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Jonathan Larson
Famous New Yorker Jonathan Larson As a playwright, Jonathan Larson could not have written a more dramatic climax than the real, tragic climax of his own story, one of the greatest success stories in modern American theater history. Larson was born in White Plains, Westchester County, on February 4, 1960. He sang in his school choir, played tuba in the band, and was a lead actor in his high school theater company. With a scholarship to Adelphi University, he learned musical composition. After earning a Fine Arts degree, Larson had to wait tables, like many a struggling artist, to pay his share of the rent in a poor New York City apartment while honing his craft. In the 1980s and 1990s, Larson worked in nearly every entertainment medium possible. He won early recognition for co-writing the award-winning cabaret show Saved!, but his rock opera Superbia, inspired by The original Broadway Rent poster George Orwell’s novel 1984, was never fully staged in Larson’s lifetime. Scaling down his ambitions, he performed a one-man show called tick, tick … BOOM! in small “Off -Broadway” theaters. In between major projects, Larson composed music for children’s TV shows, videotapes and storybook cassette tapes. In 1989, playwright Billy Aronson invited Larson to compose the music for a rock opera inspired by La Bohème, a classical opera about hard-living struggling artists in 19th century Paris. Aronson wanted to tell a similar story in modern New York City. His idea literally struck Larson close to home. Drawing on his experiences as a struggling musician, as well as many friends’ struggles with the AIDS virus, Larson wanted to do all the writing himself. -
“Kiss Today Goodbye, and Point Me Toward Tomorrow”
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Missouri: MOspace “KISS TODAY GOODBYE, AND POINT ME TOWARD TOMORROW”: REVIVING THE TIME-BOUND MUSICAL, 1968-1975 A Dissertation Presented to The Faculty of the Graduate School At the University of Missouri In Partial Fulfillment Of the Requirements for the Degree Doctor of Philosophy By BRYAN M. VANDEVENDER Dr. Cheryl Black, Dissertation Supervisor July 2014 © Copyright by Bryan M. Vandevender 2014 All Rights Reserved The undersigned, appointed by the dean of the Graduate School, have examined the dissertation entitled “KISS TODAY GOODBYE, AND POINT ME TOWARD TOMORROW”: REVIVING THE TIME-BOUND MUSICAL, 1968-1975 Presented by Bryan M. Vandevender A candidate for the degree of Doctor of Philosophy And hereby certify that, in their opinion, it is worthy of acceptance. Dr. Cheryl Black Dr. David Crespy Dr. Suzanne Burgoyne Dr. Judith Sebesta ACKNOWLEDGEMENTS I incurred several debts while working to complete my doctoral program and this dissertation. I would like to extend my heartfelt gratitude to several individuals who helped me along the way. In addition to serving as my dissertation advisor, Dr. Cheryl Black has been a selfless mentor to me for five years. I am deeply grateful to have been her student and collaborator. Dr. Judith Sebesta nurtured my interest in musical theatre scholarship in the early days of my doctoral program and continued to encourage my work from far away Texas. Her graduate course in American Musical Theatre History sparked the idea for this project, and our many conversations over the past six years helped it to take shape. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Doing the Time Warp: Queer Temporalities and Musical Theater Permalink https://escholarship.org/uc/item/1k1860wx Author Ellis, Sarah Taylor Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Doing the Time Warp: Queer Temporalities and Musical Theater A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Theater and Performance Studies by Sarah Taylor Ellis 2013 ABSTRACT OF THE DISSERTATION Doing the Time Warp: Queer Temporalities and Musical Theater by Sarah Taylor Ellis Doctor of Philosophy in Theater and Performance Studies University of California, Los Angeles, 2013 