Broadway Buzz: Buzz Extra- Billy Elliot the Musical
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The Evolution of Musical Theatre Dance
Gordon 1 Jessica Gordon 29 March 2010 Honors Thesis Everything was Beautiful at the Ballet: The Evolution of Musical Theatre Dance During the mid-1860s, a ballet troupe from Paris was brought to the Academy of Music in lower Manhattan. Before the company’s first performance, however, the theatre in which they were to dance was destroyed in a fire. Nearby, producer William Wheatley was preparing to begin performances of The Black Crook, a melodrama with music by Charles M. Barras. Seeing an opportunity, Wheatley conceived the idea to combine his play and the displaced dance company, mixing drama and spectacle on one stage. On September 12, 1866, The Black Crook opened at Niblo’s Gardens and was an immediate sensation. Wheatley had unknowingly created a new American art form that would become a tradition for years to come. Since the first performance of The Black Crook, dance has played an important role in musical theatre. From the dream ballet in Oklahoma to the “Dance at the Gym” in West Side Story to modern shows such as Movin’ Out, dance has helped tell stories and engage audiences throughout musical theatre history. Dance has not always been as integrated in musicals as it tends to be today. I plan to examine the moments in history during which the role of dance on the Broadway stage changed and how those changes affected the manner in which dance is used on stage today. Additionally, I will discuss the important choreographers who have helped develop the musical theatre dance styles and traditions. As previously mentioned, theatrical dance in America began with the integration of European classical ballet and American melodrama. -
2018 Annual Dance Recital Show Order
2018 Annual Dance Recital Show Order Thursday 6:30pm Show 1. “So You Think You Can Dance Auditions”- All Company Dancers - Choreographed by: Karah DelCont, Lauren Gavin, Chelsey Geddis and Gabrielle Seabrook 2. “The Little Mermaid”- Ballet I - Choreographed by: Alexandria Sepulveda 3. “Sing”- Tap II - Choreographed by: Lauren Gavin 4. “Hold On”- Contemporary IV- Choreographed by: Lauren Gavin 5. “Ride”- Jazz III- Choreographed by: Chelsey Geddis 6. “Spoonful of Sugar”- Ballet/Tap I - Choreographed by: Michele Young 7. “Love Is A Battlefield”- Junior Company Jazz - Choreographed by: Lauren Gavin 8. “Life Is A Happy Song”- Choreographed and Performed by: Alexandria Sepulveda 9. “Halo”- Petite Company Lyrical - Choreographed by: Katharine Miller 10. “I Want You Back”- Hip Hop/Jazz - Choreographed by: Gabrielle Seabrook 11. “Better”- Tap III - Choreographed by: Lauren Gavin 12. “Drop the Game”- Acro II - Choreographed by: Daisy Pavlovics 13. “Sweet Dreams”- Jazz IV - Choreographed by: Chelsey Geddis 14. “Love on the Brain”- Choreographed and Performed by: Carly Simpson 15. “Jolly Holiday”- Father Daughter - Choreographed by: Katharine Miller 16. “Doll Shoppe”- Ballet - Choreographed by: Maura Herrera 17. “I Am”- Choreographed and Performed by: Kate Zielinski 18. “Trapped”- Senior Company Contemporary - Choreographed by: Natalie Jameson 19. “Rhythm Nation”- Jazz II - Choreographed by: Chelsey Geddis 20. “Ending”- Contemporary III - Choreographed by: Kaelynn Clark 21. “I Won’t Give Up”- Lyrical I/I.B - Choreographed by: Katharine Miller 22. “Shining”- Hip Hop IV- Choreographed by: Chelsey Geddis and Gabrielle Seabrook Intermission 23. “Riot Rhythm”- Senior Company Jazz - Choreographed by: Karah DelCont 24. “Pep Rally”- Hip Hop II - Choreographed by: Gabrielle Seabrook 25. -
Set in Scotland a Film Fan's Odyssey
