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Show Boat Little Theatre on the Square
Eastern Illinois University The Keep 1967 Shows Programs 1967 Summer 7-24-1967 Show Boat Little Theatre on the Square Follow this and additional works at: http://thekeep.eiu.edu/little_theatre_1967_programs Part of the Theatre History Commons Recommended Citation Little Theatre on the Square, "Show Boat" (1967). 1967 Shows Programs. 8. http://thekeep.eiu.edu/little_theatre_1967_programs/8 This Book is brought to you for free and open access by the 1967 at The Keep. It has been accepted for inclusion in 1967 Shows Programs by an authorized administrator of The Keep. For more information, please contact [email protected]. "Central Illinois' Only Equity Stur lZlusic and Drama Theatre" Eleventh Season a May - October 1967 Sullivan, Illinois 6uy S. Little, Jr. Presents BRUCE YARNELL in "HOVJ BOAT" July 25 - August 6, 1967 6y S. littleI Jr. PRESBNTS BRUCE YARNELL "SHOI BOAT' Music by JEROME KERN Book and Lyrics by OSCAR HAMMERSTEIN 2nd Based on the novel "Show BoaP by EDNA FERBER wlth MARCIA KIN6 Jetill Little, Art KQSUI~John KelsoI Stwe S-:. EDWARD PIERSON and BUTTERFLY MaQUEEW Directed by ROBERT BAKER ::.:;:' Choreography by GEORGE BUNT Musical Direction by DONALD W. CHA@ Assistant Murical Direction by ROIBRT MCWCapW . .* Scenery ~esi~nedby KENNETH E. LlQ%f@. Production Stag. Manamr Assistant Stage Mmapr RICHARD GHWON BILL TSOKOS =MEN- Wk ENTIRE PRODUCTION UNDER THE SUPERVISION OT 5 :. --, . ' I CAST , , -: Captain Andy.. ..........................., ....................... ART -1 Ellie ......................................................... -
Edna Ferber Last
EDNA FERBER’S WOMEN CHARACTERS, 1911 – 1930, AND THE REINTERPRETATION OF THE AMERICAN DREAM THROUGH A FEMALE LENS A Thesis Submitted to the Faculty of The School of Continuing Studies And the Graduate School of Arts and Sciences In partial fulfillment of the requirements for the degree of Master of Arts In Liberal Studies By Anne Efman Abramson, B.A. Georgetown University Washington, D.C. April 30, 2010 EDNA FERBER’S WOMEN CHARACTERS, 1911 – 1930, AND THE REINTERPRETATION OF THE AMERICAN DREAM THROUGH A FEMALE LENS Anne E. Abramson, B.A. Mentor: Michael Collins, Ph. D. ABSTRACT Edna Ferber (1885‐1963) was a Pulitzer Prize‐winning author and one of the most popular writers of her time. Today, however, she is rarely read in schools or colleges, although her plays are still produced, and the films based on her novels, plays and short stories continue to be appreciated by classic film lovers. This thesis demonstrates how Edna Ferber created female characters in the early years of the twentieth century who struggled against the constraints of society’s traditional female roles, who were the first in their nontraditional professions, and who achieved their own version of the American Dream. Edna Ferber also revisited American history with stories that highlighted women’s contributions to America. This thesis first introduces Edna Ferber, her background and her early years drawing from Ferber’s two autobiographies, A Peculiar Treasure, 1939, and ii A Kind of Magic, 1963. Second, it discusses the New Woman at the turn of the century; the American Dream, historically and in relation to Ferber’s female characters; and Edna Ferber as a middlebrow modern writer whose literary output had powerful cultural agency. -
Arguing Their World: the Representation of Major Social and Cultural Issues in Edna Ferber’S and Fannie Hurst’S Fiction, 1910-1935
1 ARGUING THEIR WORLD: THE REPRESENTATION OF MAJOR SOCIAL AND CULTURAL ISSUES IN EDNA FERBER’S AND FANNIE HURST’S FICTION, 1910-1935 A dissertation presented By Kathryn Ruth Bloom to The Department of English In partial fulfillment of the reQuirements for the degree of Doctor of Philosophy In the field of English Northeastern University Boston, Massachusetts April 2018 2 ARGUING THEIR WORLD: THE REPRESENTATION OF MAJOR SOCIAL AND CULTURAL ISSUES IN EDNA FERBER’S AND FANNIE HURST’S FICTION, 1910-1935 A dissertation presented By Kathryn Ruth Bloom ABSTRACT OF DISSERTATION Submitted in partial fulfillment of the reQuirements for the degree of Doctor of Philosophy in English in the College of Social Sciences and Humanities of Northeastern University April 2018 3 ABSTRACT BetWeen the early decades of the twentieth-century and mid-century, Edna Ferber and Fannie Hurst were popular and prolific authors of fiction about American society and culture. Almost a century ago, they were writing about race, immigration, economic disparity, drug addiction, and other issues our society is dealing with today with a reneWed sense of urgency. In spite of their extraordinary popularity, by the time they died within a feW months of each other in 1968, their reputations had fallen into eclipse. This dissertation focuses on Ferber’s and Hurst’s fiction published betWeen approximately 1910 and 1935, the years in Which both authors enjoyed the highest critical and popular esteem. Perhaps because these realistic narratives generally do not engage in the stylistic experimentation of the literary world around them, literary scholars came to undervalue their Work. -
