Kristin Chenoweth the Dames of Broadway…All of 'Em!!!
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Eastman School of Music, Thrill Every Time I Enter Lowry Hall (For- Enterprise of Studying, Creating, and Loving 26 Gibbs Street, Merly the Main Hall)
EASTMAN NOTESFALL 2015 @ EASTMAN Eastman Weekend is now a part of the University of Rochester’s annual, campus-wide Meliora Weekend celebration! Many of the signature Eastman Weekend programs will continue to be a part of this new tradition, including a Friday evening headlining performance in Kodak Hall and our gala dinner preceding the Philharmonia performance on Saturday night. Be sure to join us on Gibbs Street for concerts and lectures, as well as tours of new performance venues, the Sibley Music Library and the impressive Craighead-Saunders organ. We hope you will take advantage of the rest of the extensive Meliora Weekend programming too. This year’s Meliora Weekend @ Eastman festivities will include: BRASS CAVALCADE Eastman’s brass ensembles honor composer Eric Ewazen (BM ’76) PRESIDENTIAL SYMPOSIUM: THE CRISIS IN K-12 EDUCATION Discussion with President Joel Seligman and a panel of educational experts AN EVENING WITH KEYNOTE ADDRESS EASTMAN PHILHARMONIA KRISTIN CHENOWETH BY WALTER ISAACSON AND EASTMAN SCHOOL The Emmy and Tony President and CEO of SYMPHONY ORCHESTRA Award-winning singer the Aspen Institute and Music of Smetana, Nicolas Bacri, and actress in concert author of Steve Jobs and Brahms The Class of 1965 celebrates its 50th Reunion. A highlight will be the opening celebration on Friday, featuring a showcase of student performances in Lowry Hall modeled after Eastman’s longstanding tradition of the annual Holiday Sing. A special medallion ceremony will honor the 50th class to commemorate this milestone. The sisters of Sigma Alpha Iota celebrate 90 years at Eastman with a song and ritual get-together, musicale and special recognition at the Gala Dinner. -
2019 Silent Auction List
September 22, 2019 ………………...... 10 am - 10:30 am S-1 2018 Broadway Flea Market & Grand Auction poster, signed by Ariana DeBose, Jay Armstrong Johnson, Chita Rivera and others S-2 True West opening night Playbill, signed by Paul Dano, Ethan Hawk and the company S-3 Jigsaw puzzle completed by Euan Morton backstage at Hamilton during performances, signed by Euan Morton S-4 "So Big/So Small" musical phrase from Dear Evan Hansen , handwritten and signed by Rachel Bay Jones, Benj Pasek and Justin Paul S-5 Mean Girls poster, signed by Erika Henningsen, Taylor Louderman, Ashley Park, Kate Rockwell, Barrett Wilbert Weed and the original company S-6 Williamstown Theatre Festival 1987 season poster, signed by Harry Groener, Christopher Reeve, Ann Reinking and others S-7 Love! Valour! Compassion! poster, signed by Stephen Bogardus, John Glover, John Benjamin Hickey, Nathan Lane, Joe Mantello, Terrence McNally and the company S-8 One-of-a-kind The Phantom of the Opera mask from the 30th anniversary celebration with the Council of Fashion Designers of America, designed by Christian Roth S-9 The Waverly Gallery Playbill, signed by Joan Allen, Michael Cera, Lucas Hedges, Elaine May and the company S-10 Pretty Woman poster, signed by Samantha Barks, Jason Danieley, Andy Karl, Orfeh and the company S-11 Rug used in the set of Aladdin , 103"x72" (1 of 3) Disney Theatricals requires the winner sign a release at checkout S-12 "Copacabana" musical phrase, handwritten and signed by Barry Manilow 10:30 am - 11 am S-13 2018 Red Bucket Follies poster and DVD, -
Melissa Errico
Melissa Errico is one of Broadway's most cherished leading ladies, as well as a blossoming recording artist who has been called "the voice of enchantment" by the NY TIMES. She released her second studio CD Lullabies and Wildflowers on Mothers Day 2008. This follows her debut CD Blue Like That (Capitol Records, EMI) produced by Arif Mardin, praised as "gorgeous" (NY TIMES), and "earthy and soulful" (USA TODAY). Melissa was nominated for the Best Leading Actress Tony Award for her work in Michel Legrand's Amour, and has been recognized with the Lucille Lortel Award, six Drama Desk nominations, two Helen Hayes Awards, four Outer Critics Award nominations and three Drama League Honors. In December of 2010, she received the "Artist of Distinction" Award from the Great Neck Arts Center, recognizing her as a Long Island native who has made her home town proud. Melissa starred on Broadway as Betty Haynes (the Rosemary Clooney role) in Irving Berlin's White Christmas, and then starred off-Broadway in the Shaw play CANDIDA, for which she was nominated for a Best Actress 2010 Drama Desk Award. When only a teenager, Melissa burst upon the Broadway scene as Cosette in Les Miserables, quickly followed by a star-turn as Kitty in Anna Karenina, and then, at age 22, to raves as Eliza Doolittle in the Broadway revival of My Fair Lady. Since then, she has starred in High Society, Amour and Dracula on Broadway, and acclaimed off-Broadway plays like Major Barbara and The Importance of Being Earnest, as well as in television and film, including CBS's Central Park West and the movies Frequency and Life Or Something Like It, opposite Angelina Jolie. -
