Changing Face of Cabaret (Sander)
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Music 18145 Songs, 119.5 Days, 75.69 GB
Music 18145 songs, 119.5 days, 75.69 GB Name Time Album Artist Interlude 0:13 Second Semester (The Essentials Part ... A-Trak Back & Forth (Mr. Lee's Club Mix) 4:31 MTV Party To Go Vol. 6 Aaliyah It's Gonna Be Alright 5:34 Boomerang Aaron Hall Feat. Charlie Wilson Please Come Home For Christmas 2:52 Aaron Neville's Soulful Christmas Aaron Neville O Holy Night 4:44 Aaron Neville's Soulful Christmas Aaron Neville The Christmas Song 4:20 Aaron Neville's Soulful Christmas Aaron Neville Let It Snow! Let It Snow! Let It Snow! 2:22 Aaron Neville's Soulful Christmas Aaron Neville White Christmas 4:48 Aaron Neville's Soulful Christmas Aaron Neville Such A Night 3:24 Aaron Neville's Soulful Christmas Aaron Neville O Little Town Of Bethlehem 3:56 Aaron Neville's Soulful Christmas Aaron Neville Silent Night 4:06 Aaron Neville's Soulful Christmas Aaron Neville Louisiana Christmas Day 3:40 Aaron Neville's Soulful Christmas Aaron Neville The Star Carol 2:13 Aaron Neville's Soulful Christmas Aaron Neville The Bells Of St. Mary's 2:44 Aaron Neville's Soulful Christmas Aaron Neville Tell It Like It Is 2:42 Billboard Top R&B 1967 Aaron Neville Tell It Like It Is 2:41 Classic Soul Ballads: Lovin' You (Disc 2) Aaron Neville Don't Take Away My Heaven 4:38 The Grand Tour Aaron Neville I Owe You One 5:33 The Grand Tour Aaron Neville Don't Fall Apart On Me Tonight 4:24 The Grand Tour Aaron Neville My Brother, My Brother 4:59 The Grand Tour Aaron Neville Betcha By Golly, Wow 3:56 The Grand Tour Aaron Neville Song Of Bernadette 4:04 The Grand Tour Aaron Neville You Never Can Tell 2:54 The Grand Tour Aaron Neville The Bells 3:22 The Grand Tour Aaron Neville These Foolish Things 4:23 The Grand Tour Aaron Neville The Roadie Song 4:41 The Grand Tour Aaron Neville Ain't No Way 5:01 The Grand Tour Aaron Neville The Grand Tour 3:22 The Grand Tour Aaron Neville The Lord's Prayer 1:58 The Grand Tour Aaron Neville Tell It Like It Is 2:43 Smooth Grooves: The 60s, Volume 3 L.. -
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. -
NETC News, Vol. 15, No. 3, Summer 2006
A Quarterly Publication of the New England Theater NETCNews Conference, Inc. volume 15 number 3 summer 2006 The Future is Now! NETC Gassner Competition inside Schwartz and Gleason Among 2006 a Global Event this issue New Haven Convention Highlights April 15th wasn’t just income tax day—it was also the by Tim Fitzgerald, deadline for mailing submissions for NETC’s John 2006 Convention Advisor/ Awards Chairperson Gassner Memorial Playwrighting Award. The award Area News was established in 1967 in memory of John Gassner, page 2 Mark your calendars now for the 2006 New England critic, editor and teacher. More than 300 scripts were Theatre Conference annual convention. The dates are submitted—about a five-fold increase from previous November 16–19, and the place is Omni New Haven years—following an extensive promotional campaign. Opportunities Hotel in the heart of one of the nation’s most exciting page 5 theatre cities—and just an hour from the Big Apple itself! This promises to be a true extravanganza, with We read tragedies, melodramas, verse Ovations workshops and inteviews by some of the leading per- dramas, biographies, farces—everything. sonalities of current American theatre, working today Some have that particular sort of detail that page 6 to create the theatre of tomorrow. The Future is Now! shows that they’re autobiographical, and Upcoming Events Our Major Award recipient this others are utterly fantastic. year will be none other than page 8 the Wicked man himself, Stephen Schwartz. Schwartz is “This year’s submissions really show that the Gassner an award winning composer Award has become one of the major playwrighting and lyricist, known for his work awards,” said the Gassner Committee Chairman, on Broadway in Wicked, Pippin, Steve Capra. -
