DOCSLIB.ORG

Musical Direction by Brandon Adams Directed & Choreographed By

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Musical Direction by Brandon Adams Directed & Choreographed By CENTER REPERTORY COMPANY OF WALNUT CREEK Michael Butler, Artistic Director Scott Denison, Managing Director presents Music by Lyrics by Eric Rockwell Joanne Bogart Book by Eric Rockwell & Joanne Bogart Cast Milissa Carey* Dani Marcus* Mark Farrell* Quinn Van Antwerp* Scenic Designer Lighting Designer Costume Designer Robert Broadfoot Kurt Landisman Cassandra Carpenter Sound Designer Film by Stage Manager Jeff Mockus Jeffrey Draper Allison Ward* Musical Direction by Brandon Adams Directed & Choreographed by Mindy Cooper Original New York Production by THE YORK THEATRE COMPANY James Morgan, Producing Artistic Director Commercially Produced in NYC by MELANIE HERMAN May 15 - Jun 14, 2008 Lesher Center for the Arts Margaret Lesher Theatre Season Sponsor Season Partner Season Media Sponsor *Member of Actors’ Equity Association, the union of Professional Actors and Stage Managers in the United States The Scenic Designer, Costume Designer, Lighting Designer and Sound Designer are members of United Scenic Artists Union The Director in this production is a member of the Society of Stage Directors and Choreographers CAST BIOGRAPHIES CREATIVE TEAM ACT 1 Milissa Carey* is delighted to be back Mindy Cooper (Director/ at Center REP after having previously Choreographer) Director and CORN appeared in Tom Foolery and A Christmas Choreographer credits: Broadway- Dracula: The Musical, Wrong Mountain. In the style of Rodgers & Hammerstein Carol. Recent appearances included Amanda in Private Lives at CCT. Off-Broadway- Five Course Love. Other credits include the Broadway National Tour-Titanic. New York City- Big Willy ................................... Quinn Van Antwerp National Tour of Evita, directed by Hal Prince. Bay Area The Gospel According to Tammy Faye (Staged Reading, Manhattan Mother Abby ........................................ Milissa Carey credits include: SF Playhouse (Putting It Together), Pacific Theater Club), Music in the Night, A Tribute to Joanne Kern for June ........................................................Dani Marcus Alliance Stage Company (A Little Night Music), AMTSJ the Broadway Cabaret Series at Town Hall. Regionally- Fiddler Jidder ...................................................... Mark Farrell (Evita), Theatreworks (Sunday in the Park with George, on the Roof (Nevada Conservatory Theater), Urinetown (Artist Amadeus, The Mistress Cycle, Princess Carabou), San Jose Rep in Residence, UC Davis), The New Bozena (Hudson Theater, A LITTLE COMPLEX (Her Lightness), TheatreFirst (Making Noise Quietly, LA), Heart & Soul (St. Petersburg Russia), Fair Liberty’s Call In the style of Stephen Sondheim Conversations After A Burial), Thick Description (Firebird (World Premiere), Chicago, The Secret Annex, Titanic,Jesus Christ Motel, World Premier), Foothill Music Theatre (On the 20th Superstar, Five Course Love. She has choreographed numerous Billy ........................................... Quinn Van Antwerp Century, Kiss Me Kate, Fiddler on the Roof), Willows Theatre benefits, commercials and industrials, as well as Law & Order, Abby ...................................................... Milissa Carey (1776, George Washington Slept Here, Rags), 42nd Street Moon Criminal Intent. As a performer, she has appeared on Broadway Jeune ...................................................... Dani Marcus (Once Upon a Mattress, Nymph Errant, Lady Be Good, On a in Chicago (Original Revival), Titanic (Original Cast), Beauty Jitter ....................................................... Mark Farrell Clear Day), Broadway by the Bay (42nd Street, Phantom of the and the Beast, Song & Dance, and Tenderloin (Encores!). Off- Opera), Theatre