Me and Orson Welles Production Who produced Me and Orson Welles I don't know. Tell me about Me and Orson Welles production Holly Gent Palmo and Vincent Palmo Jr. adapted the film's screenplay from Robert Kaplow's novel of the same name about a teenager When was it produced from February to April 2008.
Where was production held
Where was production held
Holly Gent Palmo and Vincent Palmo Jr. adapted the film's screenplay from Robert Kaplow's novel of the same name about a teenager (in reality, the 15-year-old Arthur Anderson, who played Lucius in Welles' production) involved in the founding of Orson Welles' Mercury Theatre. After receiving funding from CinemaNX, a production company backed by the Isle of Man film fund, and an offer from Framestore Features to co-finance the film, Richard Linklater came on board to direct Me and Orson Welles. Zac Efron signed on as the lead in early January 2008, claiming he decided to take the role of Richard Samuels because "It's a completely different project than I've ever done before," while Claire Danes joined the cast as the protagonist's love interest Sonja Jones in late January.  In the theatre, Christian McKay had portrayed Orson Welles in the one-man play Rosebud: The Lives of Orson Welles at a number of venues, including the Edinburgh Festival and King's Head (London). He reprised the role in the U.S. at the 2007 "Brits Off Broadway" festival, where Linklater saw his performance and then cast McKay as Welles, retaining him over the subsequent objections of the project's producer.  Me and Orson Welles underwent filming in the Isle of Man, Pinewood Studios, London and New York from February to April 2008. Filming in London commenced first in mid-February, before scenes in the Isle of Man were shot February 24-March 14, 2008, where filming locations included Gaiety Theatre and various other parts of Douglas. During filming in Douglas, Efron and Danes believe they sighted a ghost, or "supernatural" being, outside a window on set at Gaiety Theatre.  Filming in Britain resumed in late March for six weeks at Pinewood Studios. Other locations included Crystal Palace Park, where a facade of New York's Mercury Theatre was set up for a scene. Actor James Tupper claimed that the best replica of an old New York theater was in England, while many of the actors who filled the company were from the Royal Shakespeare Company. The production crew only briefly visited New York; photographs were taken and footage shot to be added into the film as digital effects. Every exterior shot was filmed on a single street built at Pinewood Studios with a green screen at one end; different angles and slightly altered set designs were used between shots to make the street appear different each time. CANNOTANSWER
the Isle of Man,
Me and Orson Welles is a 2008 period drama film directed by Richard Linklater and starring Zac Efron, Christian McKay, and Claire Danes. Based on Robert Kaplow's novel of the same name, the story, set in 1937 New York, tells of a teenager hired to perform in Orson Welles's groundbreaking stage adaptation of William Shakespeare's Julius Caesar who becomes attracted to a career-driven production assistant.

The film was shot in London and New York and on the Isle of Man in February, March and April 2008, and was released in the United States on November 25, 2009, and the United Kingdom on December 4, 2009.

McKay's portrayal of Welles was recognized with a multitude of accolades, and Me and Orson Welles was named one of the top ten independent films of the year by the National Board of Review.

Plot
In New York City in the fall of 1937, 17-year-old high-school student Richard Samuels meets Orson Welles, who unexpectedly offers him the role of Lucius in Caesar, the first production of his new Mercury Theatre repertory company. The company is immersed in rehearsals at its Broadway theater. Charmed by Welles, Richard learns that he is having an affair with the leading actress while his wife is pregnant. Richard finds ambitious production assistant Sonja Jones is attracted to him.

Welles tells Richard a few days before the premiere that he is worried, because he has recently had nothing but good luck; he fears that he will finally have bad luck with the premiere, and that the play will be a flop. During rehearsals Richard accidentally sets off the sprinkler system, soaking the entire theatre. When accused by Welles he denies having anything to do with the deluge, and suggests that the catastrophe was the bad luck that Welles needed to get out of the way.

Welles decides the entire production crew would benefit from a coupling game, and Richard cheats to ensure he is paired with Sonja. Richard spends the night with Sonja, but becomes jealous when she spends the next night with Welles. He confronts Welles, mentions his pregnant wife, and is fired. An apparent reconciliation follows, and Richard performs on the first night. The anti-fascist adaptation of Caesar is a huge success, but after the premiere, Richard is told that Welles only needed him in order to secure a successful first-night production and, that done, he has again been fired.

