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Last revived in 1948, the show likely would have stayed hidden thereafter in the mist of Yiddish history were it not for a 1984 meeting in Boston of the Society for American Music. At the time, Ochs was the Richard F. French Music Librarian at Harvard’s prestigious Womens Cranberry Formal Wear Mbym bDwzjK
. He found a large but incomplete manuscript of “The Golden Bride” score while scouring the stacks for material he might use in an exhibit tied to the meeting.

“I’d never heard of Rumshinsky,” Ochs said. “The music was excellent. What struck me was that this composer nobody ever heard of outside of people familiar with Jewish music had composed 90 to 100 operettas. Who knew?”

“The librettist was a woman [Frieda Freiman] who gave credit to her husband [Louis] to get her work produced,” he added. “There is no question she wrote the original libretto.”

After the meeting, the score returned to the library stacks and presumable anonymity. Ochs left Harvard in 1992 to become a music editor at W.W. Norton, from where he retired in 2002. But “The Golden Bride” wouldn’t let go. He’d made a copy of the score and now, in retirement, “wondered if I can translate this,” he said. “It started out really as a language project.”

“I was never thinking in terms of a full-scale production,” Ochs added. “I was just thinking of getting this published, and that alone would have been pretty nice.”

So he sent a proposal to the American Musicological Association to see if they would be interested in a paper or book on the operetta as part of its Music of the United States of America series. When the association expressed enthusiasm, Ochs started additional research.

His first stop was YIVO, the Institute for Jewish Research in New York, which housed the librettist Freiman’s papers. As luck would have it, there he met the late Chana Mlotek, doyenne of the Mlotek family of Yiddish music experts and the organization’s musical archivist. The moment she heard about the project, the Yiddishe mama suggested Ochs call her son Zalmen, the Folksbiene’s artistic director.

READ: ‘Fiddler on the Roof’ and behind the scenes

Ochs didn’t have an opportunity to initiate the call — Zalmen Mlotek rang the next day, presumably ordered by mama.

“I wasn’t aware of the existence of the material,” Mlotek said in a separate phone interview. “But I was very familiar with a couple of the songs, the famous duet ‘Mayn Goldele.’ It was a big hit and sung in every generation since then.”

Mlotek was interested immediately; he and Ochs went into research mode.Scraps and bits of the original were scattered at Harvard, YIVO and UCLA, where heirs of Rumshinsky donated his papers.Ochs and Mlotek gathered the pieces and reconstructed the play.

Most congressional offices prefer that you contact them in the spring or summer of the year before you desire to enter the Academy. While some offices will accept requests through the fall, most do not accept requests for nomination after October. Members of Congress may submit their nominations to the Academy as late as January 31st; however, the majority of nominations are received before this deadline.

If selected for a congressional nomination, you will likely receive notice from the Member of Congress first. After the member has submitted the nomination to the Academy, the Admissions Office will send you written acknowledgement. Please be patient, as this may occur as late as 30 days after you have been notified by your Member of Congress.

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The Vice President of the United States may nominate candidates from the nation at large and is allowed to have a maximum of five cadets attending the Academy at one time. For each cadet vacancy that occurs, the Vice President may nominate up to 10 candidates to be considered for appointment. Vacancies occur when cadets graduate or leave prior to graduation. All pre-candidates are eligible for this nominating category. Do not mail your request for a Vice Presidential nomination to the Academy. The Academy will make recommendations to the Vice President based upon your admissions file.

If you wish to request a nomination from the Vice President, you may complete the online application found at Naho clip earrings Grey Charlotte Chesnais QbAbxNvO
. The deadline for requesting a nomination in the Vice Presidential category is January 31.

If you are eligible to apply in one of the military-affiliated categories, follow the specific instructions for that category as detailed below. To request a nomination in the Presidential, Children of Deceased or Disabled Veterans, Military or Civilian Personnel in a Missing Status, or Children of Medal of Honor Recipients categories, follow the guidelines in the Womens Trueno Sala Trainers Kelme 0uz3klo
. Additional categories may have their own forms and guidelines. The deadline is January 31st. Mail your nomination request letter to the Admissions Office:

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There are unlimited nominations, but only up to 100 appointments available annually in this category. Vacancies allocated to the President of the United States have been reserved for children of career military personnel. This includes enlisted, warrant, and commissioned members of regular and reserve components who are on active duty (other than for training) and who have served continuously on active duty for at least eight years; and military retirees either living or deceased who have received retired or retainer pay. Reservists must be serving as members of reserve components and be credited with at least eight years of service computed under section 12733 of Title 10 (at least 2880 points); or would be, or who died while they would have been entitled to retired pay under chapter 1223 of Title 10 except for not having attained 60 years of age. For adopted children, the adoption proceedings must have begun before their 15th birthday.

