DOCSLIB.ORG

LES MISERABLES Teacher Guide 2020

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
LES MISERABLES Teacher Guide 2020 Theatre De La Salle presents SCHOOL EDITION TEACHER RESOURCE GUIDE TEACHER RESOURCE GUIDE: A. DANCE LES MISÉRABLES: School Edition OVERALL EXPECTATIONS By the end of Grade 1, students will: 21st century skills of creativity, critical thinking, and A1. Creating and Presenting: apply the creative process (see pages 19–22) to the composition of simple collaboration are embedded in the process of bringing the dance phrases, using the elements of dance to communicate feelings and ideas; page to the stage. Seeing live theatre encourages students to read, develop critical and creative thinking, and to be curious A2. Reflecting, Responding, and Analysing: apply the critical analysis process (see pages 23–28) to about the world around them. communicate their feelings, ideas, and understandings in response to a variety of dance pieces and experiences; This Teacher Resource Guide includes backgroundGRADE 1 information, questions, and activities that can stand alone or A3. Exploring Forms and Cultural Contexts: demonstrate an understanding of a variety of dance forms work as building blocks toward the creation of a complete unit and styles from the past and present, and their social and/or community contexts. of classroom work. B. DRAMA THEATRE DE LA SALLE presents LES MISÉRABLES! FUNDAMENTAL CONCEPTS FOR GRADE 1 Students in Grade 1 will develop understanding of the following concepts through participation in “Will you join in our crusade, various dance experiences (e.g., connecting and altering familiar movements), with particular emphasis who will be strong and stand with me? on body and space. OVERALL EXPECTATIONS ELEMENTS OF DANCE By the end of Grade 1, students will: To celebrate our 70th anniversary, Theatre De La Salle is • body: body awareness (e.g., awareness of where one is in space in relation to objects in class, awareness B1. Creating and Presenting: apply the creative process (see pages 19–22) to dramatic play and process proud to present Les Misérables — the world’s longest- of position), use of body zones (e.g., whole body [versus various body parts], upper body only, lower running musical! A true modern classic based on Victor body only), use of body parts (e.g.,drama, arms, usinglegs, head), the elements body shapes and conventions (e.g., big, small,of drama angular, to communicate twisted, feelings, ideas, and stories; curved, straight, closed), locomotor movements (e.g., galloping, skipping, rolling), non-locomotor move- Hugo's novel and featuring one of the most memorable scores B2. Reflecting, Responding, and Analysing: apply the critical analysis process (see pages 23–28) to ments (e.g., arm movements such as swimming/waving, hopping on one foot, jumping on two feet, of all time, this multi-award-winning musical is as communicate feelings, ideas, and understandings in response to a variety of drama works and kicking, bending knees, melting to the ground, stretching, growing, spinning, folding, bowing), body groundbreaking today as it was when it first premiered in experiences; London in 1985. Composed by Alain Boublil and Claude bases (e.g., feetGRADE 1 as body base, hands and knees as body base) Michel Schönberg, the School Edition was specially adapted • space: levels (e.g., low to highB3. by reaching;Exploring high Forms to low and by Cultural falling, Contexts:crouching), demonstrate directions (e.g.,an understanding forwards, of a variety of drama and by Cameron Mackintosh and Music Theatre International. backwards, sideways), general andtheatre personal forms and styles from the past and present, and their social and/or community contexts. • time: tempo (e.g., fast/slow, movement versus freeze), rhythm (e.g., even, uneven) Set against the backdrop of 19th-century France, Les • energy: quality (e.g., melting, twitching, slumping, percussive, sustained [as in a held stretch]) Misérables tells an enthralling story of broken dreams and • relationship: unrequited love, passion, sacrifice, and redemption — a with a partner (e.g.,FUNDAMENTAL slow-motion CONCEPTS mirroring) FOR GRADE 1 timeless testament to the survival of the human spirit. Students in Grade 1 will develop an understanding of the following concepts through participation in Featuring the beloved songs “I Dreamed A Dream,” “Bring10 Him