The American Film Musical and the Place(Less)Ness of Entertainment: Cabaret’S “International Sensation” and American Identity in Crisis
humanities Article The American Film Musical and the Place(less)ness of Entertainment: Cabaret’s “International Sensation” and American Identity in Crisis Florian Zitzelsberger English and American Literary Studies, Universität Passau, 94032 Passau, Germany; fl[email protected] Received: 20 March 2019; Accepted: 14 May 2019; Published: 19 May 2019 Abstract: This article looks at cosmopolitanism in the American film musical through the lens of the genre’s self-reflexivity. By incorporating musical numbers into its narrative, the musical mirrors the entertainment industry mise en abyme, and establishes an intrinsic link to America through the act of (cultural) performance. Drawing on Mikhail Bakhtin’s notion of the chronotope and its recent application to the genre of the musical, I read the implicitly spatial backstage/stage duality overlaying narrative and number—the musical’s dual registers—as a means of challenging representations of Americanness, nationhood, and belonging. The incongruities arising from the segmentation into dual registers, realms complying with their own rules, destabilize the narrative structure of the musical and, as such, put the semantic differences between narrative and number into critical focus. A close reading of the 1972 film Cabaret, whose narrative is set in 1931 Berlin, shows that the cosmopolitanism of the American film musical lies in this juxtaposition of non-American and American (at least connotatively) spaces and the self-reflexive interweaving of their associated registers and narrative levels. If metalepsis designates the transgression of (onto)logically separate syntactic units of film, then it also symbolically constitutes a transgression and rejection of national boundaries. In the case of Cabaret, such incongruities and transgressions eventually undermine the notion of a stable American identity, exposing the American Dream as an illusion produced by the inherent heteronormativity of the entertainment industry. -
Study Buddy CASSETTE DION ELVIS GUITAR IPOD PHONOGRAPH RADIO RECORD RHYTHM ROCK ROLL Where The
Rhythm, Blues and Clues I V J X F Y R D L Y W D U N H Searchin Michael Presser, Executive Director A Q X R O C K F V K K P D O P Help the musical note find it’s home B L U E S B Y X X F S F G I A Presents… Y C L C N T K F L V V E A D R Y A K O A Z T V E I O D O A G E S W R R T H K J P U P T R O U S I D H S O N W G I I U G N Z E G V A Y V F F F U E N G O P T V N L O T S C G X U Q E H L T G H B E R H O J H D N L P N E C S U W Q B M D W S G Y M Z O B P M R O Y F D G S R W K O F D A X E J X L B M O W Z K B P I D R V X T C B Y W P K P F Y K R Q R E Q F V L T L S G ALBUM BLUES BROADWAY Study Buddy CASSETTE DION ELVIS GUITAR IPOD PHONOGRAPH RADIO RECORD RHYTHM ROCK ROLL Where the 630 Ninth Avenue, Suite 802 Our Mission: Music Inside Broadway is a professional New York City based children’s theatre New York, NY 10036 12 company committed to producing Broadway’s classic musicals in a Music Lives Telephone: 212-245-0710 contemporary light for young audiences. -
Mario Cantone and Jerry Davis Bring How Long Has This Been Going On? to Feinstein’S at the Nikko
FOR IMMEDIATE RELEASE CONTACT: Kevin Kopjak | Charles Zukow Associates 415.296.0677 | [email protected] MARIO CANTONE AND JERRY DAVIS BRING HOW LONG HAS THIS BEEN GOING ON? TO FEINSTEIN’S AT THE NIKKO THREE PERFORMANCES ONLY! JUNE 2–3, 2017 SAN FRANCISCO (March 28, 2017) – The last time comic/actor Mario Cantone (“Sex in the City,” Assassins) and actor, songwriter, and director Jerry Dixon (If/Then, Once on This Island, tick, tick…BOOM!) teamed up, they created Laugh Whore, Cantone’s wickedly entertaining and Tony-nominated one-man show-turned-Showtime special. Now, one of the New York theater world’s favorite married couples bring their new show, How Long Has This Been Going On?, to Feinstein’s at the Nikko for three performances only – Friday, June 2 (8 p.m.) and Saturday, June 