Professor Sue-Ellen Case, Co-chair Professor Raymond Knapp, Co-chair This dissertation explores queer processes of identification with the genre of musical theater. I examine how song and dance – sites of aesthetic difference within the musical – can warp time and enable marginalized and semi-marginalized fans to imagine different ways of being in the world. Musical numbers can complicate a linear, developmental plot by accelerating and decelerating time, foregrounding repetition and circularity, bringing the past to life and projecting into the future, and physicalizing dreams in a narratively open present. These excesses have the potential to contest naturalized constructions of historical, progressive time, as well as concordant constructions of gender, sexual, and racial identities. While the musical has historically been a rich source of identification for the stereotypical white gay male show queen, this project validates a broad and flexible range of non-normative readings. -
Hair for Rent: How the Idioms of Rock 'N' Roll Are Spoken Through the Melodic Language of Two Rock Musicals
HAIR FOR RENT: HOW THE IDIOMS OF ROCK 'N' ROLL ARE SPOKEN THROUGH THE MELODIC LANGUAGE OF TWO ROCK MUSICALS A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Music Eryn Stark August, 2015 HAIR FOR RENT: HOW THE IDIOMS OF ROCK 'N' ROLL ARE SPOKEN THROUGH THE MELODIC LANGUAGE OF TWO ROCK MUSICALS Eryn Stark Thesis Approved: Accepted: _____________________________ _________________________________ Advisor Dean of the College Dr. Nikola Resanovic Dr. Chand Midha _______________________________ _______________________________ Faculty Reader Interim Dean of the Graduate School Dr. Brooks Toliver Dr. Rex Ramsier _______________________________ _______________________________ Department Chair or School Director Date Dr. Ann Usher ii TABLE OF CONTENTS Page LIST OF TABLES ............................................................................................................. iv CHAPTER I. INTRODUCTION ............................................................................................................1 II. BACKGROUND OF THE STUDY ...............................................................................3 A History of the Rock Musical: Defining A Generation .........................................3 Hair-brained ...............................................................................................12 IndiffeRent .................................................................................................16 III. EDITORIAL METHOD ..............................................................................................20 -
2019 Summer Season Announcement
1 Press Contacts: Katie B. Watts Press Manager (413) 448-8084 x15 [email protected] Becky Brighenti Director of Marketing & Public Relations (413) 448-8084 x11 [email protected] Please embargo until: Thursday, February 14 at 5pm Berkshire Theatre Group Announces 2019 Summer Season The Fitzpatrick Main Stage Pulitzer Prize-Winner Thornton Wilder’s American Classic The Skin of Our Teeth Kathleen Clark’s World Premiere of What We May Be The Unicorn Theatre Pulitzer Prize and Tony Award-Winner Edward Albee’s The Goat or, Who is Sylvia? Pulitzer Prize and Tony Award-Winner John Patrick Shanley’s Outside Mullingar Tony Award-Nominated Musical Featuring Music By Lin-Manuel Miranda and James Taylor Working: A Musical Mark Harelik’s Touching Drama What The Jews Believe The Colonial Theatre In Association with Tony Award-Winning Caiola Productions 2 New Musical Rock and Roll Man: The Alan Freed Story Based on Oscar-Winning Film Tony Award-Nominated Shrek The Musical Hershey Felder’s Celebrated Musical Play George Gershwin Alone Delightful Musical Adventure Roald Dahl's Willy Wonka KIDS Pittsfield, MA – Berkshire Theatre Group (BTG) and Kate Maguire (Artistic Director, CEO) are thrilled to announce Berkshire Theatre’s 2019 Summer Season. BTG will be releasing a season cast announcement at a later date. According to Maguire, “Coming in on the heels of last year’s 90th celebration, I found myself looking at how we love and care for each other. Which means our 91st season is eclectic and wide open to all kinds of interpretations because we love in so many different ways.” Maguire continues, “We find love in the strangest and most bizarre places in our first play of the 2019 season at The Unicorn Theatre, The Goat or, Who is Sylvia by one of our greatest playwrights, Edward Albee. -