Christopher Plummer
Christopher Plummer "An actor should be a mystery," Christopher Plummer Introduction ........................................................................................ 3 Biography ................................................................................................................................. 4 Christopher Plummer and Elaine Taylor ............................................................................. 18 Christopher Plummer quotes ............................................................................................... 20 Filmography ........................................................................................................................... 32 Theatre .................................................................................................................................... 72 Christopher Plummer playing Shakespeare ....................................................................... 84 Awards and Honors ............................................................................................................... 95 Christopher Plummer Introduction Christopher Plummer, CC (born December 13, 1929) is a Canadian theatre, film and television actor and writer of his memoir In "Spite of Myself" (2008) In a career that spans over five decades and includes substantial roles in film, television, and theatre, Plummer is perhaps best known for the role of Captain Georg von Trapp in The Sound of Music. His most recent film roles include the Disney–Pixar 2009 film Up as Charles Muntz, -
That World of Somewhere in Between: the History of Cabaret and the Cabaret Songs of Richard Pearson Thomas, Volume I
That World of Somewhere In Between: The History of Cabaret and the Cabaret Songs of Richard Pearson Thomas, Volume I D.M.A. DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Rebecca Mullins Graduate Program in Music The Ohio State University 2013 D.M.A. Document Committee: Dr. Scott McCoy, advisor Dr. Graeme Boone Professor Loretta Robinson Copyright by Rebecca Mullins 2013 Abstract Cabaret songs have become a delightful and popular addition to the art song recital, yet there is no concise definition in the lexicon of classical music to explain precisely what cabaret songs are; indeed, they exist, as composer Richard Pearson Thomas says, “in that world that’s somewhere in between” other genres. So what exactly makes a cabaret song a cabaret song? This document will explore the topic first by tracing historical antecedents to and the evolution of artistic cabaret from its inception in Paris at the end of the 19th century, subsequent flourish throughout Europe, and progression into the United States. This document then aims to provide a stylistic analysis to the first volume of the cabaret songs of American composer Richard Pearson Thomas. ii Dedication This document is dedicated to the person who has been most greatly impacted by its writing, however unknowingly—my son Jack. I hope you grow up to be as proud of your mom as she is of you, and remember that the things in life most worth having are the things for which we must work the hardest. -
THE CULTURE and MUSIC of AMERICAN CABARET Katherine Yachinich