3 (7 & 10 p.m.). Featuring a delicious evening of stories, songs, and laughs, the duo will delight Broadway, popular music, and comedy fans alike. Tickets for Mario Cantone and Jerry Davis range in price from $45 – $85 and are available now by calling 866.663.1063 or visiting www.ticketfly.com. An accomplished stage actor, Cantone has appeared on Broadway as ‘Samuel Byck’ in the Tony Award-winning musical, Assassins, by Stephen Sondheim, in the role of ‘Buzz’ in Terrence McNally's award- winning dramatic comedy, Love! Valour! Compassion! and as ‘Stephano’ in Shakespeare's The Tempest at the Public Theater. He starred in the 2007 release of Sony's animated film, “Surf's Up,” and appeared in the hilarious film “The Aristocrats.” On television, Cantone can currently be seen as “Anthony,” Charlotte's wedding-planner-with- attitude, now that HBO’s “Sex and the City” is in syndication on TBS, E and many other stations, as well as the “Sex and the City” movie franchise. -
Singer Kristin Chenoweth Speaks up for Ose with Migraine
CELEBRITY PROFILES DECEMBER 2019/JANUARY 2020 BY LAUREN PAIGE KENNEDY Singer Kristin Chenoweth Speaks Up for ~ose with Migraine Chenoweth says migraine and Meniere's disease almost ended her career. Now she advocates for others with these conditions. Stage lights, flashing cameras of paparazzi, air travel, and adoring fans seeking selfies are all in a day's work for actress and singer Kristin Chenoweth. They're also the reasons the Broadway legend, recording artist, and TV star almost retired in her thirties. Identifying triggers and finding the right combination of medications help actress and singer Kristin Chenoweth manage her migraine attacks. Photograph by Michael Larsen The performer says light, even from a smartphone's tiny camera, can bring on a migraine with aura—a temporary visual loss or disturbance—intense nausea, and crippling head pain, as well as room-spinning vertigo. Now 51, Chenoweth has battled these symptoms half her life. Her first attack happened mid-performance with the Virginia Symphony when she was 25. She lost peripheral vision and saw strobing flashes, or what she refers to as "kaleidoscope eyes." The viselike head pain that followed left her "crawling off the stage," she says, only to retreat to her hotel room. There, she vomited repeatedly and experienced extreme light sensitivity and dizziness, even as the worst headache of her life did not abate for days. "I didn't know what hit me," says Chenoweth, who is readying for the release of For the Girls, her seventh album, with an all-star roster of female singers including Ariana Grande, Dolly Parton, and Reba McIntire. -
At Play Fall-Winter 03.Qxd
representing the american theatre by publishing and licensing the works of new and established playwrights JacquesBrelisAliveandWell Polly Pen on Writing Musicals Cowgirls’ Mary Murfitt Issue 9, Fall/Winter 2003 MUSICALS INTERVIEW WITH A BAT BOY Director of Professional Rights Robert Vaughan and Director of Publications Michael Fellmeth met with Bat Boy in the Palm Court of the Plaza Hotel in Manhattan to talk about growing up in a cave in Hope Falls, West Virginia, Bat Boy: The Musical, and his rise to global celebrity as the lead in a hit show about his own life. The pointy- eared, fanged star arrived with an entourage of bodyguards, personal assistants, agent, lawyer and publi- cist. Bat Boy, immaculately clad in Savile Row, seemed only vaguely aware of their presence. He greeted us warmly, sat down, lit a miniature cigar and ordered a bloody mary. continued on next page FELLMETH. Let me begin by saying how taken I EDGAR. Ahhh, Jenna. Jenna the Menace, that lips” motion.) Perhaps we’d best not discuss Dr. am with your voice, Bat Boy. Did you have any was my pet name for her. She was such a terror. Parker. That is a difficult subject for me. formal training? The media had it all wrong, though. It was she FELLMETH. Understandably so. A father who BAT BOY. Please don’t call me Bat Boy. My name who took to following me. After I finally got a abandoned you in infancy to be raised by bats is Edgar. restraining order she went on that binge in Texas and then — as if that weren’t enough — tried to FELLMETH. -
T H E P Ro G