ENSEMBLE ACTING: Blocking and Character Development STEP 1
ENSEMBLE ACTING: Blocking and Character Development STEP 1: SCRIPT SELECTION 1. Select scripts that portray three-dimensional characters - “Scenes written to be scenes” often have characters that can feel like cardboard - Try editing a scene from a full-length play for well-rounded characterizations - Most importantly, the characters must change and grow throughout the scene 2. Select scenes that have emotional range - Too much tragedy for 15 minutes can feel tedious – give the audience a break - The most successful scenes will infuse a combination of comedy and drama - If you can make the audience laugh and cry in the same scene, you are golden - Every good scene is like a roller coaster – keep the audience on the roller coaster for 15 minutes 3. Find scenes that match the skill set of your potential actors - Get to know your potential speech team members and find their strengths - It is important to give actors opportunities to show range, but you also want to set them up to be successful - 90% of directing is casting SCRIPT RESOURCES Samuel French www.samuelfrench.com BEST Dramatists Play Service www.dramatists.com Playscripts, Inc. www.playscripts.com Dramatic Publishing www.dramaticpublishing.com Brooklyn Publishers www.brookpub.com Pioneer Drama www.pioneerdrama.com DUBUQUE SENIOR ENSEMBLE ACTING SELECTIONS (2004-Present) ‘Night Mother* Marsha Norman Full Length Play Dramatists A Midsummer Night’s Dream* William Shakespeare Full Length Play Public Domain Battle of Bull Run Always Makes Me Cry* Carole Real Scene David Friedlander -
PDF Program Download
Interlochen, Michigan 224th Program of the 59th Year * FESTIVAL 2021 MUSICAL THEATRE SHOWCASE Thursday, May 27, 2021 10:00am, Corson Auditorium “Bye Bye Blackbird” from FOSSE ............................... Music by Ray Henderson Lyrics by Mort Dixon Charlotte Krieger and Company “All Falls Down” from CHAPLIN .............. Music and Lyrics by Christopher Curtis Lindsay Gross “Stay” from THE NOTEWORTHY LIFE OF HOWARD BARNES ... Music by Michael Kooman Lyrics by Christopher Dimond Audree Hedequist “Singin’ in the Rain” from SINGIN’ IN THE RAIN ....... Music by Nacio Herb Brown Lyrics by Arthur Freed Student Choreographers: Mia McManamy, Charlotte Krieger “Nowadays/Hot Honey Rag” from CHICAGO .................... Music by John Kander Lyrics by Fred Ebb Paris Manzanares and Myles Mathews Student Choreographer: Myles Mathews “Don’t Wanna Be Here” from ORDINARY DAYS ..... Music & Lyrics by Adam Gwon JT Langlas “No One Else” from NATASHA, PIERRE AND THE GREAT COMET OF 1812 ......... Music and Lyrics by Dave Malloy Mia McManamy “Run, Freedom, Run” from URINETOWN ...................... Music by Mark Hollmann Lyrics by Mark Hollmann and Greg Kotis Scout Carter and Company “Forget About the Boy” from THOROUGHLY MODERN MILLIE ........................... Music by Jeanine Tesori Lyrics by Dick Scanlan Hannah Bank and Company Student Choreographer: Nicole Pellegrin “She Used to Be Mine” from WAITRESS ........ Music and Lyrics by Sara Bareilles Caroline Bowers “Change” from A NEW BRAIN ......................... Music and Lyrics by William Finn Shea Grande “We Both Reached for the Gun” from CHICAGO .............. Music by John Kander Lyrics by Fred Ebb Theo Gyra and Company Student Choreographer: Myles Mathews “Love is an Open Door” from FROZEN ............ Music & Lyrics by Kristen Anderson-Lopez & Robert Lopez Charlotte Krieger and Daniel Rosales “Being Alive” from COMPANY ............... -
Review Essay: Lullaby for Broadway?