The broken-hearted but wiser Richard spontaneously recites lines from Julius Caesar in his high school English class, to his classmates' applause. He later meets up with a likely new girlfriend, Gretta Adler, a young aspiring playwright whom he met in a music store at the film's beginning. With Richard's and Sonja's assistance, Adler manages to get a story published in The New Yorker, and she invites Richard out, to help her celebrate.

Cast

 Zac Efron as Richard Samuels
 Christian McKay as Orson Welles
 Claire Danes as Sonja Jones
 Ben Chaplin as George Coulouris
 James Tupper as Joseph Cotten
 Eddie Marsan as John Houseman
 Leo Bill as Norman Lloyd
 Kelly Reilly as Muriel Brassler
 Patrick Kennedy as Grover Burgess
 Travis Oliver as John Hoyt
 Zoe Kazan as Gretta Adler
 Al Weaver as Sam Leve
 Saskia Reeves as Barbara Luddy
 Imogen Poots as Lorelei Lathrop
 Rhodri Orders as Stefan Schnabel
 Michael Brandon as Les Tremayne
 Janie Dee as Mrs Samuels

Production

Holly Gent and Vincent Palmo Jr. adapted the film's screenplay from Robert Kaplow's novel of the same name about a teenager (in reality, the 15-year-old Arthur Anderson, who played Lucius in Welles' production) involved in the founding of Orson Welles' Mercury Theatre. After receiving funding from CinemaNX, a production company backed by the Isle of Man film fund, and an offer from Framestore Features to co-finance the film, Richard Linklater came on board to direct Me and Orson Welles. Zac Efron signed on as the lead in early January 2008, claiming he decided to take the role of Richard Samuels because "It's a completely different project than I've ever done before," while Claire Danes joined the cast as the protagonist's love interest Sonja Jones in late January.

In the theatre, Christian McKay had portrayed Orson Welles in the one-man play Rosebud: The Lives of Orson Welles at a number of venues, including the Edinburgh Festival and King's Head (London). He reprised the role in the U.S. at the 2007 "Brits Off Broadway" festival, where Linklater saw his performance and then cast McKay as Welles, retaining him over the subsequent objections of the project's producer.

Me and Orson Welles underwent filming in the Isle of Man, Pinewood Studios, London and New York from February to April 2008. Filming in London commenced first in mid-February, before scenes in the Isle of Man were shot February 24–March 14, 2008, where filming locations included Gaiety Theatre and various other parts of Douglas. During filming in Douglas, Efron and Danes believe they sighted a ghost, or "supernatural" being, outside a window on set at Gaiety Theatre.

Filming in Britain resumed in late March for six weeks at Pinewood Studios. Other locations included Crystal Palace Park, where a façade of New York's Mercury Theatre was set up for a scene. Actor James Tupper claimed that the best replica of an old New York theater was in England, while many of the actors who filled the company were from the Royal Shakespeare Company. The production crew only briefly visited New York; photographs were taken and footage shot to be added into the film as digital effects. Every exterior shot was filmed on a single street built at Pinewood Studios with a green screen at one end; different angles and slightly altered set designs were used between shots to make the street appear different each time.

Release
Select footage of Me and Orson Welles was screened at the 2008 Cannes Film Festival where financing and sales agency Cinetic Media were looking to sell the film to a distributor. Before its Cannes premiere, The Hollywood Reporter predicted that the film would attract distributors with Linklater's résumé and Efron's teen "heartthrob" status to appeal to a younger demographic, but Me and Orson Welles failed to secure any American acquisitions. Its first full screening was at the 2008 Toronto International Film Festival, running September 4–13, 2008. In spite of its failure to find a buyer at Cannes, Toronto's co-director Cameron Bailey predicted that it would be "one of the hottest films" in the lineup, Anne Thompson of Variety magazine also believed that the film would be one of "only a few lucky winners" to secure a seven-figure deal.