Friday, February 1, 2019 at 8:30 pm m a r Jose Llana g Kimberly Grigsby , Music Director and Piano o Aaron Heick , Reeds r Pete Donovan , Bass P Jon Epcar , Drums e Sean Driscoll , Guitar h Randy Andos , Trombone T Matt Owens , Trumpet Entcho Todorov and Hiroko Taguchi , Violin Chris Cardona , Viola Clarice Jensen , Cello Jaygee Macapugay , Jeigh Madjus , Billy Bustamante , Renée Albulario , Vocals John Clancy , Orchestrator Michael Starobin , Orchestrator Matt Stine, Music Track Editor This evening’s program is approximately 75 minutes long and will be performed without intermission. Please make certain all your electronic devices are switched off. Lead support provided by PGIM, the global investment management businesses of Prudential Financial, Inc. Endowment support provided by Bank of America This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Steinway Piano The Appel Room Jazz at Lincoln Center’s Frederick P. Rose Hall American Songbook Additional support for Lincoln Center’s American Songbook is provided by Rita J. and Stanley H. Kaplan Family Foundation, The DuBose and Dorothy Heyward Memorial Fund, The Shubert Foundation, Great Performers Circle, Lincoln Center Spotlight, Chairman’s Council, and Friends of Lincoln Center Public support is made possible by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature Nespresso is the Official Coffee of Lincoln Center NewYork-Presbyterian is the Official Hospital of Lincoln Center Artist catering provided by Zabar’s and Zabars.com UPCOMING AMERICAN SONGBOOK EVENTS IN THE APPEL ROOM: Saturday, February 2 at 8:30 pm Rachael & Vilray Wednesday, February 13 at 8:30 pm Nancy And Beth Thursday, February 14 at 8:30 pm St. -
Marvin Hamlisch
tHE iRA AND lEONORE gERSHWIN fUND IN THE lIBRARY OF cONGRESS AN EVENING WITH THE MUSIC OF MARVIN HAMLISCH Monday, October 19, 2015 ~ 8 pm Coolidge Auditorium Library of Congress, Thomas Jefferson Building The Ira and Leonore Gershwin Fund in the Library of Congress was established in 1992 by a bequest from Mrs. Gershwin to perpetuate the name and works of her husband, Ira, and his brother, George, and to provide support for worthy related music and literary projects. "LIKE" us at facebook.com/libraryofcongressperformingarts loc.gov/concerts Please request ASL and ADA accommodations five days in advance of the concert at 202-707-6362 or [email protected]. Latecomers will be seated at a time determined by the artists for each concert. Children must be at least seven years old for admittance to the concerts. Other events are open to all ages. • Please take note: Unauthorized use of photographic and sound recording equipment is strictly prohibited. Patrons are requested to turn off their cellular phones, alarm watches, and any other noise-making devices that would disrupt the performance. Reserved tickets not claimed by five minutes before the beginning of the event will be distributed to stand-by patrons. Please recycle your programs at the conclusion of the concert. The Library of Congress Coolidge Auditorium Monday, October 19, 2015 — 8 pm tHE iRA AND lEONORE gERSHWIN fUND IN THE lIBRARY OF cONGRESS AN EVENING WITH THE mUSIC OF MARVIN hAMLISCH WHITNEY BASHOR, VOCALIST | CAPATHIA JENKINS, VOCALIST LINDSAY MENDEZ, VOCALIST | BRYCE PINKHAM, VOCALIST -
Large-Print-Mag-Nov-19.Pdf
CHAPTER 11.19 ART Garth Evans But, Hands Have Eyes: Six decades of sculpture Until 26.01.20 ‘But, Hands Have Eyes’ is a solo exhibition featuring six decades of sculpture. Alongside works produced in the UK in the 1960s and 70s, Evans also presents a body of work for their UK premiere, that he has produced in the United States since his move there in 1981. The work of Garth Evans is integral to the history of British sculpture. Experimenting with the potential of scale, weight, medium and form, Evans’ work comprises both a formal and conceptual approach. He is always interested in interrogating established boundaries and, as a result, his sculptures are made from a diverse range of materials including ceramics, steel, leather and fibreglass. Evans states that many of his works, even when most abstract, are “triggers for, and containers of, particular identifiable memories”. Ultimately, Garth Evans’ works are ambiguous, multi-faceted and completely original. Talks at 4 16.11.19 FREE Are you interested in finding out a little bit more about our latest exhibition? Then why not join us for a free and informal guided tour! Our ‘Talks at 4’ are led by our wonderful gallery assistants and are a great way to delve a little deeper into our current exhibition by Garth Evans and his approach to his work. No two talks are the same so come along and be a part of the conversation. Art in the Bar Jon Pountney Waiting For The Light Until 14.02.20 ‘Waiting for the Light’ is a body of photographic works that capture a particular type of light; a harsh, acutely angled low sunlight that gives the scenes in Jon Pountney’s images a somewhat surreal and melancholy feel. -
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