The 1958 Summer of Musicals
I); Welcome to the 1958 Summer of Musicals . Welcome to Broadway in the country. Last season was the first time Guy S. Little, Jr., presented his SUMMER OF MUSI- CALS in Sullivan. That season was the culmination of many years of planning and dreaming. When very young he spent three seasons in summer stock at Keene, New Hampshire, and at Gateway Musical Playhouse at Ocean City, New Jersey. There he learned theatre business from the ground up . from making negligees for the leading lady to building scenery and stages. He was so enthralled with the theatre that he majored in drama at the University of Miami. While there he played numerous roles at the Ring Theatre and appeared in six operas with the Miami Opera Guild in support to Metropolitan opera stars. At Miami he met his wife, Jerili, who was a voice and drama major also. There he also had experience in directing, designing and publicity work. After receiving his B.A. he did graduate work at The American Theatre Wing and at Columbia University in New York City to further prepare himself to be a theatre producer. For the past ten years he familiarized himself with all Broadway productions of the past and present. He col- lected props and costumes for the day when he would operate a summer theatre. All during these years of preparation his dream was to bring the theatre to the Midwest, to the country. Why should New England be the only place where one could see the best of Broadway in summer stock? Would not the Mid- west, would not his home town support a SUMMER OF MU- SICALS? And so SUMMER OF MUSICALS opened July 3, 1957, with ERIGADOON featuring a New York cast. -
Lee Morgan Chronology 1956–1972 by Jeffery S
Delightfulee Jeffrey S. McMillan University of Michigan Press Lee Morgan Chronology 1956–1972 By Jeffery S. McMillan This is an annotated listing of all known Lee Morgan performances and all recordings (studio, live performances, broadcasts, telecasts, and interviews). The titles of studio recordings are given in bold and preceded by the name of the session leader. Recordings that appear to be lost are prefaced with a single asterisk in parentheses: (*). Recordings that have been commercially issued have two asterisks: **. Recordings that exist on tape but have never been commercially released have two asterisks in parentheses: (**). Any video footage known to survive is prefaced with three asterisks: ***. Video footage that was recorded but appears to now be lost is prefaced with three asterisks in parentheses: (***). On numerous occasions at Slugs’ Saloon in Manhattan, recording devices were set up on the stage and recorded Morgan’s performances without objection from the trumpeter. So far, none of these recordings have come to light. The information herein is a collation of data from newspapers, periodicals, published and personal interviews, discographies, programs, pamphlets, and other chronologies of other artists. Morgan’s performances were rarely advertised in most mainstream papers, so I drew valuable information primarily from African-American newspapers and jazz periodicals, which regularly carried ads for nightclubs and concerts. Entertainment and nightlife columnists in the black press, such as “Woody” McBride, Masco Young, Roland Marsh, Jesse Walker, Art Peters, and Del Shields, provided critical information, often verifying the personnel of an engagement or whether an advertised appearance occurred or was cancelled. Newspapers that I used include the Baltimore Afro-American (BAA), Cleveland Call & Post (C&P), Chicago Defender (CD), New Jersey Afro-American (NJAA), New York Amsterdam News (NYAN), Philadelphia Tribune (PT), and Pittsburgh Courier (PC). -
PLAYNOTES Season: 43 Issue: 05
