) Queen of the Mist, the musical by Michael John LaChiusa (Transport Group, New York, USA)
8) Go Back to Where You Are by David Greenspan (Playwrights Horizons, USA)
9) Heaven on Earth by Charles F. Mee and directed/choreographed by Dan Safer (Witness Relocation, USA)
10) Angel of Swedenborg by Ping Chong and the Great Jones Repertory (La MaMa E.T.C., USA)
11) Unnatural Acts by Plastic Theatre, directed by Tony Speciale (Classic Stage Company, USA)
12) Lucia’s Chapters of Coming Forth By Day written and directed by Sharon Fogarty (Mabou Mines, USA)
13) Good People by David Lindsay-Abaire (Manhattan Theatre Club on Broadway, USA)
14) Broadway revival of Follies by Stephen Sondheim (USA)
15) Gardenia by Alain Platel & Frank van Laecke, Les Ballet C de la B (Belgium).

Randy Gener interviewed and extensively quoted in Croatian and Slovenian national media

NEW YORK CITY:  This past weekend, I was interviewed on Slovenian national television, Dnevnik, at La MaMa E.T.C.  A day after my review of Ivica Buljan's mesmerizing production of Macbeth After Shakespeare, two major European media outlets, one in Croatia and another in Slovenia, published articles about this very physical interpretation of Heiner Muller text which comes "after Shakespeare."  Both articles quoted from my text.  In the latter case, the quotation lifted from my review is so extensive that my words appear in the title.  I am excited to add that my blog, in the theater of One World, is prominently mentioned in the Slovenian article from MMC RTV Slo.

Here are links to these various media outlets:

1) Buljanov 'Macbeth' oduševio njujoršku publiku
http://www.tportal.hr/kultura/kazaliste/164775/Buljanov-Macbeth-odusevio-njujorsku-publiku.html 

2) Mini teater New York potegnil "v vrtinec poželenja, brutalnosti in samouničenja"
http://www.rtvslo.si/kultura/oder/mini-teater-new-york-potegnil-v-vrtinec-pozelenja-brutalnosti-in-samounicenja/272658

3) Uspešen nastop Mini teatra pred zahtevno newyorško publiko
https://www.facebook.com/photo.php?v=10150424954343316

For me, the saddest part about this blizzard of media coverage is that the show ran this past weekend from Dec. 8 to 11.  That's not enough time for a show to grab an audience.  Just when word of mouth has spread, the show is over.  How is it possible for the rest of the public to see for themselves what the hubbub was all about?

Domen Valič, Marko Mandić, Stipe Kostanić, Jurij Drevenšek,
Milena Zupančič in "Macbeth After Shakespeare” | Photo by Miha Frass and SONDA

Revelatory shows like Buljan's come to New York only once in a while.  Producing across the Atlantic Ocean is so expensive that there ought to be more exposure for works like this. Add to this the fact that this is a busy season in the commercial theater.

Having seen Buljan's productions last year (Zagreb Youth Theatre’s equally physical The Garage), also at La MaMa E.T.C., I can only hope that the next time this director and the Mini teatar of Slovenia return to New York the current media coverage they gained this time around might be linger in the memory long enough for more New Yorkers to catch their work.

Born 1965 in Sinj, Croatia, Buljan studied political sciences, French and literature as well as comparative literature at the University of Zagreb. As a journalist he worked with the magazines Polet and Start. He served as theater critic for the daily paper Slobodna Dalmacija and is a member of the editorial council of the theatre magazine Prolog. At first, he worked as dramaturg—in Slovenia, France, and Croatia—collaborating with directors such as Vito Taufer, Christian Colin, Jean Michel Bruyere, Krizstof Warlikowski, Ivan Popovski and Robert Waltl.

His productions have been seen in international festivals in Portugal, Spain, Italy, Venezuela, Austria, Greece, Macedonia, Belgium, Switzerland, Russia, Bulgaria, Bosnia and Herzegovina, Iran, Poland, Albania and, of course, Slovenia.  From 1998 to 2002, he was the Manager of the Croatian National Drama Theatre in Split. He is also the co-founder of the theatre Mini teater in Ljubljana, where he often works as a director or dramaturg.

He has received a number of prestigious awards, including the Dubravko Djušin Award (1997, for Phaedra), the Petar Brečić Award  (1999, for his theatre essays), the Peristil Award (2001, for Oedipus), the Borštnik Diploma and a Special Award from the Jury (2004, for Schneewittchen After Party), the Medal of the City of Havana (2005, for Medea Material), the Borštnik Diploma for best direction and best performance (2007, for Oedipus in Corinth).