Trinity University Digital Commons @ Trinity Music Honors Theses Music Department 5-2014 The ulturC e and Music of American Cabaret Katherine Anne Yachinich Trinity University, [email protected] Follow this and additional works at: http://digitalcommons.trinity.edu/music_honors Part of the Music Commons Recommended Citation Yachinich, Katherine Anne, "The ulturC e and Music of American Cabaret" (2014). Music Honors Theses. 5. http://digitalcommons.trinity.edu/music_honors/5 This Thesis open access is brought to you for free and open access by the Music Department at Digital Commons @ Trinity. It has been accepted for inclusion in Music Honors Theses by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. 2 THE CULTURE AND MUSIC OF AMERICAN CABARET Katherine Yachinich A DEPARTMENT HONORS THESIS SUBMITTED TO THE DEPARTMENT OF MUSIC AT TRINITY UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR GRADUATION WITH DEPARTMENTAL HONORS DATE 04/16/2014 Dr. Kimberlyn Montford Dr. David Heller THESIS ADVISOR DEPARTMENT CHAIR Dr. Sheryl Tynes ASSOCIATE VICE PRESIDENT FOR ACADEMIC AFFAIRS, CURRICULUM AND STUDENT ISSUES Student Copyright Declaration: the author has selected the following copyright provision (select only one): [X] This thesis is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs License, which allows some noncommercial copying and distribution of the thesis, given proper attribution. To view a copy of this license, visit http://creativecommons.org/licenses/ or send a letter to Creative Commons, 559 Nathan Abbott Way, Stanford, California 94305, USA. [ ] This thesis is protected under the provisions of U.S. Code Title 17. Any copying of this work other than “fair use” (17 USC 107) is prohibited without the copyright holder’s permission. -
Stand-Up Comedy with Katie Rubin Is a Cabaret-Style Seating Performance
FOR IMMEDIATE RELEASE ATTN: CALENDAR EDITORS, ARTS & ENTERTAINMENT EDITORS AURORA THEATRE COMPANY PRESENTS What. The Hell. Is HAPPENING? — TWO EVENINGS OF STAND-UP COMEDY WITH BAY AREA FAVORITE KATIE RUBIN Friday, November 30, and Saturday, December 1 Special Engagement BERKELEY, CA (Oct. 30, 2018)--Aurora Theatre Company presents two evenings of stand-up comedy with Bay Area favorite KATIE RUBIN in What. The Hell. Is HAPPENING?on Friday, November 30 and Saturday, December 1 at 8pm. Rubin’s one-hour show promises stand-up comedy deliciously spiked with razor-sharp wit, punchy observations and deeply personal experiences. Cabaret-style seating in Aurora’s smaller venue, Harry’s UpStage in the Nell and Jules Dashow Wing, offers patrons an opportunity to kick-back, laugh and ponder alike with Rubin such pressing matters in the universe as is Daenerys Targaryen the answer to Brett Kavanaugh and is Diet Coke the answer...to it all? A national touring stand-up comic, and an actress, Rubin returns to Aurora (The Heir Apparent) for this special engagement. An instructor of acting, writing, and improv at ACT, Stanford and Capital Stage, she earned her M.F.A. in acting at UC Davis, and B.A. in theater and dance at Amherst College. Rubin's recent acting credits include San Francisco Playhouse, Aurora Theatre, Marin Shakespeare, B Street Theater. Her solo shows include “Insides OUT!” “Amazing and Sage,” “Why I Died, a Comedy!” and “F*%k Christmas. (But Gently, and With Love).” CALENDAR EDITORS Aurora Theatre Company presents What. The Hell. Is HAPPENING? — two evenings of stand-up comedy with Bay Area favorite Katie Rubin on Friday, November 30 at 8 pm, and Saturday, December 1 at 8 pm. -
The BG News February 15, 1985
Bowling Green State University ScholarWorks@BGSU BG News (Student Newspaper) University Publications 2-15-1985 The BG News February 15, 1985 Bowling Green State University Follow this and additional works at: https://scholarworks.bgsu.edu/bg-news Recommended Citation Bowling Green State University, "The BG News February 15, 1985" (1985). BG News (Student Newspaper). 