Rhinoceros (Rhinoceros), San Francisco Broadway, she has worked extensively at Joseph Papp’s New DEAR ABBY Playwrights Festival, PlayGround and George Coates York Shakespeare Festival in The Petrified Prince, Up Against In the style of Jerry Herman PerformanceWorks. It, Genesis, and The Vineyard Theater’s The Chocolate Ambassador. Regionally, she has performed many classics, William ..................................... Quinn Van Antwerp Mark Farrell* has worked as an actor in including West Side Story, Chicago, Merrily We Roll Along, Pippin, Auntie Abby ......................................... Milissa Carey the Bay Area for over 15 years. He has On Your Toes, A Chorus Line, Singin’ In the Rain and ......Forum. She has danced as a member of Twyla Tharp Dance, The Feld Junie Faye ..............................................Dani Marcus appeared at Center REPertory Company Ballet, The Kansas City Ballet, and David Grenke’s Mr. Jitters ............................................... Mark Farrell in Fugitive Kind, Noel & Gertie, (Bay Area Theatre Critic’s Circle Award/Shellie Thingseziseem Dance Theatre. ACT 2 Award), Around the World in 80 Days Brandon Adams (Musical Director) is thrilled to be involved (Director: Michael Butler), Laughter on the 23rd Floor, and The with Musical of Musicals, having worked with the show’s Mousetrap. Most recently, Mark completed a three-month authors, Joanne Bogart (Mame) and Eric Rockwell (Cabaret) ASPECTS OF JUNITA tour of Belgium and The Netherlands performing in the In the style of Andrew Lloyd Webber at Mount Washington Valley Theatre Company in New Reduced Shakespeare Company’s Completely Hollywood: Hampshire. Some of his favorite Bay Area credits include the Abridged. Other productions/theatres: The Crucible, Lady in West Coast premiers of The Last Five Years and the David Bill ............................................. Quinn Van Antwerp the Dark, Wonderful Town, Me & My Girl, Splittin’ the Raft Henry Hwang version of Flower Drum Song, and some other Abigail Von Schtarr .............................. Milissa Carey (world premiere), Old Wicked Songs – Marin Theatre Company; favorite credits include Funny Girl, Girl Crazy, Me and My Junita ...................................................... Dani Marcus Haunting of Winchester (Director: Michael Butler, world Girl, Too Many Girls, and Something for the Boys. Brandon is Phantom Jitter ....................................... Mark Farrell premiere)– San Jose Rep; Loaded (Director: Barbara Damashek)– a graduate of Dartmouth (AB) and Indiana University (MM Ars Nova Theatre, NYC; Travesties (understudy) – ACT; The in Choral Conducting). He is music director at the Urban SPEAKEASY Fantasticks (BATCC Award), Putting It Together – SF School of San Francisco and he lectures at San Francisco In the style of Kander & Ebb Playhouse; Judgment at Nuremberg, A Day in Hollywood/A Night State University. in the Ukraine – Willows Theatre; Cabaret – Solano College Villy ........................................... Quinn Van Antwerp (guest artist). Next up, Mark will reprise his role in Around the Robert Broadfoot (Scenic Designer) has worked as a freelance Fraulein Abby ...................................... Milissa Carey World in 80 Days for San Jose Rep. scenic designer since 1996. Recent critically acclaimed designs include at Pacific Resident Theatre in Venice Juny ........................................................Dani Marcus The Hasty Heart and the world premier of C. Michele Kaplan’s ‘Bot at The Jutter ...................................................... Mark Farrell Dani Marcus* is delighted to make her Center REP debut. Ms. Marcus’ New Magic Theater. He devised the new work Sanatorium Under York credits include her recent Off- the Sign of the Hourglass with prominent European director Broadway debut in the Drama