PLAYNOTES SEASON: 43 ISSUE: 05 BACKGROUND INFORMATION PORTLANDSTAGE The Theater of Maine INTERVIEWS & COMMENTARY AUTHOR BIOGRAPHY Discussion Series The Artistic Perspective, hosted by Artistic Director Anita Stewart, is an opportunity for audience members to delve deeper into the themes of the show through conversation with special guests. A different scholar, visiting artist, playwright, or other expert will join the discussion each time. The Artistic Perspective discussions are held after the first Sunday matinee performance. Page to Stage discussions are presented in partnership with the Portland Public Library. These discussions, led by Portland Stage artistic staff, actors, directors, and designers answer questions, share stories and explore the challenges of bringing a particular play to the stage. Page to Stage occurs at noon on the Tuesday after a show opens at the Portland Public Library’s Main Branch. Feel free to bring your lunch! Curtain Call discussions offer a rare opportunity for audience members to talk about the production with the performers. Through this forum, the audience and cast explore topics that range from the process of rehearsing and producing the text to character development to issues raised by the work Curtain Call discussions are held after the second Sunday matinee performance. All discussions are free and open to the public. Show attendance is not required. To subscribe to a discussion series performance, please call the Box Office at 207.774.0465. By Johnathan Tollins Portland Stage Company Educational Programs are generously supported through the annual donations of hundreds of individuals and businesses, as well as special funding from: The Davis Family Foundation Funded in part by a grant from our Educational Partner, the Maine Arts Commission, an independent state agency supported by the National Endowment for the Arts. -
The Great American Songbook in the Classical Voice Studio
THE GREAT AMERICAN SONGBOOK IN THE CLASSICAL VOICE STUDIO BY KATHERINE POLIT Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May, 2014 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. ___________________________________ Patricia Wise, Research Director and Chair __________________________________ Gary Arvin __________________________________ Raymond Fellman __________________________________ Marietta Simpson ii For My Grandmothers, Patricia Phillips and Leah Polit iii ACKNOWLEDGMENTS I wish to express my sincerest thanks to the members of my committee—Professor Patricia Wise, Professor Gary Arvin, Professor Marietta Simpson and Professor Raymond Fellman—whose time and help on this project has been invaluable. I would like to especially thank Professor Wise for guiding me through my education at Indiana University. I am honored to have her as a teacher, mentor and friend. I am also grateful to Professor Arvin for helping me in variety of roles. He has been an exemplary vocal coach and mentor throughout my studies. I would like to give special thanks to Mary Ann Hart, who stepped in to help throughout my qualifying examinations, as well as Dr. Ayana Smith, who served as my minor field advisor. Finally, I would like to thank my family for their love and support throughout my many degrees. Your unwavering encouragement is the reason I have been -
Hugh Panaro Is Perhaps Best Known for Having Played the Coveted Role
Hugh Panaro is perhaps best known for having played the coveted role of the Phantom in Broadway's The Phantom of the Opera over 2,000 times, including the 25th Anniversary production. In fact, Hugh is one of the few actors to be cast by Harold Prince as both The Phantom and Raoul in the show's Broadway production. Hugh made his Broadway debut in the original production of Les Misérables as Marius, the role he originated in the First National Company. He also created the roles of Buddy in the original Side Show (Sony cast recording); Julian Craster in Jule Styne's last musical, The Red Shoes; and the title role in the American premiere of Cameron Mackintosh's Martin Guerre. Hugh was nominated for an Outer Critics Circle Award for his performance in the title role of Elton John's Lestat, based on Anne Rice's Vampire Chronicles. He made his West End debut in the original London company of Harold Prince's Show Boat as Gaylord Ravenal, the role he previously played in the Broadway and Toronto productions. At the prestigious 5th Avenue Theater in Seattle, Hugh played George Seurat in Sam Buntrock's Tony Award-winning production of Sunday in the Park with George, and Robert in Stephen Sondheim's Company. Hugh's performance as Jean Valjean in the Walnut Street Theater's production of Les Misérables earned him the prestigious Barrymore Award, for which he was again nominated after a turn as Fagin in Oliver! In 2012, Hugh was honored with the Edwin Forrest Award for his long-term contribution to the theater. -
South Pacific
