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The Seven Ages of Musical Theatre: the Life Cycle of the Child Performer
UNIVERSITY OF SOUTHAMPTON The Seven Ages of Musical Theatre: The life cycle of the child performer by Lyndsay Barnbrook A thesis submitted in partial fulfillment for the degree of Doctor of Philosophy in the Humanities Faculty School of Music April 2016 \A person's a person, no matter how small." Dr. Seuss UNIVERSITY OF SOUTHAMPTON Abstract Humanities Faculty School of Music Doctor of Philosophy The Seven Ages of Musical Theatre: The life cycle of the child performer by Lyndsay Barnbrook The purpose of the research reported here is to explore the part played by children in musical theatre. It aims to do this on two levels. It presents, for the first time, an historical analysis of involvement of children in theatre from its earliest beginnings to the current date. It is clear from this analysis that the role children played in the evolution of theatre has been both substantial and influential, with evidence of a number of recurring themes. Children have invariably made strong contributions in terms of music, dance and spectacle, and have been especially prominent in musical comedy. Playwrights have exploited precocity for comedic purposes, innocence to deliver difficult political messages in a way that is deemed acceptable by theatre audiences, and youth, recognising the emotional leverage to be obtained by appealing to more primitive instincts, notably sentimentality and, more contentiously, prurience. Every age has had its child prodigies and it is they who tend to make the headlines. However the influence of educators and entrepreneurs, artistically and commercially, is often underestimated. Although figures such as Wescott, Henslowe and Harris have been recognised by historians, some of the more recent architects of musical theatre, like Noreen Bush, are largely unheard of outside the theatre community. -
The-Music-Of-Andrew-Lloyd-Webber Programme.Pdf
Photograph: Yash Rao We’re thrilled to welcome you safely back to Curve for production, in particular Team Curve and Associate this very special Made at Curve concert production of Director Lee Proud, who has been instrumental in The Music of Andrew Lloyd Webber. bringing this show to life. Over the course of his astonishing career, Andrew It’s a joy to welcome Curve Youth and Community has brought to life countless incredible characters Company (CYCC) members back to our stage. Young and stories with his thrilling music, bringing the joy of people are the beating heart of Curve and after such MUSIC BY theatre to millions of people across the world. In the a long time away from the building, it’s wonderful to ANDREW LLOYD WEBBER last 15 months, Andrew has been at the forefront of have them back and part of this production. Guiding conversations surrounding the importance of theatre, our young ensemble with movement direction is our fighting for the survival of our industry and we are Curve Associate Mel Knott and we’re also thrilled CYCC LYRICS BY indebted to him for his tireless advocacy and also for alumna Alyshia Dhakk joins us to perform Pie Jesu, in TIM RICE, DON BLACK, CHARLES HART, CHRISTOPHER HAMPTON, this gift of a show, celebrating musical theatre, artists memory of all those we have lost to the pandemic. GLENN SLATER, DAVID ZIPPEL, RICHARD STILGOE AND JIM STEINMAN and our brilliant, resilient city. Known for its longstanding Through reopening our theatre we are not only able to appreciation of musicals, Leicester plays a key role make live work once more and employ 100s of freelance in this production through Andrew’s pre-recorded DIRECTED BY theatre workers, but we are also able to play an active scenes, filmed on-location in and around Curve by our role in helping our city begin to recover from the impact NIKOLAI FOSTER colleagues at Crosscut Media. -
The Phantom of the Opera Music: Andrew Lloyd Webber Lyrics
