![]() ![]() He made his Broadway debut as Boq in Wicked and more recently starred as the Emcee in Roundabout Theatre Company’s national tour of Cabaret. Randy Harrison previously appeared at Studio Theatre in The Habit of Art. David is a graduate of Yale University and the Yale School of Drama. ![]() A nine-time Helen Hayes Award nominee for Outstanding Direction, he is a recipient of the DC Mayor’s Arts Award for Outstanding Emerging Artist and the National Theatre Conference Emerging Artist Award. David has taught acting and directing at Georgetown, Yale, and the Shakespeare Theatre Company’s Academy of Classical Acting. He has helped to develop new work at numerous theatres, including New York Theatre Workshop, Geva Theatre Center, Arena Stage, Ford’s Theatre, and The Kennedy Center. Other directing projects include Frankie and Johnny in the Clair de Lune at Arena Stage, The Bluest Eye at Theater Alliance, and Swansong for New York Summer Play Festival. Previously, he was Associate Artistic Director of the Shakespeare Theatre Company, where he has directed nine productions, including Richard III, Romeo and Juliet, Coriolanus, and King Charles III (a co-production of ACT and Seattle Rep). Mike has been nominated for three BAFTAS: Best Single Drama for King Charles III in 2017, Best Mini-Series for Doctor Foster in 2015, and Breakthrough Talent for The Town in 2012.ĭavid Muse is in his ninth season as Artistic Director of Studio Theatre, where he has directed The Remains, The Effect, The Father, Constellations, Chimerica, Murder Ballad, Belleville, Cock, Tribes, The Real Thing, An Iliad, Dirt, Bachelorette, The Habit of Art, Venus in Fur, Circle Mirror Transformation, reasons to be pretty, Blackbird, Frozen, and The Intelligent Design of Jenny Chow. Awards include Best New Drama at the 2016 National Television Awards, Best Drama Series at the 2016 Broadcast Awards, and Outstanding Newcomer for British Television Writing at the British Screenwriting Awards for Doctor Foster Olivier Awards for Best New Play for King Charles III, and Outstanding Achievement in an Affiliate Theatre for Bull and Cock and Best New Play at the Theatre Awards UK for Love, Love, Love. Directing credits include Medea, co-produced by Headlong Theatre, Glasgow Citizens, Watford Palace Theatre, and Warwick Arts Centre and Honest at Theatre Royal Northampton. His plays for the theatre include Vassa, Albion, and Game at the Almeida Theatre Wild at Hampstead Theatre and Chariots of Fire at Hampstead Theatre and the West End Snowflake at Arts at the Old Fire Station King Charles III, which started at the Almeida before heading to the West End and Broadway An Intervention with Paines Plough and on the West End Bull, which played at Sheffield Theatres, Off Broadway, and at the Young Vic Medea, co-produced by Headlong Theatre, Glasgow Citizens, Watford Palace Theatre , and Warwick Arts Centre 13 at the National Theatre as well as Earthquakes in London (co-produced with Headlong Theatre) Love, Love, Love co-produced by Paines Plough, Theatre Royal Plymouth, and the Royal Court Theatre before running on Broadway with Roundabout Theatre Company Cock, Contractions, and My Child also at the Royal Court Theatre Decade with Headlong Theatre (co-writer) and Artefacts co-produced by The Bush Theatre and Nabokov. Yeah, I know, it's a disappointment.Mike Bartlett ’s television credits include Life (Drama Republic/BBC), Press (Lookout Point/BBC), Trauma (ITV), King Charles III (Drama Republic/BBC), Doctor Foster (Drama Republic/BBC) , and The Town (Big Talk Productions). So basically, I rate the movie as follows: (on 1-10 scale) EROTICISM: 2 OVERALL HUMOR:(for those not just wanting to get off) 9 Scotty's Bizarre Facial Expressions: 20 THE ONLY BUMMER: BE WARNED FOLKS, YOU DO NOT GET TO ACTUALLY SEE SCOTTY'S ENTIRE PENIS. ![]() Scotty Schwartz, with all his little quirks, smirks, and essentially overall childish attitude towards the wonderments of sex, is a pleasure to watch and keeps one laughing from beginning to end. BUT, ladies and gentlemen, they are all made worth while (this is the good part). In fact, they're rather unappealing and far from erotic. The sex scenes, however, are really not that good. So here's Scotty watching nothing but people having sex for the majority of the film. A buxom young porn star agrees to teach him the tricks of the trade, but only if he can make it through her party for the night without having sex. O.k., the plot is this: basically Scotty wants to 'learn the ropes' so to speak, of the porn industry. So someone tells me that Flick (from "A Christmas Story") is doing porn now, so me and my friends pick up this particular porno on account of the front and back cover of the film: the ridiculous grimace on Scotty Schwartz's face tells us that we're in for an interesting experience. ![]()
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