History
Established in 1986, the Texas Shakespeare Festival began as Kilgore College's contribution to the Texas Sesquicentennial celebration. The brainchild of Raymond Caldwell, a faculty member within the theatre program at Kilgore College and subsequent Artistic Director of the Festival, the first season of TSF consisted of two plays by Shakespeare and the The Daisy Bradford 3, a regional work commissioned for the celebration telling the story of the East Texas oil boom by Gifford Wingate, all performed by a small company of professional actors. The overwhelming popularity and quality of the summer theatre experience for the people of East Texas catapulted what was to have been a one-time event into an organization that is celebrating its second decade of performances. More than 1000 theatre artists have worked at TSF including such well-known personalities as Michael C Hall (Six Feet Under; Dexter); Danny Pino (Cold Case); Glenn Fleshler (Spring Awakening; Guys and Dolls); Rick Holmes (Spamalot); Andrew Samonsky (South Pacific"; "Tick, Tick, Boom!); Glenn Kessler (Creator, Producer, Director and Actor for Damages); and Keythe Farley (co-author, Batboy, The Musical.)
The Texas Shakespeare Festival is listed as a Major Festival in the book Shakespeare Festivals Around the World by Marcus D. Gregio (Editor), 2004.
Read more about this topic: Texas Shakespeare Festival
Famous quotes containing the word history:
“Revolutions are the periods of history when individuals count most.”
—Norman Mailer (b. 1923)
“So in accepting the leading of the sentiments, it is not what we believe concerning the immortality of the soul, or the like, but the universal impulse to believe, that is the material circumstance, and is the principal fact in this history of the globe.”
—Ralph Waldo Emerson (1803–1882)
“Postmodernism is, almost by definition, a transitional cusp of social, cultural, economic and ideological history when modernism’s high-minded principles and preoccupations have ceased to function, but before they have been replaced with a totally new system of values. It represents a moment of suspension before the batteries are recharged for the new millennium, an acknowledgment that preceding the future is a strange and hybrid interregnum that might be called the last gasp of the past.”
—Gilbert Adair, British author, critic. Sunday Times: Books (London, April 21, 1991)