Here is my review, entitled " 'Macbeth After Shakespeare' (Slovenia/Croation) muscles its way into brilliance," which I wrote. Enjoy!

http://theaterofoneworld.org/2011/12/11/macbeth-after-shakespeare-sloveniacroatia-muscles-its-way-into-brilliance/

PHOTO EXCLUSIVE: A Sondheim-Inspired Romanian Adventure With Randy Gener, Ali Ewoldt and Friends - Playbill.com

PHOTO EXCLUSIVE: A Sondheim-Inspired Romanian Adventure With Ali Ewoldt and Friends - Playbill.com

Playbill has published a news story-cum-photo album documenting the lecture/listening party on composer Stephen Sondheim I gave and the musical show I produced in Romania. The show, entitled A MEDLEY OF SONDHEIM, is the first USA production to debut at the International Festival of Musical Performing Arts in Bucharest. The article was written by Matt Blank, and the photo album was specially created by Ali Ewoldt, who starred as Maria in the national tour of WEST SIDE STORY. The article reads:

"Sondheim and After": Gener with Jose Llana, Ali Ewoldt and Orville Mendoza

A quintet of Broadway favorites, directed by Jose Llana, recently had the unique opportunity to bring the music of Sondheim to Romania in a Nov. 17 Bucharest concert. 

Joan Almedilla (Miss Saigon, Les Miserables), Angel Desai (Company), Ali Ewoldt (Les Miserables, West Side Story), Jose Llana (The King & I, Spelling Bee, The Flower Drum Song, Wonderland) and Orville Mendoza (Pacific Overtures, Road Show) performed A Medley of Sondheim, a concert presentation of Stephen Sondheim's iconic musical numbers. 

Ewoldt documented the whirlwind 2-day trip and offers Playbill.com readers an exclusive look at their travels, the performance and some of the breathtaking historic sights around the city.

Enjoy!

Let's Occupy Broadway: Samuel L. Jackson, David Henry Hwang, Leigh Silverman and other Broadway panelists reveal the radicality of original works and new writers breaking out this fall season in New York

NEW YORK CITY:  The New York press has described my recent Broadway panel discussion "Anatomy of Breakout" as "illustrious," "lively," "all-star," and "rockin'."  With the Toronto Star and the India Times publishing articles after the fact, the symposium event made an international impact as well.

Samuel L. Jackson and Randy Gener

In a couple of emails, a former Village Voice colleague and an academic felt moved to state "Wonderful job, Randy. Really terrific" and "Wonderful event."  And the New York actor Adam Couperthwaite posted on my Facebook wall: "Inspiring panel tonight at Fordham. Thank you for putting together such a great group."

On the NYC Arts LinkedIn group, a colleague commented, "Fantastic line-up and topic. Congratulations on pulling this talk and talent together, and making it so accessible to seniors and students in particular with that $5 ticket price."

The good word is definitely out.  Yet the person whose opinion mattered the most was that of my partner-in-crime, Matthew Maguire, the Obie Award–winning playwright and the chair of Fordham University Theatre Program.  Without the support of Maguire and the Fordham University Theatre Program, it would have been impossible to pull off this panel discussion.  Held on Sunday November 13,  Anatomy of a Breakout investigated just what it takes for a play or a musical, as well as an individual performance, to break through and become a critical and/or popular success. Leslie (Hoban) Blake, a writer for Theatremania, co-moderated the event with me.

David Henry Hwang, Matthew Maguire and Randy Gener

Immediately after the event, Maguire posted on his Facebook wall: "Attended an inspiring Drama Desk panel at Fordham Theatre tonight, gathered by Randy Gener who brought together the movers & shakers of Chinglish, Mountaintop, Lysistrata Jones & Venus in Fur, some of the most unlikely Broadway shows ever. One of the coolest things he [Samuel L. Jackson] said was his advice to young actors. Come to New York because in New York you find community. Randy, great work on getting him on the panel!"

What exactly was everyone so enthused about?

To my mind, the reason this panel made such a huge impression went far beyond star power. No doubt, the presences of actor Samuel L. Jackson, playwright David Henry Hwang, director Leigh Silverman, director Kenny Leon and playwright Douglas Carter Beane contributed greatly to the exciting buzz that the event drew prior to the event (see below the second set of links to articles announcing it).

What really brought home the message is the critical mass of New York productions represented in the panel, not to mention the other productions which were invoked or named during the discussion itself.

"Anatomy of a Breakout" panel at Fordham University

What did these productions have in common? In Broadway terms, they were all new and original American works.

