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A Comedy Revolution Comes to Starlight Indoors This Winter
FOR IMMEDIATE RELEASE CONTACT: Rachel Bliss, Starlight Theatre [email protected] 816-997-1151-office 785-259-3039-cell A Comedy Revolution Comes to Starlight Indoors This Winter Playing November 5-17 only! “SMART, SILLY AND “SPAMILTON IS SO “THE NEXT BEST THING CONVULSIVELY FUNNY” INFECTIOUSLY FUN THAT IT TO SEEING HAMILTON!” - The New York Times COULD EASILY RUN AS LONG - New York Post AS ITS INSPIRATION!” – The Hollywood Reporter KANSAS CITY, Mo. – As the weather cools off, the stage house heats up with the 2019-20 Starlight Indoors series, sponsored by the Missouri Lottery. Now in its fifth season, this year’s lineup of hilarious Off-Broadway hits opens November 5-17 with the North American tour of Spamilton: An American Parody, making its Kansas City premiere. Tickets are on sale now. Created by Gerard Alessandrini, the comic mastermind behind the long-running hit Forbidden Broadway, which played the 2017-18 Starlight Indoors series, Spamilton: An American Parody is a side-splitting new musical parody based on a blockbuster hit of a similar name. After numerous extensions of its run in New York, this hilarious production made a splash in Chicago, Los Angeles and London. Now, Spamilton: An American Parody brings a singing, dancing and comedy revolution to Kansas City. “Spamilton pays a hilarious tribute to its inspiration and is smart, sharp and funny to its core— everything you’d want and more from a spoof of Broadway’s most popular musical,” Caroline Gibel, director of indoor programming at Starlight, said. “The best part is, you don’t have to have seen Hamilton to enjoy Spamilton. -
THE GREER CABARET THEATER IS a PROJECT of the PITTSBURGH CULTURAL TRUST Pittsburgh CLO Board of Directors
THE GREER CABARET THEATER IS A PROJECT OF THE PITTSBURGH CULTURAL TRUST Pittsburgh CLO Board of Directors OFFICERS Honorary Chairman of the Board Vice Presidents/ Vice Presidents Julie Andrews Education & Outreach Pritam Advani Christine M. Kobus Alexander Overstrom Chairman of the Board Gary R. Truitt Helen Hanna Casey Secretary Vice President/CLO Guild Johanna G. O’Loughlin President Laura Penrod Kronk Mark J. Minnaugh Treasurer Vice President/Human Resources Edward T. Karlovich Vice President/CLO Ambassadors Todd C. Moules Lisa D. Perrache Executive Director Emeritus Vice Presidents/ Charles Gray Vice Presidents/Audit Long Range Planning Timothy K. Zimmerman Michael E. Bleier Corporate Counsel Helen Hanna Casey Todd C. Moules James M. Doerfler Chairman of the Board James J. McQuade Vice Presidents/Budget & Finance Vice Presidents/Marketing Chairmen of the Board Emeritus Timothy K. Zimmerman Michael F. Walsh William M. Lambert Dana A. Yealy Richard S. Hamilton George A. Davidson, Jr. Joseph C. Guyaux Vice Presidents/Cabaret Theater Vice Presidents/Production, Daniel I. Booker New Works Development & James E. Rohr John Dick Funding Daniel I. Booker Peter J. Germain Louis D. Astorino Vice President/ Dennis Unkovic Construction Center & Facilities Executive Producer & CEO Stephen S. Bloomburg Yarone Zober Van Kaplan Vice Presidents/Nominating Vice Presidents/Development Scott F. Neill Mark J. Minnaugh Glenn D. Todd Joseph V. DiVito, Jr. Ronald L. Violi Mark J. Minnaugh Laurie M. Mushinsky President DIRECTORS Pritam Advani James V. Dionise Laura Penrod Kronk Council Member Glenn D. Todd Meghan N. Barrera Joseph V. DiVito, Jr. William M. Lambert Corey O’Connor Gary R. Truitt Joyce A. Bender Jane Dixon Diane B. -
Chapter 6: Professional Foundations
135 Chapter 6: Professional Foundations Theory Becomes Practice I moved to New York and started a new life in a very strange city. Chappell Music secured an apartment for me in the London Terrace complex in Chelsea near the Hudson River. It was a monumental architectural structure with an indoor swimming pool, underground garage, and an observation deck on the roof overlooking the river. All of my energy was focused on getting Elizabeth I (Foster & Spangler, 1972) written and up and running off-Broadway by spring. When I was not working on the show, I went to theatre events and performances and tried to network with recent graduates of CMU seeking their fame and fortune in New York City. Elizabeth I (Foster & Spangler, 1972) was scheduled to open off-Broadway at the Sheridan Square Theatre the end of March. However, the production already running in that venue was extended, and suddenly this off-Broadway theatre for which our production was designed was not available. The backers came to a rehearsal and decided the show was so promising that we would take it directly to Broadway where the Lyceum Theatre was available. We opened for previews on March 28, 1972, and the pressure was on. The set and staging as designed for the thrust (three quarter in the round) stage at the intimate Sheridan Square was no longer feasible. How were we to fit that production into a large proscenium situation? We rehearsed long and hard to bring back the intimacy lost in the transfer. I was not responding well to the stress. -