The Phantom of the Opera Music: Andrew Lloyd Webber Lyrics: Charles Hart + Richard Stilgoe Book: Andrew Lloyd Webber + Richard Stilgoe Premiere: Thursday, October 9, 1986 THE STAGE OF THE PARIS OPERA, 1905 (The contents of the opera house is being auctioned off. An AUCTIONEER, PORTERS, BIDDERS, and RAOUL, seventy now, but still bright of eye. The action commences with a blow from the AUCTlONEER's gavel) AUCTIONEER Sold. Your number, sir? Thank you. Lot 663, then, ladies and gentlemen: a poster for this house's production of "Hannibal" by Chalumeau. PORTER Showing here. AUCTIONEER Do I have ten francs? Five then. Five I am bid. Six, seven. Against you, sir, seven. Eight. Eight once. Selling twice. Sold, to Raoul, Vicomte de Chagny. Lot 664: a wooden pistol and three human skulls from the 1831 production of "Robert le Diable" by Meyerbeer. Ten francs for this. Ten, thank you. Ten francs still. Fifteen, thank you, sir Fifteen I am bid. Going at fifteen. Your number, sir? 665, ladies and gentlemen: a papier-mache musical box, in the shape of a barrel-organ. Attached, the figure of a monkey in Persian robes playing the cymbals. This item, discovered in the vaults of the theatre, still in working order. PORTER (holding it up) Showing here. (He sets it in motion) AUCTIONEER My I start at twenty francs? Fifteen, then? Fifteen I am bid. (the bidding continues. RAOUL. eventually buys the box for thirty francs) Sold, for thirty francs to the Vicomte de Chagny. Thank you, sir. (The box is handed across to RAOUL. -
Elevating Voices Across Stage and Screen
Elevating voices across stage and screen clients include beginners, aspiring singers Based in London, Fiona continued to coach and performing arts students as well as singers and, in 2010, started working for top-tier professionals. Passionate about Andrew Lloyd Webber and his production vocal health and technique, Fiona believes company, the Really Useful Group. She that anyone can sing and tailors each worked on her first major international lesson to the client’s needs. She works production in 2012, as the vocal coach on remotely via Skype and in person from her Lloyd Webber’s Jesus Christ Superstar, studio at the London Palladium. and has since worked on dozens of major shows across television, film and theatre Fiona grew up on a farm outside around the world. Edinburgh where she immersed herself in music from a young age, initially training Fiona is always at the leading edge of in dance. In 2006, she left Scotland to vocal education. She travels globally to FIONA study Music at the Paul McCartney conferences that are advancing the field Liverpool Institute for Performing Arts, of vocal science and is supported by MCDOUGAL where her vocal coach inspired her to a network of exceptional ENT doctors, study voice education alongside her speech and language therapists, and degree. When she graduated with a first physiotherapists. She is considered a Fiona has worked with some of the biggest class honours degree in 2010, she already valuable link between singers and industry names in the entertainment industry, from had three years of coaching experience. representatives and consults for record Glenn Close to Taylor Swift, Judi Dench to She was the lead singer in a pop duo labels, agents, managers, performing Jennifer Hudson – but her busy studio also called Untouched (along with songwriting arts colleges, choreographers, directors, embraces people who sing for pleasure partner David Wilson), which later signed songwriters, film studios, musicians and and want to improve their voice. -
An Empirical Study of the Determinants of the Run-Times of Broadway Musicals
AN EMPIRICAL STUDY OF THE DETERMINANTS OF THE RUN-TIMES OF BROADWAY MUSICALS A THESIS Presented to The Faculty of the Department of Economics and Business The Colorado College In Partial Fulfillment of the Requirements for the Degree Bachelor of Arts By Katie Ferguson May 2011 AN EMPIRICAL STUDY OF THE DETERMINANTS OF THE RUN-TIMES OF BROADWAY MUSICALS Katie Ferguson May 2011 Mathematical Economics Abstract With an economic impact of $9.8 billion in the 2008-09 season alone, Broadway as an industry which should be economically studied. Currently there is a large gap in scholarly literature about Broadway with only