Desk Helena Kaut-Howson and designed Urinetown for Broadway nominated Pirates of Penzance (Mabel) choreographer and director Mindy Cooper. Robert is currently designing for several of San Francisco’s notable professional CHORUS with the National Yiddish Theatre, and (Bessie Two) as a part of the New York Musical theaters, and his most recent regional theater project was (Really good actors like the ones listed never appear in the River’s End Theatre Festival. Bay Area credits include West Side Story Doubt at the Nevada Conservatory Theatre. His career as an chorus unless it turns out that, well, they have to. And (Maria) for Broadway By The Bay, and Beach Blanket Babylon assistant includes work with prominent designers Douglas then they do so only grudgingly.) (Snow White), as well as the premiere productions of Beggar’s Schmidt on The Gershwins’ An American in Paris at The Holiday (Polly Peachum, Bay Area Theatre Critics Circle Alley Theater and the upcoming national tour of The Farmer 1, Cowman 1, Neurotic New Yorker 1, award) with Marin Theatre Company, and Emma (Harriet Nightingale, and John Iacovelli on Amadeus for The Denver Party Guest 2, Chorus Boy 1, Roller Skater 3, Smith, Bay Area Theatre Critics Circle nom.) with Center and the current national tour of Camelot. Argentinian 1, Snowball the Cat, Slutty Dancing TheatreWorks. This fall she will reprise her role as Harriet Girl............................QUINN VAN ANTWERP Kurt Landisman (Lighting Designer) Local audiences will Smith in a co-production with Cincinnati Playhouse in the be familiar with his work through past productions designed Park and The Repertory Theatre of St. Louis. Many thanks for Center REP including A Midsummer Night’s Dream, The Older Farmwoman, Older Townswoman, Older to Jon Call, and Tijuana Sprecher. Neurotic New Yorker, Older Roller Skater, Older Mousetrap, How the Other Half Loves, Around the World in 80 Days,and Fugitive Kind. His designs have been seen Argentinian, Methuselah the Cat, Older Slutty Quinn Van Antwerp*
Load more

Recommended publications
  • View the 2019 Conductors Guild NYC Conference Program Booklet!
    The World´s Only Manufacturer of the Celesta CELESTA ACTION The sound plate is placed above a wooden resonator By pressing the key the felt hammer is set in moti on The felt hammer strikes the sound plate from above CELESTA MODELS: 3 ½ octave (f1-c5) 4 octave (c1-c5) 5 octave (c-c5) 5 ½ octave Compact model (c-f5) 5 ½ octave Studio model (c-f5) (Cabinet available in natural or black oak - other colors on request) OTHER PRODUCTS: Built-in Celesta/Glockenspiel for Pipe Organs Keyboard Glockenspiel „Papageno“ (c2-g5) NEW: The Bellesta: Concert Glockenspiel 5½ octave Compact model, natural oak with wooden resonators (c2-e5) SERVICES: worldwide delivery, rental, maintenance, repair and overhaul Schiedmayer Celesta GmbH Phone Tel. +49 (0)7024 / 5019840 Schäferhauser Str. 10/2 [email protected] 73240 Wendlingen/Germany www.celesta-schiedmayer.de President's Welcome Dear Friends and Colleagues, Welcome to New York City! My fellow officers, directors, and I would like to welcome you to the 2019 Conductors Guild National Conference. Any event in New York City is bound to be an exciting experience, and this year’s conference promises to be one you won’t forget. We began our conference with visits to the Metropolitan Opera for a rehearsal and backstage tour, and then we were off to the Juilliard School to see some of their outstanding manuscripts and rare music collection! Our session presenters will share helpful information, insightful and inspiring thoughts, and memories of one of the 20th Century’s greatest composers and conductors, Pierre Boulez. And, what would a New York event be without a little Broadway, and Ballet? An event such as this requires dedication and work from a committed planning committee.