Home,” “Stars," “On My Own,” “Master of the House,” THE ONTARIO CURRICULUM, GRADESvarious 1–8 drama| The experiences. Arts “One Day More,” and many more, Les Misérables has been SPECIFIC EXPECTATIONS ELEMENTS OF DRAMA seen by more than 70 million people in 44 countries and in 22 The The Arts • role/character: adopting thewave attitude, hello to voice, a friend or emotionalwho is close state by, ofis youra fictional character languages around the globe, breaking box office records| for A1. Creating and Presenting B1.2 demonstrate an understanding of the elements of drama bywave bigger or smaller than when the friend is 35 years. Epic, grand, and uplifting, Les Misérables: School • relationship: listening and responding in role to other characters in role selecting and combining several elements and conventions to far away? How might you change the action of Edition packs an emotional wallop that has thrilled audiences By the end of Grade 1, students• will:time and place: pretending to be in the established setting of the drama create dramatic effects waving by making the movement bigger/smaller all over the world. A1.1 use movements that are part• tension: of theirbeing daily aware of a orsense faster/slower? of mystery orWill of thea problem speed or to rhythmbe solved of B2.1experience express personal in a variety responses of ways •and focusin preferences dance and phrases emphasis: and makebeing the aware movement of the mainchange idea when or issueyou make in the it drama bigger In this brand new production presented entirely by students, connections(e.g., alter to and themes exaggerate and issues movements presented based in on their even own and or smaller?” producer Michael Luchka and directors Glenn Cherny and others’rhythms drama such works as walking, galloping, and swimming, Lisa Pollock will be joined again by guest director and and on uneven rhythms such as skipping and A1.2 use dance as a language to express feelings TheatreDLS alum Johnny McGroarty, choreographer Melissa B2.2jumping; identify amplifya favourite and scene modify and percussive give reasons movements for their and ideas suggested by songs, stories, and Jane Shaw, Musical Director Chris Tsujiuchi, and Set preference,such as theusing movement correct dramaof a clock terminologySPECIFIC ticking or toEXPECTATIONS the describe how poems, with a focus on the element of body, way towards motivating students to work and to learn effectively. students to recognize the value and relevance of what they are learning will go a long of the methods curriculum and expectations. learning Teaching activities that encourage Students’ attitudes towards the arts can have a significant effect on their achievement for active participation in the arts later in life. variety of artistic activities, students will become better informed about the possibilities forms, learning about artists within and and participating outside in the a community, learn about careers in various By areas of studying the art arts in industry. a variety of can also encourage Teachers a positive attitude towards the arts by helping students accomplished art and assessing wo imagination and their problem-solving and critical-thinking skills in planning, producing, towards the arts in should their encourage instruction. students Teachers to use their and and teachers in should the ensure that community, they project a positive attitude approach the arts. Parents can demonstrate a positive attitude towards the arts at home The attitudes of everyone involved with students have a significant effect on how students ATTITUDES IN THE ARTS Designers Michael Bailey and Jerry McGroarty, to bring you the sustainedelements ofhold drama of a contributecat stretching) to its effectiveness particularly body shapes (e.g., use the entire body B1. Creating and Presenting B1.2 demonstrate an understanding of the element “the world’s most popular musical.” Scenic design, lighting Teacher prompts: “What everyday movements [crouch, slump] and body parts [foldedof character arms, bowed by adopting thoughts, feelings, B2.3 identify and give examples of their strengths, interests, THE ONTARIO CURRICULUM, GRADES 1–8 CURRICULUM, THE ONTARIO head] to express an idea such as deep thought) and sound design, costume design, set and prop do you do throughout the day?” “When you and gestures relevant to the role being played and areas for