4356. https://scholarworks.bgsu.edu/bg-news/4356 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Article is brought to you for free and open access by the University Publications at ScholarWorks@BGSU. It has been accepted for inclusion in BG News (Student Newspaper) by an authorized administrator of ScholarWorks@BGSU. PLAYBILL A trip to Broadway 'As You Like It' takes the in Friday stage in Friday mmmMmsMmMMMMMm wmmmmmmmmmmmmmm® Vol. 67 Issue 81 THEBCLNEWSFriday, February 15,1985 Non-traditional enrollment up by Zora Johnson increased, from 1,295 to 2,227. State University in Minnesota, but quit ber of students graduating from high staff reporter There are several reasons for this students." she said. "They also bring a school to get married. She decided to school is going down." lot of life experience into the class- trend, Bissland said. return to school after her husband Bissland said non-traditional stu- room." The stereotype of a college student - "The main reason (for the increase) finished his coursework and her chil- dents have a broad range of interests. straight out of high school - may be is an increased expectation of Job dren were older. She will graduate Both Bissland and Quain agree that changing as the number of non- satisfaction," she said. -
CABARET SYNOPSIS the Scene Is a Sleazy Nightclub in Berlin As The
CABARET SYNOPSIS The scene is a sleazy nightclub in Berlin as the 1920s are drawing to a close. Cliff Bradshaw, a young American writer, and Ernst Ludwig, a German, strike up a friendship on a train. Ernst gives Cliff an address in Berlin where he will find a room. Cliff takes this advice and Fräulein Schneider, a vivacious 60 year old, lets him have a room very cheaply. Cliff, at the Kit Kat Club, meets an English girl, Sally Bowles, who is working there as a singer and hostess. Next day, as Cliff is giving Ernst an English lesson, Sally arrives with all her luggage and moves in. Ernst comes to ask Cliff to collect something for him from Paris; he will pay well for the service. Cliff knows that this will involve smuggling currency, but agrees to go. Ernst's fee will be useful now that Cliff and Sally are to be married. Fraulein Schneider and her admirer, a Jewish greengrocer named Herr Schultz, also decide to become engaged and a celebration party is held in Herr Schultz shop. In the middle of the festivities Ernst arrives wearing a Nazi armband. Cliff realizes that his Paris errand was on behalf of the Nazi party and refuses Ernst's payment, but Sally accepts it. At Cliff's flat Sally gets ready to go back to work at the Kit Kat Klub. Cliff determines that they will leave for America but that evening he calls at the Klub and finds Sally there. He is furious, and when Ernst approaches him to perform another errand Cliff knocks him down. -
August, 2019 101-1 TITLE MC-08 DEPARTMENT of LIQUOR CONTROL SUBTITLE 01 LIQUOR COMMISSION CHAPTER 101 RULES GOVERNING the MANUFA
TITLE MC-08 DEPARTMENT OF LIQUOR CONTROL SUBTITLE 01 LIQUOR COMMISSION CHAPTER 101 RULES GOVERNING THE MANUFACTURE AND SALE OF INTOXICATING LIQUOR OF THE COUNTY OF MAUI Subchapter 1 General Provisions §08-101-1 Title 101-8 §08-101-2 Authority 101-8 §08-101-3 Purpose 101-8 §08-101-4 Construction 101-8 §08-101-5 Definitions 101-9 §§08-101-6 to 9 (Reserved) Subchapter 2 Liquor Commission, Liquor Control Adjudication Board, Counsel §08-101-10 Liquor commission; authority 101-20 §08-101-11 Liquor control adjudication board 101-24 §08-101-12 Emergency rules 101-24 §08-101-13 Liquor commission attorney 101-25 §08-101-14 Counsel for investigators, employees 101-25 §08-101-15 Determination of whether acts were in scope of duty 101-25 §08-101-16 Appeal of director's decision 101-26 August, 2019 101-1 §08-101-17 Issuance of director's written warning and caution 101-26 §08-101-18 Appeal of director's written warning and caution 101-27 §08-101-19 Political activities of commission employees 101-27 Subchapter 3 Types of Licenses, Hours, Restrictions §08-101-20 Manufacture or sale without license 101-29 §08-101-21 Licensee purchases from class 1 manufacturers, class 3 wholesalers, class 14 brewpub licensee, class 16 winery licensee, and class 18 small craft producer pub licensee only 101-29 §08-101-22 Licenses, classes 101-30 §08-101-23 Special conditions 101-62 §08-101-24 Temporary licenses 101-65 §08-101-25 Hours for the sale, service, and consumption of liquor in licensed premises 101-67 §08-101-26 Restrictions or conditions on licenses 101-69 §08-101-27 -