Finding Aid for the Gary L. Hill Broadway Theatre Guild Stage Door Collection Collection 349
Finding aid for the Gary L. Hill Broadway Theatre Guild Stage Door collection Collection 349 This finding aid was produced using ArchivesSpace on July 20, 2021. Describing Archives: A Content Standard Grand Rapids History and Special Collections 111 Library Street NE Grand Rapids, Michigan 49503 [email protected] URL: https://www.grpl.org/research/history/ Finding aid for the Gary L. Hill Broadway Theatre Guild Stage Door collection Collection 349 Table of Contents Summary Information ......................................................................................................................................... 4 Biographical / Historical ...................................................................................................................................... 4 Scope and Contents .............................................................................................................................................. 6 Administrative Information ............................................................................................................................... 6 Controlled Access Headings ............................................................................................................................... 7 Collection Inventory ............................................................................................................................................. 7 Series I. Historical & Biographical information. ...................................................................................... -
Billboard 1967-11-04
EijilNOVEMBER 4, 1967 SEVENTY -THIRD YEAR 75 CENTS The International Music -Record Newsweekly Labels Hold Boston Capitol to Back Labels Int'l Pop Fest Koppelman & Rubin Talent) Parties in Of By ELIOT TIEGEL Planned for N.Y. NEW YORK - Capitol Rec- Koppelman, co -owner of the ords will finance and distribute two -year -old independent disk All -Out Artist Hunt a series of pop labels formed producing firm /music publish- By HANK FOX by Charles Koppelman and Don ing combine, said Capitol's in- To Help Charity BOSTON - "Stand up straight -talent scouts Rubin. The affiliation marks vestment in the first of his new are watching you" is the advice circulating the record manufacturer's sec- labels, The Hot Biscuit Disc By CLAUDE HALL through this town and Cambridge. Record com- ond such deal with an out- Co., was over $1 million. Hot moving side interest. The Beach Boys' Biscuit's debut single, sched- NEW YORK -An International Pop Music panies and independent producers are 40 of the world's into the region, furiously signing local talent for Brother Records was launched uled for release in two weeks, Festival, featuring more than top artists and groups, is being planned for late a major onslaught of releases by Boston -based several months ago from the introduces a new New York Coast. (Continued on page 10) June next year in Central Park here. Sid Bern- groups due to hit the market in January. organizing Boston and Cambridge groups are stein, the promoter- manager who is At least six it more than scheduled for release in January, and the Festival, believes will draw already for a three -day event. -
Ronald Davis Oral History Collection on the Performing Arts
Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability. -
The Little Theatre-On the Square, Sullivan SEASON