Set in Scotland A Film Fan’s Odyssey visitscotland.com Cover Image: Daniel Craig as James Bond 007 in Skyfall, filmed in Glen Coe. Picture: United Archives/TopFoto This page: Eilean Donan Castle Contents 01 * >> Foreword 02-03 A Aberdeen & Aberdeenshire 04-07 B Argyll & The Isles 08-11 C Ayrshire & Arran 12-15 D Dumfries & Galloway 16-19 E Dundee & Angus 20-23 F Edinburgh & The Lothians 24-27 G Glasgow & The Clyde Valley 28-31 H The Highlands & Skye 32-35 I The Kingdom of Fife 36-39 J Orkney 40-43 K The Outer Hebrides 44-47 L Perthshire 48-51 M Scottish Borders 52-55 N Shetland 56-59 O Stirling, Loch Lomond, The Trossachs & Forth Valley 60-63 Hooray for Bollywood 64-65 Licensed to Thrill 66-67 Locations Guide 68-69 Set in Scotland Christopher Lambert in Highlander. Picture: Studiocanal 03 Foreword 03 >> In a 2015 online poll by USA Today, Scotland was voted the world’s Best Cinematic Destination. And it’s easy to see why. Films from all around the world have been shot in Scotland. Its rich array of film locations include ancient mountain ranges, mysterious stone circles, lush green glens, deep lochs, castles, stately homes, and vibrant cities complete with festivals, bustling streets and colourful night life. Little wonder the country has attracted filmmakers and cinemagoers since the movies began. This guide provides an introduction to just some of the many Scottish locations seen on the silver screen. The Inaccessible Pinnacle. Numerous Holy Grail to Stardust, The Dark Knight Scottish stars have twinkled in Hollywood’s Rises, Prometheus, Cloud Atlas, World firmament, from Sean Connery to War Z and Brave, various hidden gems Tilda Swinton and Ewan McGregor. -
Groundhog Day
GROUNDHOG DAY TEACHING RESOURCES JUL—S E P 2 016 CONTENTS Company 3 Old Vic New Voices Education The Old Vic The Cut Creative team 7 London SE1 8NB Character breakdown 10 E [email protected] @oldvicnewvoices Synopsis 12 © The Old Vic, 2016. All information is correct at the Themes 15 time of going to press, but may be subject to change Timeline – Musicals adapted from American and 16 Teaching resources European films Compiled by Anne Langford Design Matt Lane-Dixon Rehearsal and production Interview with illusionist and Old Vic Associate, Paul Kieve 18 photography Manuel Harlan Interview with David Birch and Carolyn Maitland, 24 Old Vic New Voices Alexander Ferris Director Groundhog Day cast members Sharon Kanolik Head of Education & Community From Screen to Stage: Considerations when adapting films to 28 Ross Crosby Community Co-ordinator stage musicals Richard Knowles Stage Business Co-ordinator A conversation with Harry Blake about songs for musicals and 30 Tom Wright Old Vic New Voices Intern plays with songs and the differences between them. Further details of this production oldvictheatre.com Practical exercises – Screen to stage 33 A day in the life of Danny Krohm, Front of House Manager 37 Bibliography and further reading 39 The Old Vic Groundhog Day teaching resource 2 COMPANY Leo Andrew David Birch Ste Clough Roger Dipper Georgina Hagen Kieran Jae Julie Jupp Andy Karl Ensemble Ensemble Ensemble Ensemble Ensemble Ensemble Ensemble Phil Connors (Jenson) (Chubby Man) (Jeff) (Deputy) (Nancy) (Fred) (Mrs Lancaster) AndrewLangtree -
Billy Elliot the Musical: Visual Representations of Working-Class Masculinity and the All-Singing, All-Dancing Bo[D]Y
promoting access to White Rose research papers Universities of Leeds, Sheffield and York http://eprints.whiterose.ac.uk/ This is an author produced version of a paper published in Studies in Musical Theatre. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/10354/ Published paper Rodosthenous, George (2007) Billy Elliot The Musical: visual representations of working-class masculinity and the all-singing, all-dancing bo[d]y. Studies in Musical Theatre , 1 (3). pp. 275-292. White Rose Research Online [email protected] ARTICLE NAME Billy Elliot The Musical: Visual representations of working-class masculinity and the all-singing, all-dancing bo[d]y. AUTHOR NAME GEORGE RODOSTHENOUS ABSTRACT According to Cynthia Weber, „[d]ance is commonly thought of as liberating, transformative, empowering, transgressive, and even as dangerous‟. Yet, ballet as a masculine activity, it still remains a suspect phenomenon. This paper will challenge this claim in relation to Billy Elliot the Musical and its critical reception. The transformation of the visual representation of the human body on stage (from an ephemeral existence to a timeless work of art) will be discussed and analysed vis-a-vis the text and sub-texts of Stephen Daldry's direction and Peter Darling‟s choreography. The dynamics of working-class masculinity will be contextualised within the framework of the family, the older female, the community, the self and the act of dancing itself. KEYWORDS Billy Elliot, masculinity, male dancers, dancing musicals, representations of the male AUTHOR BIOGRAPHY George Rodosthenous is Lecturer in Music Theatre at the School of Performance and Cultural Industries of the University of Leeds. -