LISTENING to DRAG: MUSIC, PERFORMANCE and the CONSTRUCTION of OPPOSITIONAL CULTURE DISSERTATION Presented in Partial Fulfillmen
LISTENING TO DRAG: MUSIC, PERFORMANCE AND THE CONSTRUCTION OF OPPOSITIONAL CULTURE DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree Doctor of Philosophy In the Graduate School of The Ohio State University By Elizabeth Kaminski, M.A. * * * * * The Ohio State University 2003 Dissertation Committee: Approved by Professor Vincent Roscigno, Advisor Professor Verta Taylor _________________________ Advisor Professor Nella Van Dyke Sociology Graduate Program ABSTRACT This study examines how music is utilized in drag performances to create an oppositional culture that challenges dominant structures of gender and sexuality. I situate this analysis in literature on the role of music and other cultural resources in the mobilization of social movement protest. Drawing from multiple sources of data, I demonstrate that drag queen performers make use of popular songs to build solidarity, evoke a sense of injustice, and enhance feelings of agency among audience members – three dimensions of cognition that constitute a collective action framework, conducive to social protest. The analysis is based on observations of drag performances; content analysis of the lyrics of drag songs; intensive interviews with drag queens at the 801 Cabaret in Key West, Florida; focus groups with audience members who attended the shows at the 801 Cabaret; and interviews with drag queen informants in Columbus, Ohio. I demonstrate how drag performers use music to construct new alliances and understandings of gender and sexuality among gay and heterosexual members of the audience. The data illustrate that drag performers strategically select songs to evoke an array of emotions among audience members. First are songs that utilize sympathy, sorrow, and humor to build solidarity. -
Edition 5 | 2018-2019
2 GOODSPEED MUSICALS | 2018 SEASON 4 GOODSPEED MUSICALS | 2018 SEASON The Drowsy Chaperone | 15 Cast of Characters | 16 Synopsis of Scenes and Musical Numbers | 17 Who’s Who | 18 About the Authors | 25 Program Notes | 26 About Goodspeed Musicals | 27 History of The Goodspeed | 28 Our Mission | 28 The Goodspeed Opera House Foundation | 29 Corporate Support | 30 Foundation & Government Support | 30 Looking to the Future | 31 Memorial and Tribute Gifts | 33 Goodspeed Members | 35 Footlights Fund | 42 Goodspeed Musicals Staff | 45 For Your Information | 57 Editor: Lori A. Cartwright ADVERTISING Onstage Publications 937-424-0529 | 866-503-1966 e-mail: [email protected] www.onstagepublications.com This program is published in association with Onstage Publications, 1612 Prosser Avenue, Kettering, OH 45409. This program may not be reproduced in whole or inpart without written permission from the publisher. JBI Publishing is a division of Onstage Publications, Inc. Contents © 2018. All rights reserved. Printed in the U.S.A. GOODSPEED MUSICALS | 2018 SEASON 7 12 GOODSPEED MUSICALS | 2018 SEASON GOODSPEED MUSICALS | 2018 SEASON 13 A Non-Profit Arts Organization MICHAEL GENNARO Executive Director presents Music & Lyrics by LISA LAMBERT and GREG MORRISON Book by BOB MARTIN and DON McKELLAR With JENNIFER ALLEN CLYDE ALVES HALLIE BREVETTI ABBY CHURCH JAMES SPENCER DEAN TIM FALTER RUTH GOTTSCHALL DANIELLE LEE GREAVES BRYAN THOMAS HUNT JAY AUBREY JONES JAMES JUDY EVAN MAYER RUTH PFERDEHIRT JOHN RAPSON STEPHANIE ROTHENBERG JOHN SCHERER BLAKELY SLAYBAUGH PARKER SLAYBAUGH GABI STAPULA Scenic Design by Costume Design by Lighting Design by Sound Design by HOWARD JONES GREGG BARNES KIRK BOOKMAN JAY HILTON Wig & Hair Design by Assistant Music Director Orchestrations Production Manager MARK ADAM WILLIAM J.