    [Show full text]
  • KS5 Exploring Performance Styles in Musical Theatre
    Exploring performance KS5 styles in Musical Theatre Heidi McEntee Heidi McEntee is a Dance and KS5 – BTEC LEVEL 3, UNIT D10 Performing Arts specialist based in the Midlands. She has worked in education for over fifteen years delivering a variety of Dance and Performing Arts qualifications at Introduction Levels 1, 2 and 3. She is a Senior Unit D10: Exploring Performance Styles is one of the three units which sit within Module D: Assessment Associate working on musical theatre Skills Development from the new BTEC Level 3 in Performing Arts Practice Performing Arts qualifications and (musical theatre) qualification. This scheme of work focuses on the first unit which introduces a contributing author for student and explores different musical theatre styles. revision guides. This unit requires learners to develop their practical skills in dance, acting and singing while furthering their understanding of musical theatre styles. The unit culminates in a performance of two extracts in two different styles of musical theatre as well as a critical review of the stylistic qualities within these extracts. This scheme of work provides a suggested approach to six weeks of introductory classes, as a part of a full timetable, which explores the development of performance styles through the history of musical theatre via practical activities, short projects and research tasks. Learning objectives By the end of this scheme, learners will have: § Investigated the history of musical theatre and the factors which have influenced its development Unit D10: Exploring Performance § Explored the characteristics of different musical theatre styles and how they have developed Styles from BTEC L3 Nationals over time Performing Arts Practice (musical § Applied stylistic conventions to the performance of material theatre) (2019) § Examined professional work through critical analysis.
    [Show full text]
  • Cole Porter: the Social Significance of Selected Love Lyrics of the 1930S
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Unisa Institutional Repository Cole Porter: the social significance of selected love lyrics of the 1930s by MARILYN JUNE HOLLOWAY submitted in accordance with the requirements for the degree of MASTER OF ARTS in the subject of ENGLISH at the UNIVERSITY OF SOUTH AFRICA SUPERVISOR: PROFESSOR IA RABINOWITZ November 2010 DECLARATION i SUMMARY This dissertation examines selected love lyrics composed during the 1930s by Cole Porter, whose witty and urbane music epitomized the Golden era of American light music. These lyrics present an interesting paradox – a man who longed for his music to be accepted by the American public, yet remained indifferent to the social mores of the time. Porter offered trenchant social commentary aimed at a society restricted by social taboos and cultural conventions. The argument develops systematically through a chronological and contextual study of the influences of people and events on a man and his music. The prosodic intonation and imagistic texture of the lyrics demonstrate an intimate correlation between personality and composition which, in turn, is supported by the biographical content. KEY WORDS: Broadway, Cole Porter, early Hollywood musicals, gays and musicals, innuendo, musical comedy, social taboos, song lyrics, Tin Pan Alley, 1930 film censorship ii ACKNOWLEDGEMENTS I should like to thank Professor Ivan Rabinowitz, my supervisor, who has been both my mentor and an unfailing source of encouragement; Dawie Malan who was so patient in sourcing material from libraries around the world with remarkable fortitude and good humour; Dr Robin Lee who suggested the title of my dissertation; Dr Elspa Hovgaard who provided academic and helpful comment; my husband, Henry Holloway, a musicologist of world renown, who had to share me with another man for three years; and the man himself, Cole Porter, whose lyrics have thrilled, and will continue to thrill, music lovers with their sophistication and wit.
    [Show full text]
  • Center Stage WINTER2017.Indd
    CENTER STAGE WINTER 2017 Center StageWINTER 2017 Newsletter of UW Theatre & Dance Content A scene from the original protest comedy, FASCISM! THE MUSICAL. Eminently Engaged .................................2 Dance Theatre of Harlem: 2017 Eminent Artists-in-Residence ...................................4 EMINENTLY ENGAGED Willingham is Outstanding Alumnus ...6 appy Holidays to you and yours from the Department of Alumni News ..............................................7 Theatre and Dance at the University of Wyoming! With restructuring efforts at UW still ongoing, 2017 has Simpson Wins Obie Award ...................9 been a challenging, but richly rewarding year, and, on H that has resulted in a renewed sense of purpose that our Faculty Spotlight ......................................10 work in the theatre and dance arts is more relevant than ever. Welcome New Faculty ...........................10 2017 was distinguished by the planning for and the arrival and hosting of our Eminent Artists-in-Residence, the celebrated Dance Theatre Thanks! .........................................................11 of Harlem (DTH), an effort ably coordinated by Marsha Knight, who has been working to bring in DTH for a number of years, and supported by the UW Office of the President. The Company, onsite much of September, participated in several outreach activities and Eminent Artists-in-Residence presented a spectacular Gala Concert, which featured a new, original work by choreographer Darrell Grand Moultrie commissioned for the residency, “Harlem On My Mind.” DTH artists were onsite throughout the fall semester to teach and set works on our students (see Dance Theatre of Harlem on p.4). The Eminent Artist program, made possible by an endowment from the Wyoming State Legislature, and the Guest Artist Series that it has supported, has provided wonderful training and networking opportunities to our students, as well as access to artists of the highest caliber to our audiences.