March 6-7, 2021
Nutcracker2020 March 6-7, 2021 Lincoln Midwest Ballet Company Shari True, Artistic Director Artistic Director Shari True presents The Nutcracker Music by Peter Ilyich Tchaikovsky Saturday, March 6, 2021 2 p.m. and 7 p.m. & Sunday, March 7, 2021 1 p.m. and 5 p.m. Technical Director: Daniel Anderson, Stratum Productions Stage Manager: Melanie Rudy Assistant Stage Managers: Eric Himmelberger, Kayci Johnston Stage Crew: Jamie Stephens, Paul Watson, Jaylin Wiese Props Coordinator: Tonia O’Hare Head Costumer and Costume Builder: Maralee Maldavs Hair & Makeup Designer & Assistant Costumer: Donna Himmelberger Assistant to the Costumer: Emily Maldavs Lighting Designer: John Himmelberger Sound Technician: Marlan Hohnstein Rehearsal Assistants: Betsy Andersen, Ashley Rutt Executive Director: Kelly Duncan Due to Covid-19 guidelines, we regret that drinking fountains and refreshment booths are not open. Restrooms are available as needed. 3 Lincoln Midwest Ballet Company EXECUTIVE OFFICERS Marcia Kirk, President Debby Erickson, Vice President Kenton Sullivan, President-elect Christine Mann, Vice President Renee Yost, Treasurer Vicki Schulenberg, Vice President Lana Peterson-Pressler, Secretary DIRECTORS Cori Amend Toni Montanez DIRECTORS EMERITI Jim Beitel Joyce Latrom Joan Chopp Angie Muhleisen Michael Dowd J. Michael Rierden Nancy Ingham Susan Steinegger Linda Laird Lyn Wineman LMBC MISSION The Mission of the Lincoln Midwest Ballet Company is to promote excellence in the art of ballet through performances, education, and community outreach. LMBC extends our appreciation to all of the area dance studios. The success of The Nutcracker depends upon your passion for dance and the support and guidance you provide to the talented youth of our community. LMBC thanks the following individuals who gave their time and skills to staff our first aid site: Stacey Bergantzel, RN . -
DANC 363G Syllabus S21
DANC 363g: Dancing on the Screen Section: 22535R Units: 4 Term: Spring 2021 Day: Tuesday, Thursday Time: 2:00-3:40PM Location: Online Instructor: Dawn Stoppiello Office: KDC 222 Office Hours: By appointment Contact Info: [email protected], (503) 989-4170 (text if urgent) Professor will reply to emails/calls within 48 hours Course Delivery This course will be delivered synchronously on Tuesday and Thursdays via Zoom for the first 6 weeks. Then during synchronous class meetings generally on Tuesdays and asynchronous class work completed and submitted generally on Thursdays. All synchronous Zoom classes will be recorded and available to view. Catalog Description The study of dance in movies, television, internet, mobile devices and new media. Examining dance on screen, influenced by storytelling, camera technology and editing. Course Description Ever since Edward Muybridge created the first moving image, dancers and dance-makers have been experimenting with new ways of capturing motion. Today, this has led to dance occupying a central place in almost all media: films, television, advertising, the internet and other digital media. In this course, students will investigate the history of dance on film both in theory and practice, situating seminal works within their greater socio-cultural milieu as well as investigating the impact of choreography, narrative, camera technology, editing styles, and music. Through substantive analysis of course readings and assigned media, students will advance critical reading, writing and analytic skills. For their final project, students will use personal media devices to make their own short dance film and write a paper that reflects on the creative process. -
Interpreting Musical Structure Through Choreography in Gershwin's