Review Essay: Lullaby for Broadway? Grant, Mark N. 2004. The Rise and Fall of the Broadway Musical. Boston: Northeastern University Press. Knapp, Raymond. 2005. The American Musical and the Formation of National Identity. Princeton, NJ: Princeton University Press. Swayne, Steve. 2005. How Sondheim Found His Sound. Ann Arbor: University of Michigan Press. Reviewed by Walter Frisch I. Latecomers to high culture, Americans are obsessed with identifying and canonizing indigenous art forms. In recent years, much of this attention has been lavished on jazz. Musical theater is beginning to catch up, to judge from the recent rash of companions, readers, and reference works.! As Stephen Banfield, a dean among scholars of the American musical, observed in a 2004 review essay, "So many academic books and articles have by now lamented 'that the musical has been neglected by academics as an area of study' that it has to be patently untrue" (2004:83).2 One challenge in the study of both jazz and musical theater is locating the specific historical moment or the precise works in which the genres assume an identity, especially an ''American'' one, distinct from their influences. For musical theater, those sources would include European operetta of the later nineteenth century-specifically the works of Johann Strauss, Offenbach, and Gilbert and Sullivan-as well as vaudeville, burlesque, revue, minstrel shows, variety shows, melodrama, and British musical comedy. In the first few years of the twentieth century, these traditions coalesced in the works of Victor Herbert (notably his Babes in Toyland, 1903) and George M. Cohan (his first big hit, Little Johnny Jones, 1904). -
How to Select a Monologue
HOW TO SELECT A MONOLOGUE AMDA’s student population is diverse and, as an institution, AMDA subscribes to the philosophy that it is not necessary for performers to consider their own ethnicity, skin color, body shape, sexual preference, or gender in choosing material for our placement and scholarship auditions. Choose characters close to you in age (i.e. 1-2 years younger to 5 years older). It is very important to read the play from which your monologue is taken and to know the full name of the playwright. Be prepared to answer questions the adjudicator may have about the play, the scene, or the character. While monologue collections and internet sites may be useful, they cannot substitute for a full comprehension of the play and the character’s emotional arc within it. Be sure to look up—in the play, online or in a dictionary—any vocabulary, pronunciations or references in the monologue with which you are not familiar. AVOID SELECT • Material that you do not fully • Age-appropriate material, understand emotionally or choosing monologues with intellectually characters that you could portray • Overt sexual references today or five years from now • Excessive profanity • Pieces that contrast in style, • Portraying victims or period or tone (i.e. comedy perpetrators of violence, vs. drama, classical vs. addiction, or abuse contemporary or contrasting • Monologues from films characters) • Material from the internet that is • Material sourced from published not sourced from a published play plays • Monologues for which you feel a personal connection NOTE: Your personal favorites may not be the material that best serves you. -
News Release
News Release FOR IMMEDIATE RELEASE PRESS CONTACT: Ben Randle, Artistic Associate & Publicist ~ 415.694.6156 ~ [email protected] Pictures and Press Kit: nctcsf.org/press HARBOR BY TONY® AWARD-NOMINEE CHAD BEGUELIN MAKES WEST COAST PREMIERE AT NCTC Acclaimed new comedy exploring uncharted waters of the shifting meaning of family to be directed by Founder & Artistic Director Ed Decker January 23 – March 1, 2015 San Francisco, CA (December 12, 2014) — In January, New Conservatory Theatre Center presents the West Coast Premiere of the sharp and timely new comedy, Harbor by Chad Beguelin, directed by NCTC Founder & Artistic Director Ed Decker. Kevin’s seemingly perfect world hits troubled waters in this "wickedly funny" play (Variety) when his ne’er-do-well sister, Donna