Education news. In context.

New York

the one that got away

By Monica Disare - July 3, 2018
(Photo by Drew Angerer/Getty Images)
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Your first shot at getting in comes when you’re four years old.

You have to live in Manhattan, speak English, and have $350 for Womens 22455 ClosedToe Pumps Marco Tozzi wnAvUOQGn9
. If you’re invited back, a team of consultants will observe you in a classroom setting and make the final call.

You get a second chance several years later, assuming you’ve aced the state tests in fifth grade and know to apply for a high school seat in sixth grade. Then, your score on the school’s admissions test will decide your fate.

That’s how admissions works at Hunter College Campus schools, which serve students from kindergarten to 12th grade. Though the schools are operated by the city’s public university system, not its education department, they are public schools. And for about 1,600 students at a time, they provide what is considered one of the best public educations in New York City.

The schools look very little like the city its students live in, though, a fact that has been true for many years. And as New York City engages in a lively debate about the lack of diversity at eight elite city high schools — with Mayor Bill de Blasio calling the lack of black and Hispanic students there Foldaway Tote girl sitting by VIDA VIDA rsFlXt
—Hunter’s disparities in some cases are far starker.

At the specialized high schools, 10 percent of admissions offers went to black and Hispanic students last year, and nearly half of the students attending are poor. But just 7 percent of Hunter high school students are black and Hispanic, and only 9 percent come from low-income families. At Hunter’s elementary school, less than 3 percent of students come from low-income families.

Still, Hunter has flown under the radar. The schools have avoided the spotlight for a constellation of reasons, including their unique governance structure and the fact that their admissions numbers are not released annually by the city, something that has drawn special attention to demographics at the specialized schools.

“There’s no question that this is another crown jewel when it comes to public high school in New York City,” said Maurice Frumkin, a former city education department official who now runs an admissions consultancy. As for Hunter and CUNY, he said, “I think it’s a shame that they have not chimed in.”

THEATRE LAB
Application Guidelines

Application Guidelines

As we did in 2016, Sundance will once again offer its annual flagship Theatre Lab in Morocco, available to theatre artists from the United States as well as from the Middle East/North Africa (MENA). This 21-Day residency will utilize actors in workshop. Participants in the Theatre Lab will be selected through an open application process.

The Theatre Program has increasingly engaged a broad spectrum of both US-based and artists from the MENA (Middle East/North Africa) region who work in diverse styles and express a wide range of content. We seek participants who yearn to reflect on their work, and those who are eager to embrace a community of world artists, and committed to the idea of the “Global Artist Citizen.” Our Theatre Labs serve as “the space between” the conception of a work and its eventual production - providing artists time for reflection, rehearsal, experimentation and mentoring within the context of an intimate peer-level artistic community. The Lab is not a production Lab, but offers a rare opportunity to focus on unfinished new work needing time and space in which to experiment, re-write, re-conceive and take artistic risks.

We will select up to eight projects for the 2018 Theatre Lab (50% from the US and 50% from the MENA region). Sundance will provide the same level of support and development that has traditionally been offered in Utah (an acting company, a “day-on, day-off” rehearsal schedule, and rigorous dramaturgical support), as well as underwrite all related expenses (including transportation costs, accommodations, meals, stipends and support personnel).

Eligibility

Artists from the United States and from the Middle East North Africa are encouraged to apply. Theatre-makers creating in English and Arabic are encouraged to apply, but MENA artists creating in other languages will be considered. Submitted work cannot have been previously produced, but may have received prior workshops or readings. Commissioned work is eligible for submission; however, playwrights must obtain written permission from their commissioning organization prior to applying.

Playwrights, directors, composers, ensembles, performance artists, or choreographers may submit applications. Playwrights may suggest a director, but Sundance retains the right to make final decisions on personnel. If you do not have a director attached to your project, please note that Sundance Institute will help to match you up with a director if your play is selected for inclusion in the Theatre Lab. Director-generated projects are also welcome to apply. Sundance Institute is interested in both established and emerging theatre artists, as well as artists making a transition from areas outside of theatre. We also welcome solo performers.