    [Show full text]
  • Beautiful Family! Broadway/ First National Tour: Beautiful; Betty/ Ensemble
    SARAH BOCKEL (Carole King) is thrilled to be back on the road with her Beautiful family! Broadway/ First National Tour: Beautiful; Betty/ Ensemble. Regional: Million Dollar Quartet (Chicago); u/s Dyanne. Rocky Mountain Repertory Theatre- Les Mis; Madame Thenardier. Shrek; Dragon. Select Chicago credits: Bohemian Theatre Ensemble; Parade, Lucille (Non-eq Jeff nomination) The Hypocrites; Into the Woods, Cinderella/ Rapunzel. Haven Theatre; The Wedding Singer, Holly. Paramount Theatre; Fiddler on the Roof, ensemble. Illinois Wesleyan University SoTA Alum. Proudly represented by Stewart Talent Chicago. Many thanks to the Beautiful creative team and her superhero agents Jim and Sam. As always, for Mom and Dad. ANDREW BREWER (Gerry Goffin) Broadway/Tour: Beautiful (Swing/Ensemble u/s Gerry/Don) Off-Broadway: Sex Tips for Straight Women from a Gay Man, Cougar the Musical, Nymph Errant. Love to my amazing family, The Mine, the entire Beautiful team! SARAH GOEKE (Cynthia Weil) is elated to be joining the touring cast of Beautiful - The Carole King Musical. Originally from Cape Girardeau, Missouri, she has a BM in vocal performance from the UMKC Conservatory and an MFA in Acting from Michigan State University. Favorite roles include, Sally in Cabaret, Judy/Ginger in Ruthless! the Musical, and Svetlana in Chess. Special thanks to her vital and inspiring family, friends, and soon-to-be husband who make her life Beautiful. www.sarahgoeke.com JACOB HEIMER (Barry Mann) Theater: Soul Doctor (Off Broadway), Milk and Honey (York/MUFTI), Twelfth Night (Elm Shakespeare), Seminar (W.H.A.T.), Paloma (Kitchen Theatre), Next to Normal (Music Theatre CT), and a reading of THE VISITOR (Daniel Sullivan/The Public).
    [Show full text]
  • Dissertation Final Corrected
    FROM PENCIL TO PERFORMANCE: The creative nexus of arranging, orchestration and music direction in works of contemporary pop/rock musical theatre BRYAN SCHIMMEL 8300995 A thesis submitted to the Faculty of Humanities University of the Witwatersrand, Johannesburg in fulfilment of the requirements for the Degree of Master of Music Final Corrected Submission 22 September 2014 ABSTRACT In the art form of musical theatre, available literature on the creative musical aspects of musicals has focused primarily on the composers and/or lyricists; their works having been extensively analysed and documented. There is, however, comparatively less literature and documentation on the processes that guide the transformation of the theatre composer’s work to an eventual performance embracing arranging, orchestration and music direction. This dissertation explores these practices from two perspectives – the creative and the recreative. First, from the creative perspective, I challenge Joseph P. Swain who makes a compelling case for composition as a tool of dramaturgy in his book The Broadway Musical: A Critical and Musical Survey (2002). I contest that his argument cannot hold true for pop/rock musicals in which the scores are comprised of pre-existing popular music that was not originally or intentionally composed for the stage. In order to understand how music functions as a dramatic element in musical theatre, it must follow that all collaborative creative forces that contribute to this music must be evaluated in a holistic manner. Dramaturgy contextualises and elucidates storytelling and artistic vision. While Swain has postulated that composition is an element of dramaturgy, I offer the notion that since arranging and orchestration contextualise and elucidate the composition they therefore cannot be excluded as dramaturgical devices.