Again, however, the film's distribution rights were not purchased and it went on to show at the South by Southwest festival in Austin, Texas. In May 2009, production company CinemaNX announced that it would distribute Me and Orson Welles itself, sharing marketing and advertising costs with Vue Entertainment. Freestyle Releasing was hired as the US distributor with Hart/Lunsford Pictures in exchange for participation in revenues paid the $4 million prints and advertising cost.

It was screened at the Woodstock Film Festival in September 2009, where Linklater was honored as the winner of the 2009 Maverick Award. it opened the New Orleans Film Festival on October 9, 2009; and it was screened at the St. Louis International Film Festival in November 2009.

The film was released in the US on November 25, 2009, and in the UK on December 4, 2009. IndieWIRE reported, "The do-it-yourself release of Richard Linklater's Me and Orson Welles got off to a very nice start, averaging $15,910 from its four theaters, the highest PTA of all debuting films. ... While Orson Welles is one of the first examples of such a high-profile film going to the DIY route, if it proves successful, it's going to be done a lot more in the future."

Reception

Box office
During its theatrical release (November 25, 2009 – February 25, 2010), Me and Orson Welles grossed a total of $1,190,003 in the United States and $2,336,172 worldwide.

Critical response
The film has received positive reviews from critics. It currently holds an 85% positive rating on Rotten Tomatoes based on 156 critic reviews, with an average rating of 7.2/10. The website's critical consensus reads, "Me and Orson Welles boasts a breakout performance by Christian McKay and an infectious love of the backstage drama that overcomes its sometimes fluffy tone." It holds a weighted average score of 73 out of 100 on Metacritic from 30 critics.

Film critic Roger Ebert called Me and Orson Welles "one of the best movies about the theater I've ever seen ... not only entertaining but an invaluable companion to the life and career of the Great Man". Kirk Honeycutt of The Hollywood Reporter praised the film for its "terrific acting" and called it "a must for lovers and students of the theater". Variety magazine's Todd McCarthy labelled McKay's performance "an extraordinary impersonation" of Welles, though he wrote that "Efron never feels like a proper fit for Richard". Karen Durbin of The New York Times praised McKay in the Welles role, saying he brought "a watchful, assessing and subtly excited gaze that makes him thrilling and a little dangerous."

"I've never seen a backstage movie that was truer to the experience of putting on a show," wrote Wall Street Journal drama critic Terry Teachout, who reserved special praise for the design team's recreation of Welles's production of Julius Caesar:

Like most Welles stage shows, alas, this one left few traces. No part of the production was filmed, and nothing else survives but the design sketches and some still photographs taken in 1937. ... What makes Me and Orson Welles uniquely interesting to scholars of American drama is that Mr. Linklater's design team found the Gaiety Theatre on the Isle of Man. This house closely resembles the old Comedy Theatre on 41st Street, which was torn down five years after Julius Caesar opened there. Using Samuel Leve's original designs, they reconstructed the set for Julius Caesar on the Gaiety's stage. Then Mr. Linklater filmed some 15 minutes' worth of scenes from the play, lit according to Jean Rosenthal's plot, accompanied by Marc Blitzstein's original incidental music and staged in a style as close to that of the 1937 production as is now possible.

Teachout wrote that he "was floored by the verisimilitude of the results", and that "you will never get any closer to the Welles Julius Caesar than by watching Me and Orson Welles, whose DVD version also includes a special feature comprising footage of the reconstructed scenes, not all of which made the final cut."

In 2015, Mercury actor Norman Lloyd (who is portrayed by Leo Bill in the film) praised Christian McKay's performance as Orson Welles as "the best rendition of him I've ever seen." However, he otherwise "hated" the film and he criticized the accuracy of the characters: "It bears no relation to truth, or to what happened when you worked with Orson and so forth. I thought McKay was very good, but the rest of the characters are just ridiculous. They're all made up! I didn't even recognize myself ... and then I thought, Well, thank goodness I can't!" Lloyd named George Coulouris as an example, who was shown as "neurotic and afraid to do his scene", while in reality he was someone "you couldn't stop from acting, for Christ's sake!".

Accolades
Me and Orson Welles was named one of the top ten independent films of 2009 by the National Board of Review. It was listed as one of the year's top ten films by critics including Philip French of The Observer, David Denby of The New Yorker, and Michael Phillips and A. O. Scott of At the Movies.