NOTE: Artists may only submit one application. Previous applicants may reapply, but not with previously submitted material.

Project Selection

Through open submissions, we consider an estimated hundreds of projects. Sundance Institute looks for original, compelling human stories that reflect the independent vision of the theatre artist. We are interested in supporting a diverse and daring group of theatre artists who tell unique stories, present material in a new form, or conceptualize existing material with an innovative vision. Sundance is an environment that encourages and supports risk-taking, experimentation, and rigorous rewriting and re-imagining. It is not a place to simply rehearse your text, or to polish what you feel is a nearly completed draft.

Projects may be submitted in English, Arabic or French. If you are a MENA artist and would like to submit a project in a language other than Arabic or French, please contact Shishu Stan sneakers White Yohji Yamamoto 9UT3Pb8HmE
to verify that your working language can be supported by our MENA-based Lab.

NOTE: All applicants must be available for the entire duration of each Lab.

What Sundance Institute Provides

Additionally, the Theatre Program provides actors, dramaturgs, rehearsal space, and stage management for the collaborative team working on each project. Projects rehearse on alternating days, giving writers the opportunity to rewrite or regroup when they're not in rehearsal (actors are frequently double-cast working on two projects on alternate days). At the end of the Theatre Lab, projects will culminate in an informal presentation for the Lab community only, followed by an artist-led conversation with Sundance Institute artistic staff and guest Creative Advisors.

Each full-time Fellow (playwright, director, or other creative collaborator) is assigned a company of actors (if applicable), selected by Sundance Institute in collaboration with the Fellows, to support their project. Actors are selected from the US and the MENA region for their professionalism, versatility, suitability for the development process and of course fluency in the language of the project.

How to Apply

Complete the online application form and upload your materials electronically. Materials to include:

NOTE TO MENA APPLICANTS: Materials must be submitted directly to FOOTWEAR Lowtops amp; sneakers Oroscuro cPRvISU
. Applications are accepted in Arabic, English and French.

NOTE: If you do not have access to the Internet, please call the Theatre Program at +1-646-822-9564 and we will work with you to submit your materials using alternative methods. Please make every effort to utilize the online application as it ensures the safe delivery of your application and supports the Sundance Institute’s environmental stewardship.

Deadline

The deadline for submission is November 15, 2017 at 5:00pm EST . Applicants will be notified on or before February 15, 2018.

Questions

Applicants can find answers to many questions in the "Common Questions" section.US Inquiries: Unisex Adults Sphinx LowTop Sneakers Kappa OzSthdln
Middle East/North Africa Inquiries: Gingham Smock Dress with Shirring Detail Multi Asos bkYKV4WLu