    [Show full text]
  • Bruce Walker Musical Theater Recording Collection
    Bruce Walker Musical Theater Recording Collection Bruce Walker Musical Theater Recording Collection Recordings are on vinyl unless marked otherwise marked (* = Cassette or # = Compact Disc) KEY OC - Original Cast TV - Television Soundtrack OBC - Original Broadway Cast ST - Film Soundtrack OLC - Original London Cast SC - Studio Cast RC - Revival Cast ## 2 (OC) 3 GUYS NAKED FROM THE WAIST DOWN (OC) 4 TO THE BAR 13 DAUGHTERS 20'S AND ALL THAT JAZZ, THE 40 YEARS ON (OC) 42ND STREET (OC) 70, GIRLS, 70 (OC) 81 PROOF 110 IN THE SHADE (OC) 1776 (OC) A A5678 - A MUSICAL FABLE ABSENT-MINDED DRAGON, THE ACE OF CLUBS (SEE NOEL COWARD) ACROSS AMERICA ACT, THE (OC) ADVENTURES OF BARON MUNCHHAUSEN, THE ADVENTURES OF COLORED MAN ADVENTURES OF MARCO POLO (TV) AFTER THE BALL (OLC) AIDA AIN'T MISBEHAVIN' (OC) AIN'T SUPPOSED TO DIE A NATURAL DEATH ALADD/THE DRAGON (BAG-A-TALE) Bruce Walker Musical Theater Recording Collection ALADDIN (OLC) ALADDIN (OC Wilson) ALI BABBA & THE FORTY THIEVES ALICE IN WONDERLAND (JANE POWELL) ALICE IN WONDERLAND (ANN STEPHENS) ALIVE AND WELL (EARL ROBINSON) ALLADIN AND HIS WONDERFUL LAMP ALL ABOUT LIFE ALL AMERICAN (OC) ALL FACES WEST (10") THE ALL NIGHT STRUT! ALICE THROUGH THE LOOKING GLASS (TV) ALL IN LOVE (OC) ALLEGRO (0C) THE AMAZING SPIDER-MAN AMBASSADOR AMERICAN HEROES AN AMERICAN POEM AMERICANS OR LAST TANGO IN HUAHUATENANGO .....................(SF MIME TROUPE) (See FACTWINO) AMY THE ANASTASIA AFFAIRE (CD) AND SO TO BED (SEE VIVIAN ELLIS) AND THE WORLD GOES 'ROUND (CD) AND THEN WE WROTE... (FLANDERS & SWANN) AMERICAN
    [Show full text]
  • SYMPHONIC SONDHEIM Tuesday, January 29, 2013, 7
    01-29 Sondheim:Layout 1 1/23/13 10:55 AM Page 19 SYMPHONIC SONDHEIM Tuesday , January 29, 2013, 7:30 p.m. 15,492nd Concert This concert is made possible with generous support from Perry and Martin Granoff, Ted and Mary Jo Shen, and Thomas and Alice Tisch. Paul Gemignani, Conductor Nathan Lane , Host (New York Philharmonic debut) Global Sponsor Guest artist appearances are made possible through the This concert will last approximately two and one-quarter Hedwig van Ameringen Guest hours, which includes one intermission. Artists Endow ment Fund . Avery Fisher Hall at Lincoln Center Home of the New York Philharmonic Exclusive Timepiece of the New York Philharmonic January 2013 19 01-29 Sondheim:Layout 1 1/23/13 10:55 AM Page 20 New York Philharmonic SYMPHONIC SONDHEIM Paul Gemignani, Conductor Nathan Lane, Host (New York Philharmonic debut) STEPHEN SONDHEIM ( b. 1930) Suite from Sunday in the Park with George (1983–84), arr. Michael Starobin Selections from The Enclave (1973) ERIC HUEBNER, STEVEN BECK , piano CHRISTOPHER S. LAMB, DANIEL DRUCKMAN , percussion Dances from Pacific Overture s Prologue “The Advantages of Floating in the Middle of the Sea ” “There is No Other Way” (Tamate’s Dance) “March to the Treaty House” “Someone in a Tree” “Pretty Lady” “Next” Intermission Suite from Into the Woods (1985–87) Suite from Stavisky (1974) Suite from Sweeney Todd: The Demon Barber of Fleet Street (1978–79) Host remarks co-written by Nathan Lane and Mark Horowitz. The New York Philharmonic thanks the Musicians of the Orchestra for donating their services to benefit the pension fund of the New York Philharmonic.