THE MUSICO-DRAMATIC EVOLUTION OF RODGERS AND HAMMERSTEIN’S SOUTH PACIFIC DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By James A. Lovensheimer, M.A. ***** The Ohio State University 2003 Dissertation Committee: Approved by Professor Arved Ashby, Adviser Professor Charles M. Atkinson ________________________ Adviser Professor Lois Rosow School of Music Graduate Program ABSTRACT Since its opening in 1949, Rodgers and Hammerstein’s Pulitzer Prize- winning musical South Pacific has been regarded as a masterpiece of the genre. Frequently revived, filmed for commercial release in 1958, and filmed again for television in 2000, it has reached audiences in the millions. It is based on selected stories from James A. Michener’s book, Tales of the South Pacific, also a Pulitzer Prize winner; the plots of these stories, and the musical, explore ethnic and cutural prejudice, a theme whose treatment underwent changes during the musical’s evolution. This study concerns the musico-dramatic evolution of South Pacific, a previously unexplored process revealing the collaborative interaction of two masters at the peak of their creative powers. It also demonstrates the authors’ gradual softening of the show’s social commentary. The structural changes, observable through sketches found in the papers of Rodgers and Hammerstein, show how the team developed their characterizations through musical styles, making changes that often indicate changes in characters’ psychological states; they also reveal changing approaches to the musicalization of the novel. Studying these changes provides intimate and, occasionally, unexpected insights into Rodgers and Hammerstein’s creative methods. -
Jerome Kern Collection [Finding Aid]. Library of Congress. [PDF Rendered
Jerome Kern Collection Guides to Special Collections in the Music Division of the Library of Congress Music Division, Library of Congress Washington, D.C. 2005 Revised 2010 March Contact information: http://hdl.loc.gov/loc.music/perform.contact Additional search options available at: http://hdl.loc.gov/loc.music/eadmus.mu002004 LC Online Catalog record: http://lccn.loc.gov/95702650 Processed by the Music Division of the Library of Congress Collection Summary Title: Jerome Kern Collection Span Dates: 1905-1945 Call No.: ML31.K4 Creator: Kern, Jerome, 1885-1945 Extent: circa 7,450 items ; 102 boxes ; 45 linear feet Language: Collection material in English Location: Music Division, Library of Congress, Washington, D.C. Summary: The collection consists primarily of Kern's show music, some holograph sketches; most are manuscript full and vocal scores of Kern's orchestrators and arrangers, especially Frank Saddler and Robert Russell Bennett. Film and other music also is represented, as well as a small amount of correspondence. Selected Search Terms The following terms have been used to index the description of this collection in the Library's online catalog. They are grouped by name of person or organization, by subject or location, and by occupation and listed alphabetically therein. People Bennett, Robert Russell, 1894-1981. Kern, Jerome, 1885-1945--Correspondence. Kern, Jerome, 1885-1945. Kern, Jerome, 1885-1945. Kern, Jerome, 1885-1945. Selections. Saddler, Frank. Subjects Composers--United States--Correspondence. Musical sketches. Musicals--Scores. Musicals--Vocal scores with piano. Titles Kern collection, 1905-1945 Administrative Information Provenance The bulk of the material, discovered in a Warner Bros. -
Show Boat” (1932) Added to the National Registry: 2005 Essay by Todd Decker (Guest Post)*
“Show Boat” (1932) Added to the National Registry: 2005 Essay by Todd Decker (guest post)* Helen Morgan Original album package Paul Robeson Before the long-playing record (or LP) made original cast albums a key component of the Broadway musical, record companies recognized the potential of turning a Broadway score into a unified experience for home listeners. The 1927 musical “Show Boat” was the first to receive this treatment. In 1932, the year of “Show Boat’s” first Broadway revival, the Brunswick label released a set of four specially-recorded 78s of songs from the show. The discs were bound in a handsome album featuring cover art taken from the sheet music for the Broadway show which had, in turn, been derived from the cover of Edna Ferber’s 1926 novel. The lavish set’s liner notes described the collection as an “album of music from one of the most tuneful and popular operettas of the modern day.” Conducted by Victor Young and using custom orchestral arrangements—not those played by the pit orchestra in the theater—the Brunswick set features two singing stars who shaped “Show Boat” both in the minds of its creators and for the show’s enthusiastic early audiences: Paul Robeson and Helen Morgan. Music critics praised the unity of Young’s collection, “obviously recorded as a unit and with great care.” And even though listening to all eight sides would have been a clunky affair at the time—involving much changing and flipping of discs—Young clearly imagined the set as a whole. The inclusion of sides titled “Overture” and “’Show Boat’ Finale” suggest a partial playing order. -
Values at Barnatd Castle " SHOWBOAT. O
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