The year after purchasing the theater, the board decided to purchase adjoining buildings that, once renovated, would house the ticket office, public restroom, and administrative offices. Little and began renovations to surrounding buildings. On a later, unknown date, The Little Theater on the Square Inc. It was run by a board of trustees who represented the regional market area of Central Illinois. The theater began operating as a not for profit organization in 1981 and continued to produce many plays and musicals. With the resignation of Little, the theater went from an independently owned business to a non-profit enterprise. Although the twenty-third season was not run by Little, it did occur thanks to Sullivan Theatre, Inc. Little announced that he would not be putting on a twenty-third season due to the cost of operation and salaries for the stars and supporting actors. Īfter twenty-two years of operating the theater, Mr. Little continued to bring many plays and musicals to the small town throughout his ownership of the theater. When Little began the theater, he called it "Summer of Musicals" until he actually purchased The Grand Theatre in 1963 and officially changed the name to "The Little Theatre on the Square." Mr. Renting the theater allowed him to begin fulfilling his lifelong dream of owning and operating a quality professional theater.Įntering into the first "Summer of Musicals," Little was fresh out of graduate school in New York where he had been studying and doing work in the professional theater. came up with the idea of renting out the theater for the summer months to present plays. The theater originally opened in 1924 as a movie theater, called "The Grand Theatre." The Grand Theatre showed movies throughout the year, except during the summer months. It is the only professional theater between Chicago and St. It is located in the heart of Sullivan’s town square on Harrison Street. Published in conjunction with UCLA Hammer MuseumĢ002, 64 pp., 37 color, 20 b/w illus.The Little Theatre on the Square is a theater in Sullivan, Illinois. Hamza Walker's essay discusses Five Economies' relationship to Modernist formalism and essentialism regarding media Russell Ferguson and Sullivan talk about her working methods and the theories of acting and theatre that are the foundation of her practice. This catalogue is illustrated by numerous video stills from Five Economies, and photographs of Gold Standard, the high-energy performance directed by Sullivan that took place at The Renaissance Society exhibition opening, which featured 6 pairs of actors all simultaneously acting the learning-to-eat-with-a-spoon scene between Helen and Annie from The Miracle Worker. In black and white, and completely soundless, big hunt forces its audience to read drama and plot on the basis of the semiotics of gesture and mise-en-scene. Five Economies (big hunt), a five screen video installation, mixed and matched scenes and acting styles taken from The Miracle Worker, Marat/Sade, Persona, Tim and Whatever Happened To Baby Jane, as well as real life instances of virtuoso acting such as the story of Birdie Jo Hoaks, a 25 year old female who passed as a 12 year old boy in order to gain state social services. Los Angeles-based artist Catherine Sullivan creates radically hybrid works that combine performance, installation art, dance, traditional theatre and Hollywood cinema.
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