    [Show full text]
  • Kiss Me, Kate Music and Lyrics by Cole Porter Book by Sam & Bella Spewack
    Kiss Me, Kate Music and lyrics by Cole Porter Book by Sam & Bella Spewack Teaching resources researched and written by Simon Pollard 1 Kiss Me, Kate – teaching ResouRces Kiss Me, Kate Contents Kiss Me, Kate at The Old Vic 3 Cole Porter: His Story 4 Sam and Bella Spewack: Their Story 5 Cole Porter Chronology 6 Kiss Me, Kate: Notable Productions 7 Another Op’nin, Another Show: The Story Behind Kiss Me, Kate 8 Kiss Me, Kate Synopsis 9 Character Breakdown 10 Musical Numbers 11 The Taming of the Shrew Synopsis 13 I Hate Men: Gender politics in Kiss Me, Kate & The Taming of the Shrew 14 ‘Breaking the color line’: Integrating the theatre in 1940s America 15 If Music Be the Food of Love: Musicals Based on Shakespeare Plays 16 In conversation with... Hannah Waddingham 17 Adam Garcia 18 Clive Rowe 19 Gareth Valentine, Musical Director 20 Bibliography 21 2 3 Kiss Me, Kate – teaching ResouRces Cole Porter His Story Cole Albert Porter was born on 9 June 1891 in Peru, Indiana. His father, Sam Porter, was a local pharmacist and his mother, Kate Cole, was the daughter of James Omar ‘J. O.’ Cole allegedly ‘the richest man in Indiana’. Porter proved a talented musician from an early age, learning the violin and piano from the age of six, and he composed his first operetta with the help of his mother when he was just ten years old. In 1905, he enrolled at the Worcester Academy in Massachusetts, where his musical skills made him very popular and he was elected class valedictorian.
    [Show full text]
  • [email protected] New
    FOR IMMEDIATE RELEASE ARTIST UPDATES December 12, 2012 Contact: Katherine E. Johnson (212) 875-5718; [email protected] New Year’s Eve Concert, December 31 BETH BEHRS, LILLA CRAWFORD, and BRIAN D’ARCY JAMES TO JOIN ONE SINGULAR SENSATION: CELEBRATING MARVIN HAMLISCH WITH THE NEW YORK PHILHARMONIC Previously Announced Performers Include Joshua Bell, Raúl Esparza, Michael Feinstein, Maria Friedman, Josh Groban, Megan Hilty, Audra McDonald, Kelli O’Hara, and Frederica von Stade Paul Gemignani To Conduct and Lonny Price To Direct Audra McDonald To Host Concert To Be Nationally Telecast on Live From Lincoln Center The New York Philharmonic has announced that actress Beth Behrs, of CBS’s 2 Broke Girls; actress Lilla Crawford, currently starring in Annie on Broadway; and star of Broadway and television Brian d’Arcy James will join the Orchestra for One Singular Sensation: Celebrating Marvin Hamlisch, a special New Year’s Eve concert saluting the late composer-conductor. As previously announced, the Philharmonic will also be joined by Marvin Hamlisch’s friends and collaborators, including Joshua Bell, Raúl Esparza, Michael Feinstein, Maria Friedman, Josh Groban, Megan Hilty, Audra McDonald, Kelli O’Hara, and Frederica von Stade performing repertoire from Mr. Hamlisch’s works for stage and film, including A Chorus Line and Sweet Smell of Success. Paul Gemignani will conduct and Lonny Price will direct the performance Monday, December 31, 2012, at 7:30 p.m. Audra McDonald will host from the stage, and the concert will be telecast nationally on Live From Lincoln Center on PBS stations at 8:00 p.m. [check local listings].