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 4-23-2019 Music in Motion: Interpreting Musical Structure through Choreography in Gershwin’s "An American in Paris" Spencer Reese University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Reese, Spencer, "Music in Motion: Interpreting Musical Structure through Choreography in Gershwin’s "An American in Paris"" (2019). Doctoral Dissertations. 2172. https://opencommons.uconn.edu/dissertations/2172 Abstract Music in Motion Interpreting Musical Structure through Choreography in Gershwin’s An American in Paris Spencer Matthew Reese, D.M.A. University of Connecticut, 2019 This dissertation explores the relationship between the theoretic interpretation of music (through analysis of a score) and the kinesthetic interpretation of it (through dance). While compelling choreography often evokes the same expressive qualities as a score, music and dance each have expressive and structural components. This study looks beyond expressive unity to examine how formal elements of a musical score are embodied in a choreographic interpretation of it. George Gershwin’s now-iconic symphonic poem An American in Paris, while conceived as concert music, was almost immediately interpreted in dance onstage. It also inspired larger narrative works, including a film choreographed by Gene Kelly and a musical helmed by Christopher Wheeldon. When a score is written for dance, the logistical considerations of choreography likely influence the piece’s composition. But in the case of Paris, the structural details of the music itself have consistently given artists the impression that it is danceable. Gershwin’s life and musical style are examined, including his synthesis of popular and Western art music. -
Billy Elliot
LEVEL 3 Teacher’s notes Teacher Support Programme Billy Elliot Melvin Burgess Chapter 6: Billy visits his friend, Michael, who is wearing his sister’s clothes and lipstick. Billy tells Michael that he wants to be a ballet dancer in London. They both realise that they are different from the other boys of their age in their town. Chapter 7: Billy starts practising for a ballet audition and gets very nervous as it gets closer. Jackie and Tony have a fight and Tony runs away. One night Billy sees his dead mother, Sarah, and feels that she wants him to dance at the audition. Chapter 8: Tony attacks a policeman’s horse and ends up in jail. Jackie and Billy go to court to fetch him and Billy misses his audition. Mrs Wilkinson gets furious and tells the Elliots what has happened. Tony can’t believe that his brother wants to be a ballet dancer. About the author Billy Elliot is originally a British film (2000) directed by Chapter 9: Michael, in a dancing skirt, and Billy, in his ballet Stephen Daldry. The screenplay was written by Lee Hall shoes, stand in the boxing ring. While Billy is showing his and then adapted as a novel by Melvin Burgess, who is a friend some ballet moves, his father enters the hall and popular and prolific writer of young adult fiction. Some of sees them. Billy jumps, spins and dances for his father, his works are Junk, Bloodtide and Doing It. who leaves the hall upset but very surprised with what he has seen. -
This Is London Magazine Limited World of the Baroque Royal Court (Until 30 September)
Celebrates the with an evening of coronation anthems, including Elgar’s Coronation Ode and the premiere of Ronald Corp’s This Sceptr’d Isle Saturday 9 June 2012 7.30pm Barbican Centre Silk Street London EC2Y 8DS With Geraldine McGreevy – soprano Frances McCafferty – alto 3KLOLS6KHIƄHOGtWHQRU Mark Stone – bass Ronald Corp – conductor New London Orchestra Free pre-concert talk in the auditorium at 6.50pm by Ronald Corp Tickets: £36 - £12 The City of London 020 7638 8891 Box office Corporation is the founder Reduced booking fee online and principal funder of the barbican.org.uk Barbican Centre Welcome to London CONTENTS This is a wonderful time to visit our capital city and enjoy the spectacular celebrations for Events 4 Her Majesty The Queen’s Diamond Jubilee and Regent Street Union Flags the London Olympics. At