The film earned two awards from the Austin Film Critics Association – the Austin Film Award to director Richard Linklater. and the Breakthrough Artist Award to Christian McKay. McKay received many accolades for his portrayal of Orson Welles, including Best Supporting Actor awards from the San Francisco Film Critics Circle and the Utah Film Critics Association. He received a BAFTA nomination for Best Supporting Actor, and Best Supporting Actor nominations from the Boston Society of Film Critics (second place), Broadcast Film Critics Association, Chicago Film Critics Association, Dallas-Fort Worth Film Critics Association, Denver Film Critics Society, Detroit Film Critics Society, Houston Film Critics Society, International Cinephile Society, National Society of Film Critics, New York Film Critics Circle (second place), Online Film & Television Association, Toronto Film Critics Association, and in the Chlotrudis Awards, Independent Spirit Awards and the Village Voice Film Poll (second place). McKay was nominated in the Best Actor category in the Evening Standard British Film Awards, London Critics Circle Film Awards and 2009 San Diego Film Critics Society Awards.

Home media
On August 17, 2010, Warner released Me and Orson Welles on DVD () for exclusive sale at Target in the United States. Entertainment One Films released the DVD in Canada on the same date. The film has not been released on Blu-ray in the U.S., though it is available in the format in Italy and Germany.

Soundtrack
The original motion picture soundtrack for Me and Orson Welles was released on CD November 24, 2009, by Decca Records (5323762).
 "This Year's Kisses", Benny Goodman and His Orchestra
 "I'm Shooting High", Louis Armstrong and His Orchestra
 "Sing, Sing, Sing", Benny Goodman and His Orchestra
 "One O'Clock Jump", Count Basie and His Orchestra
 "Ode to Krupa", Michael J McEvoy
 "Let's Pretend There's a Moon", Jools Holland and His Rhythm and Blues Orchestra featuring Eddi Reader
 "Let's Pretend There's a Moon", Christian McKay
 "Let Yourself Go", Ginger Rogers
 "Solitude", The Mills Brothers
 "Aftershow Jam", Michael J McEvoy featuring Huw Morgan on trumpet
 "They Can't Take That Away from Me", Fred Astaire
 "In a Sentimental Mood" (Instrumental), Benny Goodman and His Orchestra
 "The Music Goes Round and Round", Tommy Dorsey and His Clambake Seven
 "I Surrender Dear", Jools Holland and His Rhythm and Blues Orchestra featuring Eddi Reader
 "You Made Me Love You", Jools Holland and His Rhythm and Blues Orchestra featuring Eddi Reader
 "Have You Met Miss Jones?", James Langton and His Solid Senders
 "Sing, Sing, Sing", James Langton and His Solid Senders

References

External links
 
 
 
 
 Interview with Arthur Anderson

2008 films
2000s comedy-drama films
British films
British comedy-drama films
American comedy-drama films
2000s English-language films
Films directed by Richard Linklater
Films about Orson Welles
Films based on American novels
Films set in 1937
Films set in New York City
Films shot in England
Films about actors
Films about theatre
American films
Julius Caesar (play)
Films shot in the Isle of Man
2008 comedy films
2008 drama films
The 1964 American Road Race of Champions was the first running of the SCCA National Championship Runoffs. It took place on 14 and 15 November 1964 at the Riverside International Raceway. The ARRC was held as the non-championship final round of the SCCA National Sports Car Championship and the SCCA Divisional Championships. Most competitive drivers from SCCA's six divisions were invited to the event. No championships were contested that year as part of the Runoffs, and therefore, ARRC champions were not SCCA National Champions.

Race results 
Sources:

Class winners for multi-class races in bold.

Race 1 - Formula Vee 
The first race, held on November 14, was the Formula Vee race. It was held for 45 minutes and 23 laps.

Race 2 - H Production 
The H Production race was held on November 14 for 45 minutes and 23 laps.

Race 3 - G Production 
The G Production race was held on November 14 for 45 minutes and 23 laps.

Race 4 - H Modified 
The H Modified race was held on November 14 for 45 minutes and 24 laps.

Race 5 - E & F Modified 
E Modified & F Modified drivers raced in a multi-class race held on November 14 for 45 minutes and 27 laps.