    [Show full text]
  • Download Booklet
    120845bk Can-Can:MASTER 3+3 10/11/06 8:20 PM Page 2 Can-Can 14. Every Man Is A Stupid Man 2:20 The Pirate 24. Nina 2:55 Original Broadway Cast 1953 Lilo Original Film Soundtrack 1948 Gene Kelly 15. I Love Paris 2:26 MGM 30099, mx 47-S-3433-1 1. Introduction 1:44 21. Mack The Black 3:05 Recorded 19 March 1947, Hollywood Orchestra Lilo & Ensemble Judy Garland 25. You Can Do No Wrong 3:00 2. Maidens Typical of France 1:17 16. Can-Can 2:56 MGM 30099, mx 47-S-3434-1 Lilo & Women’s Chorus Recorded 15 December 1947, Hollywood Judy Garland Laundresses MGM 30098, mx 47-S-3431-1 3. Never Give Anything Away 1:59 Orchestra conducted by Milton Rosenstock 22. Pirate Ballet 3:16 Recorded 13 May 1947, Hollywood Lilo & Laundresses Capitol S 452 Orchestra Recorded May 1953, New York MGM 30097, mx 47-S-3435-1 26. Be A Clown 2:38 4. C’est Magnifique 3:19 Recorded 7 August 1947, Hollywood Gene Kelly & Judy Garland Lilo & Peter Cookson Mexican Hayride MGM 30097, mx 47-S-3432-1 23. Love Of My Life 3:06 Recorded 14 July 1947, Hollywood 5. Quadrille 2:07 Original Broadway Cast 1944 Judy Garland Arranged & orchestrated by Conrad Salinger, Orchestra 17. There Must Be Someone For Me 3:13 MGM 30098, mx 47-S-3430-1 Roger Edens, Robert Franklyn & Wally Heglin 6. Come Along With Me 4:31 June Havoc Recorded 27 December 1946, Hollywood Conducted by Lennie Hayton except track 21 Erik Rhodes & Hans Conried Decca 23338, mx 71955-A conducted by Johnny Green Recorded 7 April 1944, New York 7.
    [Show full text]
  • 'No Theatre Guild Attraction Are We': Kiss Me, Kate and the Politics of the Integrated Musical Dan Rebellato
    This article was downloaded by: [Royal Holloway University] On: 1 October 2010 Access details: Access Details: [subscription number 906453470] Publisher Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37- 41 Mortimer Street, London W1T 3JH, UK Contemporary Theatre Review Publication details, including instructions for authors and subscription information: http://www.informaworld.com/smpp/title~content=t713639923 'No Theatre Guild Attraction Are We': Kiss Me, Kate and the Politics of the Integrated Musical Dan Rebellato To cite this Article Rebellato, Dan(2009) ''No Theatre Guild Attraction Are We': Kiss Me, Kate and the Politics of the Integrated Musical', Contemporary Theatre Review, 19: 1, 61 — 73 To link to this Article: DOI: 10.1080/10486800802583091 URL: http://dx.doi.org/10.1080/10486800802583091 PLEASE SCROLL DOWN FOR ARTICLE Full terms and conditions of use: http://www.informaworld.com/terms-and-conditions-of-access.pdf This article may be used for research, teaching and private study purposes. Any substantial or systematic reproduction, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The accuracy of any instructions, formulae and drug doses should be independently verified with primary sources. The publisher shall not be liable for any loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material.
    [Show full text]