three quantitative studies having been performed. This thesis aims to help fill this gap by building off of these three studies to determine which factors influence the success- measured as total days on Broadway from opening to closing night- of a Broadway musical. This thesis focuses specifically on musicals as they have been shown in all three empirical studies to have longer runs and a larger economic impact than Broadway plays. The econometric analysis finds many variables- such as a movie version of the musical being released, and winning the Tony for Best Musical- that are predictive of loner run times. Revivals are found to have substantially shorter run times than original runs and over time, musicals are lasting longer. KEYWORDS: (Broadway, Musical, Theatre, Run-time) TABLE OF CONTENTS ABSTRACT 1 INTRODUCTION 1 2 LITERATURE REVIEW 5 Characteristics of the Film Industry..................................................... 5 Live Theatre................................................. ..................................... 7 Modern Day Broadway..................................................................................... 9 Empirical Studies................................................ ..................................... 12 18 3 THEORY 4 DATA & METHODOLOGY 32 5 RESULTS AND CONCLUSION 52 APPENDIX A 65 WORKS CONSULTED 67 CHAPTER I INTRODUCTION Broadway makes an enormous impact on the local economy of New York City. -
A Midsummer Night's Dream
Thursday 26 November, 7.30pm Friday 27 November, 2pm & 7.30pm Saturday 28 November, 7.30pm A Midsummer Night’s Dream By William Shakespeare Suba Das director Guildhall School of Music & Drama Milton Court Founded in 1880 by the Situated across the road from Guildhall City of London Corporation School’s Silk Street building, Milton Court offers the School state-of-the-art Chairman of the Board of Governors performance and teaching spaces. Milton Vivienne Littlechild Court houses a 608-seat Concert Hall, a 223-seat theatre, a Studio theatre, three Principal major rehearsal rooms and a TV studio suite. Lynne Williams Students, staff and visitors to the School experience outstanding training spaces as Vice-Principal & Director of Drama well as world-class performance venues. Orla O’Loughlin Please visit our website at gsmd.ac.uk Photographs of the final year acting company are by: David Buttle (Charlie Beck, Lily Hardy, Hope Kenna, Isla Lee, Noah Marullo, Umi Myers, Felix Newman, Jidé Guildhall School is part of Culture Mile: Okunola, Sonny Pilgrem, Alyth Ross), Samuel Black (Dan culturemile.london Wolff), Harry Livingstone (Nia Towle), Wolf Marloh (Zachary Nachbar-Seckel), Clare Park (Grace Cooper Milton), Phil Sharp (Kitty Hawthorne, Sam Thorpe-Spinks), Michael Shelford (Levi Brown, Sheyi Cole, Aoife Gaston, Guildhall School is provided by the City of London Brandon Grace, Conor McLeod, Hassan Najib, Millie Smith, Corporation as part of its Tara Tijani, Dolly LeVack), David Stone (Justice Ritchie), contribution to the cultural life Faye Thomas (Caitlin Ffion Griffiths, Genevieve Lewis) of London and the nation A Midsummer Night’s Dream by William Shakespeare Suba Das director Grace Smart designer Ed Lewis composer Lucy Cullingford movement director Jack Stevens lighting designer Thomas Dixon sound designer Thursday 26, Friday 27, Saturday 28 November 2020 Live performances broadcast from Milton Court Theatre Recording of this performance by any means whatsoever is strictly prohibited. -
“No One Ever Sees the Angel" : Adapting the Phantom of the Opera Mcmurtry, LG