and her teenage daughter show up unexpectedly at the Sag Harbor home he shares with his husband, Ted. This sharp and timely comedy sails through the riptides of family and the unpredictability of the lives we lead. Starring at Ted is former NCTC Conservatory Director, Andrew Nance, last seen at NCTC in an acclaimed performance in Del Shores’ Yellow, last season. Harbor runs January 23 – March 1, 2015 in NCTC’s intimate Walker Theater. Opening Night is Saturday, January 31, 2015 at 8pm. Tickets are $25 - $45 and available at nctcsf.org or by calling (415) 861-8972. Harbor premiered at Westport Playhouse, followed by a New York production at Primary Stages. Variety raves Harbor is “witty and tender” and adds, “The characters in Chad Beguelin’s comedy-drama are hopelessly – and sometimes hysterically – adrift as they seek safe havens in relationships, family, and career. -
Queering William Finn's a New Brain
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2019 Trouble in His Brain: Queering William FNicihnolnas 'Ksri satof eNr Reichward sBonrain Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF FINE ARTS “TROUBLE IN HIS BRAIN”: QUEERING WILLIAM FINN’S A NEW BRAIN By NICHOLAS KRISTOFER RICHARDSON A Thesis submitted to the School of Theatre in partial fulfillment of the requirements for the degree of Master of Arts 2019 © 2019 Nicholas Kristofer Richardson Nicholas Kristofer Richardson defended this thesis on April 16, 2019. The members of the supervisory committee were: Aaron C. Thomas Professor Directing Thesis Mary Karen Dahl Committee Member Chari Arespacochaga Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the thesis has been approved in accordance with university requirements. ii ACKNOWLEDGMENTS I have so much for which to be thankful and I am indebted to a great number of people. I will try my best to limit this section to those who helped me specifically with this thesis and these past two years of graduate school. First, I offer heartfelt thanks to my most admirable chair, Dr. Aaron C. Thomas. Thank you for guiding me through this thesis regardless of my many insecurities. Thank you for demanding rigor from me and my work. Thank you for your patience. Thank you for your faith in me. It’s been a pleasure to learn from you and work with you. -
DAVID CAPARELLIOTIS Caparelliotis Casting /212-575-1987 [email protected]
DAVID CAPARELLIOTIS Caparelliotis Casting /212-575-1987 [email protected] CASTING DIRECTOR (selected) Holler If Ya Hear Me (Todd Kreidler) Palace Theatre/Broadway dir. Kenny Leon (upcoming) Casa Valentina (Harvey Fierstein) Freidman Theatre/ Broadway dir. Joe Mantello (upcoming) Commons of Pensacola (Amanda Peet) Manhattan Theater Club dir. Lynne Meadow The Snow Geese (Sharr White) Freidman Theatre/ Broadway dir. Daniel Sullivan All New People (Zach Braff) Second Stage Theatre dir. Peter DuBois Water By The Spoonful (Quiara Hudes) Second Stage Theatre dir. Davis McCallum My Name Is Rachel Corrie Minetta Lane/Off-Broadway dir. Alan Rickman Complicit (Joe Sutton) Old Vic/London dir. Kevin Spacey Orphans (Lyle Kessler) Schoenfeld Theatre/ Broadway dir. Daniel Sullivan Lonely I’m Not (Paul Weitz) Second Stage Theatre dir. Trip Cullman Tales of the City: the musical American Conservatory Theatre dir: Jason Moore Romantic Poetry (John P. Shanley) MTC/Off-Broadway dir: John P. Shanley Trip to Bountiful (Horton Foote) Sondheim Theatre/ Broadway dir. Michael Wilson Dead Accounts (Theresa Rebeck) Music Box Theatre/ Broadway dir. Jack O’Brien Fences (August Wilson) Cort Theatre/Broadway dir. Kenny Leon Sweet Bird of Youth (T. Williams) Goodman Theatre/ Chicago dir. David Cromer The Other Place (Sharr White) Freidman Theatre/ Broadway dir. Joe Mantello Seminar (Theresa Rebeck) Golden Theatre/ Broadway dir. Sam Gold Grace (Craig Wright) Court Theatre/ Broadway dir. Dexter Bullard Bengal Tiger … (Rajiv Josef) Richard Rodgers/ Broadway dir. Moises Kaufman Stick Fly (Lydia Diamond) Cort Theatre/ Broadway dir. Kenny Leon The Columnist (David Auburn) Freidman Theatre/Broadway dir. Daniel Sullivan The Royal Family (Ferber) Freidman Theatre/ Broadway dir.