Race 6 - E Production 
The E Production race was held for on November 14 for 45 minutes and 25 laps.

Race 7 - F Production 
The F Production race was held on November 14 for 45 minutes and 23 laps.

Race 8 - G Modified 
The G Modified race was held on November 15 for 45 minutes and 26 laps.

Race 9 - C Production 
The C Production race was held on November 15 for 45 minutes and 25 laps.

Race 10 - Formula Junior & Libre 
Formula Libre & Formula Junior drivers raced in a multi-class race held on November 15 for 45 minutes and 27 laps.

Race 11 - C & D Modified 
C Modified & D Modified drivers raced in a multi-class race held on November 15 for 45 minutes and 28 laps.

Race 12 - A & B Production 
A Production & B Production drivers raced in a multi-class race held on November 15 for 45 minutes and 27 laps. There were originally two separate races scheduled, but the entrant number was too low for two races.

Race 13 - D Production 
The final race was the D Production race. It was held on November 15 for 45 minutes and 25 laps.

Legacy 
The event has been a big success. More than 160 drivers have arrived to the ARRC, including future road racing stars such as Chuck Parsons, Jerry Titus, Rick Muther, Bob Sharp, Jerry Hansen, Bob Tullius, Ed Leslie, Jim Downing, Ron Grable, Dave Jordan, Dick Guldstrand and George Alderman. The race has been the first race from the late 1950s that saw amateur West Coast and East Coast racers compete against each other, as the SCCA National Sports Car Championship was East Coast-only and the USRRC, despite allowing amateur drivers to compete, was a pro championship.

The 1964 American Road Race of Champions started a new chapter in the history of American amateur road racing. The National Championship was cancelled for 1965 and the ARRC became the only interdivisional amateur road race. It was still a non-championship event until 1966, when Runoffs winners in each class became National Champions.

Notes 
Due to limited attention to SCCA amateur races at the time, the results are not fully complete and there are a lot of inaccuracies.

Formula Vee 
Some sources say that Downing was the pole-sitter in race, which is not confirmed by the SCCA.

G Production 
2The SCCA site says Mernone ran for 4 laps, while other sources say she ran only for three laps.

E & F Modified 
3Some sources say Candler had an Elva Mk VII for the race.

F Production 
4Noah's pole is debated by the SCCA website, so Riggs could be the pole-sitter.

C Production 
5The SCCA website lists Ward running a Lotus Elan, but in the entry list he is listed running a Super Seven.

References 

SCCA National Sports Car Championship
SCCA National Championship Runoffs
1964 in American motorsport New Opera Singapore (NOS) is an Institution of Public Character Charity (IPC UEN: 201114924K) founded in July 2011 by Korean-Singaporean Soprano, Jeong Ae-Ree. It is a Major Company grant recipient of the National Arts Council, Singapore for the FY 2019 - 2022.

Past productions 
2017: Monteverdi L'incoronazione di Poppea (The Coronation of Poppea). This production was staged at Victoria Theatre on 29 July 2017 and 30 July 2017. The storyline was based on events during the reign of Emperor Nero in ancient Rome. Nerone's mistress Poppea position herself as empress and sly by ruthlessly removing all opponents and obstacles, while the bad guys win in the end.

Pergolesi Stabat Mater. This production was staged at Victoria Concert Hall on 7 April 2017. In 1735 Giovanni Battista Pergolesi composed The Stabat Mater, that is why The New Opera Singapore performed it down to its barest bones with just four singers but never more than two were singing at any given time. As string quartet and a chamber organ was used.

CabaRed. This production was staged at Aliwal Arts Centre on 22 January 2017/

2016: A Heart that Loves/Poet's Love. This production was the first concert for the Youth Opera as well as the first concert for New Opera Singapore's Artist-in-Residence. This production was staged at Esplanade, Recital Studio on 2 November 2016.  After the intermission in the second half of the recital, Jonathan Charles Tay (Tenor), New Opera Singapore's first Artist-in-Residence, sung songs translated from Schumann's best known song cycle, Poet's Love its actually Dichterliebe 48. He captivated the crowd with his soulful and strong vocals, bringing out every emotion from the pieces, using a plethora of vocal techniques and dramatic expressions.