“No one ever sees the Angel" : adapting The Phantom of the Opera McMurtry, LG Title “No one ever sees the Angel" : adapting The Phantom of the Opera Authors McMurtry, LG Type Book Section URL This version is available at: http://usir.salford.ac.uk/id/eprint/48439/ Published Date 2018 USIR is a digital collection of the research output of the University of Salford. Where copyright permits, full text material held in the repository is made freely available online and can be read, downloaded and copied for non-commercial private study or research purposes. Please check the manuscript for any further copyright restrictions. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. “No One Ever Sees the Angel”: Adapting The Phantom of the Opera Leslie McMurtry There are many ways that interpretations of The Phantom of the Opera (1910)i lend themselves to the Gothic mode. The plethora of adaptations over the past centuryii, with varying degrees of similarity to the source text, have taken on a life of their own. Criticism of POTO is still relatively underdeveloped; as Ann C. Hall notes, while the novel has been critiqued through its associations (mainly its links to Gothic fiction and its Freudian and Jungian interpretations), these readings tend to “diminish” author Gaston Leroux’s skill and readers’ enjoyment (Hall 2). This chapter will not focus on Freudian or Jungian readings, but instead I hope to explore an element of the Leroux novel and the adaptations that has been overlooked, and in so doing, give some suggestions as to what qualities have contributed to making this story so enduring. -
Would You Believe L.A.? (Revisited)
WOULD YOU BELIEVE L.A.? (REVISITED) Downtown Walking Tours 35th Anniversary sponsored by: Major funding for the Los Angeles Conservancy’s programs is provided by the LaFetra Foundation and the Kenneth T. and Eileen L. Norris Foundation. Media Partners: Photos by Annie Laskey/L. A. Conservancy except as noted: Bradbury Building by Anthony Rubano, Orpheum Theatre and El Dorado Lofts by Adrian Scott Fine/L.A. Conservancy, Ace Hotel Downtown Los Angeles by Spencer Lowell, 433 Spring and Spring Arcade Building by Larry Underhill, Exchange Los Angeles from L.A. Conservancy archives. 523 West Sixth Street, Suite 826 © 2015 Los Angeles Conservancy Los Angeles, CA 90014 Based on Would You Believe L.A.? written by Paul Gleye, with assistance from John Miller, 213.623.2489 . laconservancy.org Roger Hatheway, Margaret Bach, and Lois Grillo, 1978. ince 1980, the Los Angeles Conservancy’s walking tours have introduced over 175,000 Angelenos and visitors alike to the rich history and culture of Sdowntown’s architecture. In celebration of the thirty-fifth anniversary of our walking tours, the Los Angeles Conservancy is revisiting our first-ever offering: a self-guided tour from 1978 called Would You Believe L.A.? The tour map included fifty-nine different sites in the historic core of downtown, providing the basis for the Conservancy’s first three docent-led tours. These three tours still take place regularly: Pershing Square Landmarks (now Historic Downtown), Broadway Historic Theatre District (now Broadway Theatre and Commercial District), and Palaces of Finance (now Downtown Renaissance). In the years since Would You Believe L.A.? was created and the first walking tours began, downtown Los Angeles has undergone many changes. -
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). -
Edition 5 | 2019-2020
SHUBERT THEATRE 2019–2020 SEASON CATS | 5 CATS Title Page | 7 CATS Cast | 9 CATS Scenes & Musical Numbers | 13 CATS Who’s Who | 15 CATS Staff | 26 Shubert Supporters | 28 The Shubert Theatre is located at 247 College Street, New Haven BOX OFFICE HOURS: Mon–Fri 9:30am–5:30pm and during all performances Call 203-562-5666 or 888-736-2663 www.shubert.com ADVERTISING Onstage Publications Advertising Department 937-424-0529 | 866-503-1966 e-mail: [email protected] www.onstagepublications.com This program is published in association with Onstage Publications, 1612 Prosser Ave., Dayton, Ohio 45409. This program may not be reproduced in whole or in part without written permission from the publisher. Onstage Publications is a division of Just Business!, Inc. Contents © 2020. All rights reserved. Printed in the U.S.A. Shubert Theatre | 2019–2020 3 THE SHUBERT ORGANIZATION JAMES L. NEDERLANDER THE REALLY USEFUL GROUP CAMERON MACKINTOSH ROY FURMAN JOHN GORE STELLA LA RUE GROVE ENTERTAINMENT BURNT UMBER PRODUCTIONS INDEPENDENT PRESENTERS NETWORK/AL NOCCIOLINO PETER MAY PRESENT MUSIC BY ANDREW LLOYD WEBBER BASED ON “OLD POSSUM’S BOOK OF PRACTICAL CATS” BY T. S. ELIOT THE “CATS” COMPANY: ZACHARY S. BERGER