improvement as dramaBy thecreators, end of performers, Grade 1, students will: construction, stage management, and marketing and (e.g., use facial expressions, body movement, and promotion will all be done by the students enrolled in De La and audience members 66 B1.1 engage in dramatic play and role play, with words to respond in role to scenarios and questions; Salle’s inaugural Musical Theatre Production course with help a focus on exploring a variety of sources from express different points of view after reading a from industry professionals. B3.2 identify and describe a wide varietydiverse of ways communities, in which drama times, and places (e.g., picture book about issues of belonging and dis- ists continue to put a great deal of time and effort into their work. and theatre make or have made contributions to social, cultural, retell and enact nursery and other childhood rks of
Load more

Recommended publications
  • Nationalism in the French Revolution of 1789
    The University of Maine DigitalCommons@UMaine Honors College 5-2014 Nationalism in the French Revolution of 1789 Kiley Bickford University of Maine - Main Follow this and additional works at: https://digitalcommons.library.umaine.edu/honors Part of the Cultural History Commons Recommended Citation Bickford, Kiley, "Nationalism in the French Revolution of 1789" (2014). Honors College. 147. https://digitalcommons.library.umaine.edu/honors/147 This Honors Thesis is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Honors College by an authorized administrator of DigitalCommons@UMaine. For more information, please contact [email protected]. NATIONALISM IN THE FRENCH REVOLUTION OF 1789 by Kiley Bickford A Thesis Submitted in Partial Fulfillment of the Requirement for a Degree with Honors (History) The Honors College University of Maine May 2014 Advisory Committee: Richard Blanke, Professor of History Alexander Grab, Adelaide & Alan Bird Professor of History Angela Haas, Visiting Assistant Professor of History Raymond Pelletier, Associate Professor of French, Emeritus Chris Mares, Director of the Intensive English Institute, Honors College Copyright 2014 by Kiley Bickford All rights reserved. Abstract The French Revolution of 1789 was instrumental in the emergence and growth of modern nationalism, the idea that a state should represent, and serve the interests of, a people, or "nation," that shares a common culture and history and feels as one. But national ideas, often with their source in the otherwise cosmopolitan world of the Enlightenment, were also an important cause of the Revolution itself. The rhetoric and documents of the Revolution demonstrate the importance of national ideas.
    [Show full text]
  • PLAYHOUSE SQUARE January 12-17, 2016
    For Immediate Release January 2016 PLAYHOUSE SQUARE January 12-17, 2016 Playhouse Square is proud to announce that the U.S. National Tour of ANNIE, now in its second smash year, will play January 12 - 17 at the Connor Palace in Cleveland. Directed by original lyricist and director Martin Charnin for the 19th time, this production of ANNIE is a brand new physical incarnation of the iconic Tony Award®-winning original. ANNIE has a book by Thomas Meehan, music by Charles Strouse and lyrics by Martin Charnin. All three authors received 1977 Tony Awards® for their work. Choreography is by Liza Gennaro, who has incorporated selections from her father Peter Gennaro’s 1977 Tony Award®-winning choreography. The celebrated design team includes scenic design by Tony Award® winner Beowulf Boritt (Act One, The Scottsboro Boys, Rock of Ages), costume design by Costume Designer’s Guild Award winner Suzy Benzinger (Blue Jasmine, Movin’ Out, Miss Saigon), lighting design by Tony Award® winner Ken Billington (Chicago, Annie, White Christmas) and sound design by Tony Award® nominee Peter Hylenski (Rocky, Bullets Over Broadway, Motown). The lovable mutt “Sandy” is once again trained by Tony Award® Honoree William Berloni (Annie, A Christmas Story, Legally Blonde). Musical supervision and additional orchestrations are by Keith Levenson (Annie, She Loves Me, Dreamgirls). Casting is by Joy Dewing CSA, Joy Dewing Casting (Soul Doctor, Wonderland). The tour is produced by TROIKA Entertainment, LLC. The production features a 25 member company: in the title role of Annie is Heidi Gray, an 11- year-old actress from the Augusta, GA area, making her tour debut.