During past seasons, New York's commercial stages had predominantly been swamped with revivals of classic works, imports from London, and star-laden productions by already famous names.  Because of the millions of dollars associated with producing a show in New York (and not just on Broadway), it was never a surprise that most producers (including non-profit producers) settle for already known entities. Either a play or musical is already proven to be a hit (the Broadway revival of Anything Goes or the runaway hit Chicago are good examples) —  or the shows are direct imports from the U.K., with most of its cast intact (see the example of Private Lives this season or War Horse which continues to sell out at Lincoln Center).

Frequently the shows are stage versions of movies (the mass popularity of cinema being another indication that the material is not unknown). Moreover, Broadway producers invest more on works by Arthur Miller, David Mamet, Edward Albee or Tennessee Williams.

What's different and remarkable about this fall 2011 season is that New York stages are overrun by new works by relatively less famous names.  Playwright David Henry Hwang is one of our country's top playwrights but from a commercial standpoint he is still better known for M. Butterfly, his first Broadway hit from the 20th century.  So the critical and popular success of his sensational new play Chinglish, starring Jennifer Lim and staged by Leigh Silverman, is worth celebrating, especially if one realizes that more than half of the play is performed in Mandarin Chinese and with supertitles.  When I suggested in the panel that Chinglish is more than just an Asian-American drama — that it is, at the core, an international play, even Samuel L. Jackson had to retort, with slight bewilderment, that a foreign producer would have to find an actor who, like Lim, spoke Mandarin.  Lim might be a rare actor in Broadway terms, but outside of the USA, Mandarin Chinese is actually the most widely spoken language in the world, including some parts of Africa.  

With David Ives and Leslie (Hoban) Blake

David Ives is another master American playwright. He is, however, not exactly a household name yet. Theater cognoscenti know him more as a translator and adapter of Moliere, Yasmina Reza and other comic dramatists.  His brand name, as evinced by his breakout work All in the Timing, is closely associated with comedy.  The return of Ives's Venus in Fur in a Manhattan Theatre Club production on Broadway is thus notable and surprising, because this original two-hander, a serious work of drama which stars Nina Arianda and Hugh Dancy, first made a splash last season at Classic Stage Company — and because Ives has largely been considered an intellectual's intellectual.

With Samuel L. Jackson and Kenny Leon

Katori Hall is a writer few had ever heard of until Jackson and Kenny Leon both agreed to take on her play The Mountaintop on Broadway this season.  Add to this the fact that the play's subject, the famed civil rights Dr, Martin Luther King, is a sacred icon.  Any depiction that even remotely characterizes Dr. King in a negative light has immediately met with controversy.  Soon after the play opened, the children of Dr. King appeared on CNN to denounce the play's depiction of their father, even though they had not actually seen the play but only read a copy of the script.

As both Jackson and Leon attest in my panel discussion, The Mountaintop would have never been produced on Broadway this season had it not actually won critical accolades in London last year, including the coveted 2010 Olivier Award for Best Play.

With the cast of Lysistrata Jones

Like Venus in Fur, which began its life Off-Broadway, Lysistrata Jones, a new musical, opened to rave reviews in a Transport Group production in a gym in Greenwich Village.  It will now open on Broadway in December 2011. And, like Venus in Fur, Lysistrata Jones contains echoes of Greek drama.  It plops the battles-of-the-sexes comedy by Aristophanes into the world of high-school basketball.

As unlikely as this collection of productions might be, we can also point to other shows not represented in my panel that had humbler beginnings:  Other Desert Cities, the play by Jon Robin Baitz, began its life Off-Broadway before its current Broadway run.  Lydia Diamond's play about an upper-middle-class African American family, Stick Fly, has moved to Broadway after a long journey in the non-profit world.  And the astonishing Off-Broadway commercial run of Freud's Last Session by Mark St. Germain has similarly reinforced the feeling that something radical is afoot in New York stages this fall.

Director Leigh Silverman confirms the radicality of this feeling by stating that in her opinion, the gathering of these plays — Chinglish, Mountaintop, Lysistrata Jones and Venus in Fur — was "groundbreaking" in terms of how amazing it was to see all these new works have aggregated in one fall season.

David Henry Hwang admits that a key aspect of the emergence of these new works rest in the cultivation of relationships over time.  Hwang joked that in the past he had leaped from director to director he felt like "a slut."  When he first met director Leigh Silverman, Hwang said he was not at first sure that she might be the right person for the job.  And then he realized that the questions she had posed him about his play were actually important — that those very questions she raised were the very issues that needed to be explored and examined in rehearsal if the play were to reach to as broad an audience as possible.

"Anatomy of a Breakout" was a ritual event that recognized and acknowledged that as tough as it may be to develop new work, there is definitely an audience out there that is willing to embrace them.  That as financially conservative and artistically parochial the commercial stages might be, new work will out.