JORDAN BETSCHER CAITLIN BOND ELYSE COLLIER ERIN CHUPINSKY MAURICE DAWKINS GIOVANNI DiGABRIELE PJ DiGAETANO ALEX DORF CAMERON EDRIS DANI GOLDSTEIN TIMOTHY GULAN DEVIN HATCH BRETT MICHAEL LOCKLEY McGEE MADDOX MADISON MITCHELL NATHAN PATRICK MORGAN ADRIANA NEGRON BRAYDEN NEWBY CHARLOTTE O’DOWD ALEXA RACIOPPI AUSTIN JOSEPH REYNOLDS ADAM RICHARDSON NEVADA RILEY ANNEMARIE ROSANO MELODY ROSE BEN SEARS ZACHARY TALLMAN TRICIA TANGUY ADAM VANEK DONNA VIVINO AND LORETTA WILLIAMS MUSIC SUPERVISION BY KRISTEN BLODGETTE MUSIC DIRECTOR ERIC KANG MUSIC COORDINATOR TALITHA FEHR CASTING BY TARA RUBIN CASTING / LINDSAY LEVINE, CSA AND XAVIER RUBIANO, CSA TOUR BOOKING, MARKETING AND PUBLICITY DIRECTION BOND THEATRICAL GROUP TOUR MANAGEMENT TROIKA ENTERTAINMENT PRODUCTION MANAGEMENT GREGG DAMANTI GENERAL MANAGEMENT KAREN BERRY PRODUCTION STAGE MANAGER J. -
June 1-3,2(>(>7
Leonard A. Anderson M. Seth Reines Executive Director Artistic Director June 1-3,2(>(>7 nte Media -I1 I - I , ,, This program is partially supportec grant from the Illinois Arts Council. Named a Partner In Excellence by the Illinois Arts Council. IF IT'S GOT OUR NAME ON IT YOlU'VE GOT OUR WORD ON If. attachments that are tough enough for folks Ib you. And then we put wr gllarantee on m,m, In fact,we ofb the WustryS only 3-year warm&, Visit mgrHd.com. Book By James Goldman Music Lyrics by Stephen Sondheim Produced Originally on Broadway by Harold Prince By special arrangement with Cameron Mackintosh Directed & Staged by Tony Parise Assistant To The Directorr AEA Stage Manager Marie Jagger-Taylor* Tom Reynolds* Lighting Designer Musical Director Sound Designer Joe Spratt P. Jason Yarcho David J. Scobbie The Cast (In Order of Appearance) Dimitri Weismann .............................................................................................Guy S. Little Jr.* Roscoe....................................................................................................................... Tom Bunfill Phyllis Rogers Stone................................................................................... Colleen Zenk Pinter* Benjamin Stone....................................................................................................... Mark Pinter* Sally Durant Plumrner........................................................................................ a McNeely* Buddy Plummer........................................................................................................ -
Broadway Theater Map
Broadway Theater Map Times Square & Broadway Restaurants (not mapped – easy to find) • Restaurant Row (46th St, 8th/9th Aves) - home to 30 restaurants on one block, some a bit touristy, but all geared for the Broadway theatre crowd, serving prix- fixe specials and well-aware you have an 8pm show to get to. Recommended: Sushi of Gari 46, Becco & Barbetta (authentic Italian, 100+ years old). • Saki Bar Hagi 46 (358 W 46th St) - Japanese eatery & sake bar offering yakitori, noodles, sushi and much more. Open very late. I love this place! • Becco (355 W 46th, 8th Ave) - Italian, prix-fixe menus, all you can eat pasta and owned by Lidia Bastianich, a local favorite chef. • Carmine's (200 W 44th @ 7th Ave) - family-style Italian and their second restaurant (original on the Upper West Side). Widely popular with the theater crowd, tourists and a great family-friendly stop in Times Square. • Junior's - They have everything (burger, deli, breakfast, dessert), but are likely the most famous NY Cheesecake in the world. 2 locations in Times Square - 45th & 49th. • Sardi’s (234 W 44th, 7th & 8th) - an iconic Broadway institution for years, great for pre- and post- theater meals, a local Broadway star hangout. The menu is kind of random. Maybe upscale continental? Open on Thanksgiving. • Joe Allen - similar to Sardi's in that it is a popular Broadway hangout (stars, producers), but a casual tavern. Orso is their Italian sister restaurant. • Meske (Meskerem) (468 W 47th, 10th Ave) - Ethiopian, inexpensive & interesting. If you've never eaten using spongy bread to pick up your food (no utensils), it's fun and a must-try.