    [Show full text]
  • The Tony-Award-Winning Creators of Les Misérables and Miss Saigon
    Report on the January-February 2017 University of Virginia Events around Les Misérables Organized by Professor Emeritus Marva Barnett Thanks to the generous grant from the Arts Endowment, supported by the Provost’s Office Course Enhancement Grant connected to my University Seminar, Les Misérables Today, the University of Virginia hosted several unique events, including the world’s first exhibit devoted to caricatures and cartoons about Victor Hugo’s epic novel and the second UVA artistic residency with the award-winning creators of the world’s longest-running musical—artists who have participated in no other artistic residencies. These events will live on through the internet, including the online presence of the Les Misérables Just for Laughs scholarly catalogue and the video of the February 23 conversation with Boublil and Schönberg. Les Misérables Just for Laughs / Les Misérables Pour Rire Exhibit in the Rotunda Upper West Oval Room, Jan. 21-Feb. 28 Before it was made into over fifty films and an award-winning musical, Victor Hugo’s Les Misérables was a rampant best seller when it appeared in 1862. The popular cartoonists who had caricatured Hugo for thirty years leapt at the chance to satirize his epic novel. With my assistance and that of Emily Umansky (CLAS/Batten ’17), French Hugo specialist Gérard Pouchain mounted the first-ever exhibit of original publications of Les Misérables caricatures— ranging from parodies to comic sketches of the author with his characters. On January 23, at 4:00 p.m. he gave his illustrated French presentation, “La caricature au service de la gloire, ou Victor Hugo raconté par le portrait-charge,” in the Rotunda Dome Room to approximately 25 UVA faculty and students, as well as Charlottesville community members associated with the Alliance Française.
    [Show full text]
  • Navigating Brechtian Tradition and Satirical Comedy Through Hope's Eyes in Urinetown: the Musical Katherine B
    Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2016 "Can We Do A Happy Musical Next Time?": Navigating Brechtian Tradition and Satirical Comedy Through Hope's Eyes in Urinetown: The Musical Katherine B. Marcus Reker Scripps College Recommended Citation Marcus Reker, Katherine B., ""Can We Do A Happy Musical Next Time?": Navigating Brechtian Tradition and Satirical Comedy Through Hope's Eyes in Urinetown: The usicalM " (2016). Scripps Senior Theses. Paper 876. http://scholarship.claremont.edu/scripps_theses/876 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. “CAN WE DO A HAPPY MUSICAL NEXT TIME?”: NAVIGATING BRECHTIAN TRADITION AND SATIRICAL COMEDY THROUGH HOPE’S EYES IN URINETOWN: THE MUSICAL BY KATHERINE MARCUS REKER “Nothing is more revolting than when an actor pretends not to notice that he has left the level of plain speech and started to sing.” – Bertolt Brecht SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR OF ARTS GIOVANNI ORTEGA ARTHUR HOROWITZ THOMAS LEABHART RONNIE BROSTERMAN APRIL 22, 2016 II ACKNOWLEDGEMENTS This thesis would not be possible without the support of the entire Faculty, Staff, and Community of the Pomona College Department of Theatre and Dance. Thank you to Art, Sherry, Betty, Janet, Gio, Tom, Carolyn, and Joyce for teaching and supporting me throughout this process and my time at Scripps College. Thank you, Art, for convincing me to minor and eventually major in this beautiful subject after taking my first theatre class with you my second year here.
    [Show full text]
  • Les Mis Education Study Guide.Indd
    And remember The truth that once was spoken, To love another person Is to see the face of God. THE CHARACTERS QUESTIONS / • In the end, what does Jean society who have lost their DISCUSSION IDEAS Valjean prove with his life? humanity and become brutes. Are there people in our society • Javert is a watchdog of the legal who fi t this description? • What is Hugo’s view of human process. He applies the letter nature? Is it naturally good, of the law to every lawbreaker, • Compare Marius as a romantic fl awed by original sin, or without exception. Should he hero with the romantic heroes of somewhere between the two? have applied other standards to a other books, plays or poems of man like Jean Valjean? the romantic period. • Describe how Hugo uses his characters to describe his view • Today, many believe, like Javert, • What would Eponine’s life have of human nature. How does that no mercy should be shown been like if she had not been each character represent another to criminals. Do you agree with killed at the barricade? facet of Hugo’s view? this? Why? • Although they are only on stage • Discuss Hugo’s undying belief • What does Javert say about his a brief time, both Fantine and that man can become perfect. past that is a clue to his nature? Gavroche have vital roles to How does Jean Valjean’s life play in Les Misérables and a illustrate this belief? • What fi nally destroys Javert? deep impact on the audience. Hugo says he is “an owl forced What makes them such powerful to gaze with an eagle.” What characters? What do they have does this mean? in common? Name some other • Discuss the Thénardiers as characters from literature that individuals living in a savage appear for a short time, but have a lasting impact.