Historic Royal The Go!Go!Go! Show Palaces, we are delighted to offer an inspiring Music 8 programme of exhibitions, events and activities Wah Wah Girls at the Peacock in this very special year. Top Hat At the Tower of London, a major re-presentation of the Crown Jewels has Exhibitions 14 been unveiled with new displays showing the regalia as never before. A new Royal River at Greenwich introductory exhibition enables visitors to explore the importance of the Animal Art Fair Crown Jewels to the British Monarchy and the fascinating history of Theatre 18 coronations in England. Making Noise Quietly Kensington Palace has recently undergone a £12 million transformation Love, Love, Love with new exhibitions and displays bringing the stories of the palace and its former royal residents to life. -
© 2017 Ballet Dynamics, Inc
© 2017 Ballet Dynamics, Inc. Ballet for Life: A Pictorial Memoir by Finis Jhung Copyright © 2018 by Finis Jhung. All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without the prior written permission from the author or the publisher. Published by: Ballet Dynamics, Inc., New York, New York Cover photograph by Michael Avedon Cover art and book design by James Donegan, James Did It, LLC Title page photograph by Michael Avedon Library of Congress Control Number: 2017916861 ISBN: 978-0-9913898-0-3 (Print Book) ISBN: 978-0-9913898-1-0 (E-Book) 10 9 8 7 6 5 4 3 2 1 1. Fine arts/Visual Arts/Artists ©2. Recreation/Leisure/Dancing2017 Ballet Dynamics, Inc. First Edition Printed in the United States of America Praise for Ballet for Life: A Pictorial Memoir “Thousands of lessons, hardships, joys, and triumphs . thousands of moments when generosity shapes the future. These are gifts along the journey of life! In this book, Finis Jhung shows—through his words, teaching, and career—that the journey is not successfully navigated without a stunning love for the work and a great deal of inspiration. As a teenager, I walked into Finis’s class with my dance bag and with countless hopes and dreams. Luckily for me, a stunning love for the work and a great deal of inspiration was waiting at the barre!”—Andy Blankenbuehler, three-time Tony-winning choreographer for Hamilton, In the Heights, and Bandstand “Finis Jhung has had a long and remarkable career as dancer, teacher, choreographer, and company artistic director—and now, he has written a pictorial biography that beautifully describes his life in dance. -
Billy Elliot a Young Boy with a Passion for Dance Michael Billy's Friend
jan feb 14 6 2016 THEATRE FOR YOUNG AUDIENCES GENEROUSLY SUPPORTED BY STUDY GUIDE The Royal Manitoba Theatre Centre Production of Study Guide by Anna Schmidt THEATRE ETIQUETTE “The theater is so endlessly fascinating because it's so accidental. It's so much like life.” – Arthur Miller Arrive Early: Latecomers may not be admitted to a performance. Please ensure you arrive with enough time to find your seat before the performance starts. Cell Phones and Other Electronic Devices: Please TURN OFF your cell phones/iPods/gaming systems/cameras. We have seen an increase in texting, surfing, and gaming during performances, which is very distracting for the performers and other audience members. The use of cameras and recording devices is strictly prohibited. Talking During the Performance: You can be heard (even when whispering!) by the actors onstage and the audience around you. Disruptive patrons will be removed from the theatre. Please wait to share your thoughts and opinions with others until after the performance. Food/Drinks: Food and hot drinks are not allowed in the theatre. Where there is an intermission, concessions may be open for purchase of snacks and drinks. There is complimentary water in the lobby. Dress: There is no dress code at the Royal Manitoba Theatre Centre, but we respectfully request that patrons refrain from wearing hats in the theatre. We also strive to be a scent-free environment, and thank all patrons for their cooperation. Leaving During the Performance: If an audience member leaves the theatre during a performance, they will be readmitted at the discretion of our Front of House staff.