21/02/2018 · The theme of Moby Dick is obsession

Redburn was a stupid failure,Mardi was hopelessly dull, White-Jacket wasworse than either; and, in fact, it was such a very bad book,that, until the appearance of Moby Dick, we had set itdown as the very ultimatum of weakness to which its author couldattain.

Moby Dick is a movie idea that is an updated horror version of the classic tale

There are plenty of people—most of them wearing tweed with elbow patches, sporting a smarmy expression and maybe even drinking tea with their pinkies raised—who are more than ready to tell you why you should care about Moby-Dick.


Read Chapter 59 - Squid of Moby-Dick; or, ..

The Fates of Moby Dick

The Truth: This is the silliest piece of advice of them all. Because, as you’ll see when you read our "Classic Plot Analysis" of Moby-Dick, this novel is about far more than plot.


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CHRISTOPHER DONAHUE (Ahab) makes his Arena Stage debut. New York credits include Dogeaters, Measure for Measure (The Public/NYSF), The Notebooks of Leonardo DaVinci (Second Stage), Monster (Classic Stage Company, Obie Award) and Metamorphoses (Circle in the Square). He has appeared in many productions across the country. “But even so, amid the tornadoed Atlantic of my being, do I myself still forever disport in mute calm; and while ponderous planets of unwaning woe revolve around me, deep down and deep inland there I still bathe me in eternal mildness of joy.”-Herman Melville, Moby Dick

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JAMIE ABELSON (Ishmael) makes his Arena Stage debut. Recent theater credits include Moby Dick and Peter Pan (Lookingglass), Red Kite Blue Sky (Chicago Children’s Theatre), The Lieutenant of Inishmore (Northlight), Eurydice (Victory Gardens), Scenes from the Big Picture (Irish Theatre of Chicago), As Told by the Vivian Girls (Dog & Pony), columbinus (Raven Theatre) and Hope Springs Infernal and Dorian (House Theatre). Jamie received his B.F.A. in drama from the Tisch School at NYU.

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SYLVIA HERNANDEZ-DiSTASI (Aerial/Acrobatic Choreography) has been an artistic associate at Lookingglass since 1999, winning three of her four Joseph Jefferson Awards for choreography with the company. Lookingglass credits include Baron in The Trees (Jeff Award), Hard Times (Jeff Award), Lookingglass Alice (Jeff Award), Icarus (Jeff nomination) and Moby Dick (Jeff Award, Best Production). Other theater credits include All Night Strut (Marriott Theatre, Jeff Award,) Steppenwolf and Chicago Shakespeare Theater, among others. Sylvia is a recipient of the 2014 3Arts Award for Design and the Illinois Theatre Associations 2015 Award of Honor for Outstanding Contributions. She was last seen performing on stage in Marney and Phil: A Circus Love Letter (The Actors Gymnasium).

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COURTNEY O’NEILL (Set Designer)’s design credits include Moby Dick and The Little Prince (Lookingglass); Julius Caesar (Writers Theatre); The Burials, Life and Limb, The Compass and Of Mice and Men (Steppenwolf); Waiting for Godot (Court Theatre); The Amish Project and Song Man Dance Man (Milwaukee Repertory); Fetch Clay Make Man (Marin Theatre and Round House); When I Come to Die (Kansas City Repertory); The Mountaintop (Virginia Stage); Our Town, Oedipus, The Bald Soprano and Mud (The Hypocrites); and Good for Otto, Bethany and Dirty (The Gift Theatre); among others. She was the associate designer for Fish in the Dark and This is our Youth on Broadway. Courtney received a Jeff Award for Mud. She holds an M.F.A. from Northwestern and a B.F.A. from DePaul University, and currently teaches at both institutions.