    [Show full text]
  • Download Story of Easter 0.Pdf
    Easter is the most important holiday of the year for Christians. To appreciate this holiday it is necessary to really grasp the drama and significance of Jesus’death and resurrection. This story is one of the most dramatic in the whole Bible. However, the Bible is an old book and not written like a modern novel. Therefore it is easy to miss the drama and significance of this story when reading it for the first time. I have written this short version of the story to help you understand this story and the significance of this holiday for us who follow Jesus. -Len Andyshak The Easter Story Matthew 26-28, Mark 14-15, Luke 22-24, John 18-21 It is noon and something has changed. The morning has been sunny and the sky blue. But now it is noon and the sky is dark. Heavy clouds hang low in the sky blocking the sun. It is noon, but it seems as if night is coming. Everything is quiet. Birds are still and people speak in whispers. Something is very wrong. Blood is slowly oozing from the nail which has been driven through Jesus’hand. He is weak and struggling to breathe as he hangs on a wooden cross by three nails which have been driven through his hands and feet. In the dim light he can hear his own heart beating, but he knows that he will die on this cross - under these dark and eerie clouds. For three years Jesus had been one of the most well known people in Israel.
    [Show full text]
  • Jean Valjean, After Spending Nineteen Years in Jail and in the Galleys For
    Les Miserables by Victor Hugo – A Summary (summary from http://education.yahoo.com/homework_help/cliffsnotes/les_miserables/4.html) Jean Valjean, after spending nineteen years in jail and in the galleys for stealing a loaf of bread to feed his starving family (and for several attempts to escape) is finally released, but his past keeps haunting him. At Digne, he is repeatedly refused shelter for the night. Only the saintly bishop, Monseigneur Myriel, welcomes him. Valjean repays his host's hospitality by stealing his silverware. When the police bring him back, the bishop protects his errant guest by pretending that the silverware is a gift. With a pious lie, he convinces them that the convict has promised to reform. After one more theft, Jean Valjean does indeed repent. Under the name of M. Madeleine he starts a factory and brings prosperity to the town of Montreuil. Alone and burdened with an illegitimate child, Fantine is on the way back to her hometown of Montreuil, to find a job. On the road, she entrusts her daughter to an innkeeper and his wife, the Thénardiers. In Montreuil, Fantine finds a job in Madeleine's (Valjean’s) factory and attains a modicum of prosperity. Unfortunately she is fired after it is discovered that she has an illegitimate child. At the same time, she must meet increasing financial demands by the Thénardiers. Defeated by her difficulties, Fantine turns to prostitution. Tormented by a local idler, she causes a disturbance and is arrested by Inspector Javert. Only Madeleine's (Valjean’s) forceful intervention keeps her out of jail.