As with most stage trends, diehard skeptics will no doubt decry that the critical mass of new works thriving this fall season might simply be a coincidence or simply passing fare.  Who knows what next season will bring, after all?

I would like to go so far as to suggest that because of this panel, the cat is now out of the bag.  Whatever the future may bring, it will now be hard to dismiss this one enterprising fall theatre season, in the midst of the worst economic recession in memory, when so many new and original American works occupied New York's commercial stages, thus encouraging the best in our creative natures and promising a brighter future for theater artists everywhere in New York. —RG

With the creative crew of Chinglish: Hwang, director Leigh Silverman and Jennifer Lim

ARTICLES AND PHOTOS POSTED AFTER THE "ANATOMY OF A BREAKOUT" PANEL:

From Toronto Star
http://themes.thestar.com/photo/08AZfIYeYteK7


From India Times
http://oneclick.indiatimes.com/photo/08AZfIYeYteK7?q=Bristol

From Getty Images
Photos from Anatomy of a Breakout panel for purchasing
http://www.gettyimages.com/Search/Search.aspx?EventId=132740368&EditorialProduct=Entertainment 

From Wire Image
Photos from Anatomy of a Breakout panel for purchasing
http://wireimage.com/ItemListings.aspx?igi=537393&nbc1=1 

From the blog Theater Life
Drama Desk panel
http://www.theaterlife.com/node/6358 

From Asian Connections
Photos: David Henry Hwang, Jennifer Lim, Leigh Silverman, Samuel L. Jackson, Kenny Leon, and more
http://www.asianconnections.com/index.php?option=com_zoo&task=item&item_id=3229&Itemid=135

From Lia Chang Photography
Drama Desk Anatomy of a Breakout Panel
http://liachang.photoshelter.com/index 

From the blog Star Sightings
Celebrity Sightings at 2011 Drama Desk and Fordham University Theatre Program panel discussion
http://www.starsightings.com/event-2011-Drama-Desk-And-Fordham-University-Theatre-Program-Panel-Discussion/ 

ARTICLES POSTED BEFORE TO THE "ANATOMY OF A BREAKOUT" PANEL:

From Critical Mass, the blog of National Book Critics Circle
NBCC Member News: Randy Gener Hosts Samuel L. Jackson, David Henry Hwang, & More

http://bookcritics.org/blog/archive/nbcc-member-news-randy-gener

From This Week in New York

http://twi-ny.com/blog/2011/11/11/anatomy-of-a-breakout/ 

From the blog "Reflections in the Light" 
Douglas Carter Beane, Lewis Flinn, David Henry Hwang, David Ives on Drama Desk Panel to Discuss 'Anatomy of a Breakout' 
http://reflectionsinthelight.blogspot.com/2011/11/douglas-carter-beane-lewis-flinn-david.html 

From Playbill
Douglas Carter Beane, David Henry Hwang, David Ives, Samuel L. Jackson, Kenny Leon Set for Drama Desk Panel Discussion
http://www.playbill.com/news/article/156219-Douglas-Carter-Beane-David-Henry-Hwang-David-Ives-Samuel-L-Jackson-Kenny-Leon-Set-for-Drama-Desk-Panel-Discussion

From BroadwayWorld
Samuel L. Jackson, Douglas Carter Beane et al. Set for Drama Desk/Fordham University Panel
http://broadwayworld.com/article/Samuel-L-Jackson-Douglas-Carter-Beane-et-al-Set-for-Drama-DeskFordham-University-Panel-20111103#ixzz1dAb5isco

From Theatermania
Douglas Carter Beane, Samuel L. Jackson, Jennifer Lim, et al., Set for November 13 
http://www.theatermania.com/new-york/news/11-2011/douglas-carter-beane-samuel-l-jackson-jennifer-lim_44089.html

From Broadway's Best Shows
Samuel L. Jackson to Participates in Drama Desk/Fordham University Panel on November 7
http://www.broadwaysbestshows.com/news/11-07-2011/samuel-l-jackson-to-participates-in-drama-desk-fordham-university-panel 

From BroadwayWorld
David Henry Hwang Set for ANATOMY OF A BREAKOUT Discussion, 11/13
http://broadwayworld.com/article/David-Henry-Hwang-Set-for-ANATOMY-OF-A-BREAKOUT-Discussion-1113-20111108#.Trm65Or6vVQ.facebook%23ixzz1dAbq6jA5 

From Fordham University's website
Panel to Discuss Broadway's 2011 Breakout Season  http://www.fordham.edu/Campus_Resources/eNewsroom/topstories_2228.asp

poster for the event