Jacques Offenbach: Orpheus in the Underworld . This production was staged at Victoria Theatre on 29 July 2016 and 31 July 2016. New Opera Singapore commended its fifth commemoration with another stellar execution at the restored Victoria Theater. Established by Korean Soprano and singing educator Jeong Ae Ree, the fit troupe exhibits the exemplary Greek story of Orpheus and Euridice, deciphered by Jeremy Sams, with music composed by Jacques Offenbach. Orpheus in the Underworld is no standard retelling of the legend be that as it may, and rather subverts it completely, peppering the execution with sexual insinuation, lethal plots and devious intoxicated divine beings.

Donizetti's Rita: This production was staged at Esplanade, Recital Studio on 13 April 2016. Extensive credit needs to go to executive Stefanos Rassios' straightforward yet splendid arranging, which saw talked discourse trimmed off yet holding all the music. This sounds nearly sado-masochistic in a Punch and Judy way, and that was unexpectedly what kept the group of onlookers for the most part in join in spite of the dismal topic.

Gaustave Vaëz's French lyrics was sung with anticipated English surtitles which extraordinarily improved the experience.. Féte Blanche, Baroque Music in White: This production was staged at Esplanade, Recital Studio on 8 January 2016.

2015: House of Horror. This production was staged at Esplanade, Recital Studio on 29 October 2015.

Fundraising Gala, New Opera Singapore's 4th Anniversary: This event was held at The Fullerton Ballroom on 12 September 2015.

Benjamin Britten's Turn of the Screw: This production was held at Victoria Theatre on 31 July and 2 August 2015.

A Knife in the Dark: Songs of Kurt Weill: This production was held at The Arts House Chamber on 10 April 2015.

Liebeslieder: This production was held at Esplanade, Recital Studio on 8 January 2015.

2014: Dichterliebe and Hermit Songs: This production was held at The Arts House Chamber on 25 November 2014.

Johann Strauss II:Die Fledermaus: This production was held at Victoria Theatre on 25 and 27 July 2014.

Opera Comique at the Hotel: This production was held at The Arts House Chamber on 15 April 2014.

2013: Britten: A Celebration in Song was a production in tribute to the renowned Benjamin Britten, this was held at the Arts House Living Room on 12 October 2013.

My Nights with Dido and My Days with Aeneas: This production was held at SOTA Theatre on 26 and 27 July 2013.

Opera Comique: At the Airport. This production was held at The Arts House Chamber on 9 March 2013.

2012: Die Schone Mullerin, Poems by Wilhelm Müller: This production was held at The Arts House Chamber on 20 and 21 February 2012.

Gaetano Donizetti's L’elisir D’amore. This production was held at SIA Theatre Laselle College of the Arts on 20, 21 and 22 July 2012.

Opera Comique 2: In the Classroom: This production was held at Recital Studio, Esplanade on 17 February 2012.

Opera Comique: In the Office: This production was held at The Arts House Chamber on 6 August 2011.

Youth Opera Comique 
The NOS Youth Opera Comique offers solo and group vocal trainings that focus on good and healthy vocal techniques. An annual concert is staged where an original storyline is created for the young talents to gain public performing experience as well as a showcase of their musicality to family, friends and the public and to be able to apply the skills, knowledge and aptitude for singing in the society.

In 2011, New Opera Singapore had its inaugural performance with Opera Comique: In the Office at the Singapore Arts House Chamber.

In 2012, New Opera Singapore began a series of productions that included the second Opera Comique production, ‘In the Classroom’; Gaetano Donizetti’s bel canto opera L'elisir d'amore, and Franz Schubert’s Die Schöne Müllerin.

Its performance of L'elisir d'amore was noted as a "commendable first show" despite technical limitations.

In 2013, New Opera Singapore began its season with its third installment of its Opera Comique series with ‘At the Airport’.

Outreach

New Opera Singapore has an outreach programme titled ‘Who's Afraid of Opera?’. This programme is targeted specifically at schools. In these sessions, students are exposed to the context of famous arias and are taught to understand the interplay between music, words and acting as an expression of the intent of the character and the composer.

References

External links 
 

Singapore opera companies
Musical groups established in 2011
2011 establishments in Singapore