    [Show full text]
  • The Cover Brothers
    The cover brothers Set List 60’s & older I Love Rock ‘N Roll I Believe in a thing Called Love I Am The One And Only I Gotta Feeling Brown Eyed Girl Kiss Lady Build Me Up Buttercup Like A Virgin Last Night Drive My Car Livin' On A Prayer Mr Brightside Good Vibrations Never Too Much Music Sounds Better With You Heard It On The Grapevine Nothing's Gonna Stop Us Now OMG Hound Dog Power Of Love Please Don't Stop The Music I'm A Believer Simply The Best Rock Ya Body Jail House Rock Summer Of 69 SeX On Fire Mustang Sally Sweet Child Of Mine Take Me Out - Franz Ferdinand Stand By Me Tainted Love Take Your Mama Suspicious Minds The Way You Make Me Feel Teenage Dirtbag Twist & Shout Wake Me Up Before You Go Go The Best Of You Wonderful World You Spin Me Round Use Somebody Valerie 70’s 90’s You Got The Love Alright Now Common People 2010 onwards Best Of My Love Dancing In The Moonlight Crazy Little Thing Called Love Disco 2000 Beautiful People Don’t Stop Me Now Faith Blurred Line Fly Away Don't Stop 'Til You Get Enough Counting Stars Easy Kiss From A Rose Don’t You Worry Child Hot Stuff Love Foolosophy Isn’t She Lovely Oasis Get Lucky Lovely Day Place Your Hands Happy Play That Funky Music Sing It Back Just the Way You Are Song 2 Signed Sealed Delivered Locked Out of Heaven Staying Alive What’s Up Mirrors Stuck In The Middle Superstition 2000’s Moves Like Jagger Sweet Home Alabama Set Fire to The Rain That’s The Way I Like It Beggin’ She Said We Are The Champion Black and Gold Teenage Dream Can't Get You Out OF My Head Thinkin’ Bout you Come on Girl 80’s Crazy Too Close Gotta Get Through This Wake Me Up Billie Jean Hey Ya We Found Love Dont Stop Believing Wild Ones WWW.ELM.AGENCY [email protected] 020 8123 3917 .
    [Show full text]
  • JOSEPH SCHMIDT Musical Direction By: EMILY BENGELS Choreography By: KRISTIN SARBOUKH
    Bernards Township Parks & Recreation and Trilogy Repertory present... 2021 Produced by: JAYE BARRE Directed by: JOSEPH SCHMIDT Musical Direction by: EMILY BENGELS Choreography by: KRISTIN SARBOUKH Book by THOMAS MEEHAN Music by CHARLES STROUSE Lyrics by MARTIN CHARNIN Original Broadway production directed by MARTIN CHARNIN. Based on “Little Orphan Annie.” By permission of Tribune Content Agency, LLC. ANNIE is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are supplied by MTI. www.MTIShows.com This production is dedicated to the memory of beloved Trilogy Repertory member Chris Winans who gave of his time and spirit for many years and in many performances. Chris was a valued member of our Trilogy family and will be greatly missed. Summer, 2021 Dear Residents and Friends of the Community, Good evening and welcome to the Bernards Township Department of Parks and Recreation’s 34th season of Plays in the Park. So many of you enjoy and look forward to the plays year after year. I am excited that the Township brings this tradition free to the public for all to enjoy. Bernards Township proudly sponsors this event and substantially subsidizes the budget because we recognize the importance of keeping performing arts alive. It is truly wonderful that these productions are here, under the stars, in Pleasant Valley Park. Bernards Township offers many opportunities to enjoy family outings such as Plays In The Park. You can stay current on all our special events by visiting our website at www.bernards.org. There you will find information on the wide variety of programs we offer.
    [Show full text]
  • Les Mis, Lyrics
    LES MISERABLES Herbert Kretzmer (DISC ONE) ACT ONE 1. PROLOGUE (WORK SONG) CHAIN GANG Look down, look down Don't look 'em in the eye Look down, look down You're here until you die. The sun is strong It's hot as hell below Look down, look down There's twenty years to go. I've done no wrong Sweet Jesus, hear my prayer Look down, look down Sweet Jesus doesn't care I know she'll wait I know that she'll be true Look down, look down They've all forgotten you When I get free You won't see me 'Ere for dust Look down, look down Don't look 'em in the eye. !! Les Miserables!!Page 2 How long, 0 Lord, Before you let me die? Look down, look down You'll always be a slave Look down, look down, You're standing in your grave. JAVERT Now bring me prisoner 24601 Your time is up And your parole's begun You know what that means, VALJEAN Yes, it means I'm free. JAVERT No! It means You get Your yellow ticket-of-leave You are a thief. VALJEAN I stole a loaf of bread. JAVERT You robbed a house. VALJEAN I broke a window pane. My sister's child was close to death And we were starving. !! Les Miserables!!Page 3 JAVERT You will starve again Unless you learn the meaning of the law. VALJEAN I know the meaning of those 19 years A slave of the law. JAVERT Five years for what you did The rest because you tried to run Yes, 24601.