Find Answers To Common Questions About Applying
The dates for the 2018 Theatre Lab are May 6-27, 2018, this includes travel days. If you are traveling internationally, there may be an additional day(s) of travel.
Any professional theatre-makers are encouraged to apply: playwrights, directors, ensembles, etc.
Sundance looks for original, compelling human stories that reflect the independent vision of the theatre artist. We are interested in supporting a diverse and daring group of theatre artists who tell unique stories, present material in a new form, or conceptualize existing material with an innovative vision. We look for writers and collaborators who are interested in genuinely exploring their material. Plays, musicals, dance theatre, performances and solo projects are all eligible. Submitted projects must be original works. We are most interested in stories that you feel need to be told by you at this moment in time.
All submissions – generally between 700 and 900 annually – are read in their entirety and evaluated by qualified play readers from around the world. Our artistic staff narrows the field to the top 25-30 submissions, which are then evaluated by an Advisory Committee comprised of established playwrights, dramaturgs, and directors. The Artistic Director makes the final selections and extends personal invitations to join the Lab.
First and foremost, we look for projects that reflect an originality and “independent spirit.” We're particularly interested in provocative new work from lesser heard voices and work that looks at familiar topics in an unfamiliar way. Once we have established that a project warrants our interest, we look for clues that applicants have strongly identified their objectives in the supporting materials-- both long-term and in the context of the Lab. Some projects aren't suited to a highly collaborative Lab environment, and projects that only need a polish before they're ready for productions are not for us. We aspire to diversity and balance in our selections, and cross-over artists, ensemble work, political plays, and projects that defy categorization have all found a home at Sundance.
In terms of , we only accept applications at this time from artists from the Middle East and North Africa who are creating new works in Arabic (classical or dialect). MENA theatre-makers working in English or French can be considered too, and we welcome international submissions by diaspora artists from the Middle East and North Africa, currently residing in the EU or elsewhere.
Your artistic statement should tell us what you’re writing about and why, and should include your goals for your time at the Lab. What do you hope to accomplish? (i.e., questions with which you are engaged or frustrated: about story, character, style or anything else that can be explored in a collaborative Lab environment where trying out new ideas is encouraged.)
Yes. Artists should write in the language in which they ‘dream’ - in which they feel most comfortable. Traditionally, Sundance’s main working language has been English. If selected, translations of work will be discussed for each project. Projects in Arabic (all dialects) are encouraged.
Yes. If your project is selected, you must be available to be at the Lab for its entirety. If you have a scheduling conflict, we suggest that you do not submit this year, and submit in a future season.
Yes. Sundance provides economy round trip plane tickets. Travel for the Theatre Lab will be to/from Marrakech, Morocco. We will also provide lodging and meals for you and the rest of the creative team attached to your project.
Yes. Sundance does provide a stipend for all full-time Fellows. For the 2018 Theatre Lab, Fellows will receive $1500 USD at the end of the Lab.
No. Sundance Institute does not provide feedback on submitted projects.
No. We do not accept projects that have been previously submitted, and we do not make exceptions to this rule.
Yes. It is not a problem if you do not have a director. If selected, we will work with you to find a director that will best complement your project.
Playwrights may only be attached to one project. A director can be attached to more than one project. If both projects are accepted into the Lab, the director will have to select only one project to work on. The director cannot work on more than one project at the Lab.
We require everyone to submit their projects electronically. We understand that some applicants may not have reliable access to the internet. If this is the case, contact us for an alternative submission process.
No, we do not ask that scripts be blind.
There is a very strong preference that everything be submitted electronically, in accordance with Sundance’s environmental awareness and it makes it much easier for our readers.
Unfortunately we cannot waive the application fee for US applicants. The fee is waived for MENA applicants.
Yes. If you are including any materials for which you are not the writer/creator, you must obtain the rights prior to submitting. If you do not have the rights, we cannot accept your project.
We do accept plays that are commissioned by other organizations; however, you must obtain written permission from the commissioning organization stating that they support your application.
In most cases, no. Sundance provides dramaturgical support that is customized to each individual project, and once a project is accepted into the Lab, there will be an opportunity to discuss what model is best for your play. In some cases Sundance would consider a dramaturg who “comes with” a project, particularly if that dramaturg is one of the generative artists. We tend to discourage the practice of including dramaturgs employed by institutions that have commissioned or committed to a future production of a play. Sundance is a time for the generative artists to explore their impulses as independently as they can, and not in tandem with the needs of a future production. In the case of work that is commissioned or committed to production, we have done well with a process whereby the Lab dramaturg "passes the baton" to the dramaturg at the producing institution.
Sundance will work with each selected project on identifying the best actors for your project. If you have been working with specific actors during the development of your project, and you feel they are integral to the creation of the piece (if the piece was written for a specific performer, for instance, or devised with its actors), please indicate this in the Other Collaborators section of your application.
We can only accept projects that have NOT been produced. A produced project is defined as a project that has been reviewed by critics. We do accept plays that have had a previous workshop, or developmental opportunities.
Yes. We accept plays in various stages of development. We recommend that you submit more than an outline of the project. An actual draft—even it it’s incomplete-- is most helpful in evaluating your project. We are only interested in plays that you feel need work and experimentation.
No. Sundance only provides developmental support. Sundance is not a producer and it not committed to producing your project at any point after the Lab. Sundance will, however, have a conversation with each alumni project about the continuing life of your project.
While Sundance Institute strives to provide a family-friendly environment, it is our experience that the responsibilities of parenting can be counterproductive to the work that this unique opportunity offers. We strongly encourage families with children to make other childcare arrangements at home during the Lab. Please contact the Theatre Program if you have questions about families or guests.
No animals are permitted at the Lab.
All actors are selected by our casting director(s) for the Lab. To be considered, please email your headshot and resume to theatre@sundance.org . If you are an Arabic-speaking actor , please send your headshot and resume to MENAtheatre@sundance.org .
US Inquiries: theatre@sundance.org Middle East/North Africa Inquiries: MENAtheatre@sundance.org
Theatre Lab at MASS MoCA
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Sundance “deepens the resolve of artists by bringing them together in a creative community so that they know they are not alone.” -Robert Redford

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