    [Show full text]
  • Les Miserables Audition Pack Stanwell Senior Musical Rehearsals
    Les Miserables Audition Pack Stanwell Senior Musical Rehearsals: September – December 2019 Show dates: Monday 16th –Thursday 20th December 2019 Contents Audition Dates Important information Character information Audition Material Recall Material We are really looking forward to the auditions, good luck! The Auditions In the audition, you will sing in groups. If you would like to be a member of chorus, you will not be asked to sing alone Week Day/Date Time Who? Where? 2 Mon 9th Sept 3-5pm BOYS Auditorium 2 Wed 11th 3-5pm GIRLS Auditorium Sept 2 Thurs 12th 3-5pm Little COSETTE & GAVROCHE Auditorium Sept AUDITIONS (Open to year 8/9 pupils who attend junior choir) 3 Mon 16th 3-5.30 RECALL 1 Auditorium Sept 3 Wed 18th 3-5.30 RECALL 2 Auditorium Sept 3 Thurs 19th 3-4 DANCE AUDITIONS Auditorium Sept Dancers must do a group singing audition Audition Material (more info later in this pack) BOYS You may pick any of the below songs to sing in your audition. Chorus member (Drink with me) Enjorlas (Red and Black) Jean Val Jean (Soliloquy) Javert (Stars) Marius (Empty Chairs) Thenardier (Master of the House) Gavroche (Little People) Bishop (Prologue) GIRLS Chorus member/Eponine (On My Own) Mrs Thenardier (Master of the House ) Fantine (I dreamed a dream) Cosette (In my life) Little Cosette (Castle on a Cloud) Please note that Senior Choir rehearsals will take place on a Friday, we do expect pupils in the school musicals to take part in the school choirs. Important Information Rehearsals are as follows: Monday – small groups & principals Wednesday – whole cast Thursday – solos/duets You must be available for the important rehearsals & shows below.
    [Show full text]
  • Lesher Will Hear the People Sing Contra Costa Musical Theatre Closes 53Rd Season with Epic Production
    Lesher Will Hear The People Sing Contra Costa Musical Theatre Closes 53rd Season with Epic Production WALNUT CREEK, February 15, 2014 — Contra Costa Musical Theatre (CCMT) will present the epic musical “Les Miserables“at Walnut Creek’s Lesher Center for the Arts, March 21 through April 20, 2014. Tickets for “Les Miserables” range from $45 to $54 (with discounts available for seniors, youth, and groups) and are on sale now at the Lesher Center for the Arts Ticket Office, 1601 Civic Drive in Walnut Creek, 925.943.SHOW (943-7469). Tickets can also be purchased online at www.lesherArtscenter.org. Based on the novel of the same name by Victor Hugo, “Les Miserables” has music by Claude-Michel Schonberg, lyrics by Alain Boublil, Jean-Marc Natel and Herbert Kretzmer and book by Schonberg, Boublil, Trevor Nunn and John Caird. The show premiered in London, where it has been running continuously since 1985, making it the longest-running musical ever in the West End. It opened on Broadway in 1987 and ran for 6,680 performances, closing in 2003, making it the fifth longest-running show on Broadway. A Broadway revival ran from 2008 through 2010. A film version of the musical opened in 2012 and was nominated for eight Academy Awards, winning three statues. “Les Miserables” won eight Tony Awards including Best Musical. Set in early 19th-century France, it follows the story of Jean Valjean, a French peasant, and his quest for redemption after serving nineteen years in jail for having stolen a loaf of bread for his sister’s starving child.
    [Show full text]