The Little Theatre-On The Square, Sullivan "Central IllinoIs' Only Star Equity MusIc and Drama Theatre" Guy S. Little, Jr. presents 20 TH SEASON Established 1957 Guy S. Little, Jr, presents MICHAEL CALLAN in MEREDITH WILLSON'S "THE MUSIC MAN" Book, Music & Lyrics by: StDry by: MEREDITH MEREDITH WILLSON and WILLSON FRANKLIN LACEY with MELLISS KENWORTHY JOHN KELSO MARTHA LARRIMORE JOHN GALT Janet Peltz Phil Courington Steve Vujovic Robert Swan I Directed by ROBERT BAKER I Choreographed by HELEN BUTLEROFF Musical Direction by BRUCE KIRLE Production Designed by ROBERT D. SOULE Costumes Designed by DAVI D BESS Lighting Designed by Michael Ritoli Production Stage Manager Technical Director Assistant Musical Director Lee Geisel Michael Ritoli Robert Rodgers ENTIRE PRODUCTION UNDER THE SUPERVISION OF MR. LITTLE Cast Conductor JOHN SCOTT Charlie Cowell ......................................•.. STEPHEN ARNOLD Harold Hill MICHAEL CALLAN Mayor Shinn ...................•.......................JOHN KELSO Ewart Dunlop ..........................••........•.... PHIL COURINGTON Oliver Hix ...........................•....•........... WAYNE BAAR Jacey Squires STEVE VUJOVIC Olin Britt .........................•......•..•.......•. ROBERT SWAN Marcellus Washburn JOHN GALT Tommy Djilas ....................•.•................•..JOHN SCOTT Marion Paroo MELLISS KENWORTHY Mrs. Paroo .........................................•.. JANET PELTZ Amaryllis ......•.•.................................... DORLISA MARTIN Winthrop Paroo ............•.........................•. -
Fanny Brice, Funny Girl, and “The Streisand Phenomenon”
____________________________________________________________________ Glorifying the Jewish-American Girl: Fanny Brice, Funny Girl, and “The Streisand Phenomenon” ____________________________________________________________________ ____________________________________________________________________ “What makes [a contemporary production of Funny Girl] all the more impressive is that few actors, or theater companies outside of summer stock, dare to attempt Jule Styne's and Bob Merrill's grand spectacle that propelled Barbra Streisand's career nearly 40 years ago.” Jillian Hornbeck Ambroz, The New York Times (April 2001) “Our renewed fondness, even adoration, of Streisand is evidence of a nostalgia for a time when striving for excellence was at least as important as making a buck, and when originality was prized over focus- grouped packaging. In the early 1960s, Streisand reset the cultural parameters when she walked onstage in Funny Girl and said ‘Hello, Gorgeous’ to herself in the mirror – a slender, unusual girl who wouldn’t compromise on appearance, performance, or integrity. Fifty years later, she still matters, and for all the same reasons.” William Mann, Hello, Gorgeous (2012) ____________________________________________________________________ Alexandra Strycula Thesis submitted in partial fulfillment of the requirements for the major in American Studies, Barnard College April 25, 2014 Thesis Advisers: Elizabeth Esch and Severin Fowles Abstract Rarely has there been a marriage of actress-and-role as lasting and profound as that -
December 4 - 23, 2015 Hilbert Circle Theatre
JACK EVERLY, Music Director SANDI PATTY, Host T H DECEMBER 4 - 23, 2015 HILBERT CIRCLE THEATRE VOLUME 3 Find your PLACE Play bocce ball, attend a lively concerto or relax with friends over lunch in our Fireside Grille. It’s all up to you. With worry-free advantages such as not-for-profit ownership, a local board of directors, and CCAC accreditation, Marquette truly is the place to be. To learn more, call, visit our website or stop by our community. 8140 Township Line Rd. | Indianapolis, IN 46260 phone (317) 875-9700 | www.marque eseniorliving.org 2 698887 698887 698887 phone (317) 875-9700 | www.marque eseniorliving.org phone (317) 875-9700 | www.marque eseniorliving.org 8140 Township Line Rd. | Indianapolis, IN 46260 8140 Township Line Rd. | Indianapolis, IN 46260 To learn more, call, visit our website or stop by our community. To learn more, call, visit our website or stop by our community. accreditation, Marquette truly is the place to be. accreditation, Marquette truly is the place to be. such as not-for-profit ownership, a local board of directors, and CCAC such as not-for-profit ownership, a local board of directors, and CCAC in our Fireside Grille. It’s all up to you. With worry-free advantages in our Fireside Grille. It’s all up to you. With worry-free advantages Play bocce ball, attend a lively concerto or relax with friends over lunch Play bocce ball, attendPLACE a lively concerto or relax with friends over lunch PLACE Find your Find your ECISIONS MADE LIVE AND IN PERSON. -
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Recordings by Women Table of Contents
'• ••':.•.• %*__*& -• '*r-f ":# fc** Si* o. •_ V -;r>"".y:'>^. f/i Anniversary Editi Recordings By Women table of contents Ordering Information 2 Reggae * Calypso 44 Order Blank 3 Rock 45 About Ladyslipper 4 Punk * NewWave 47 Musical Month Club 5 Soul * R&B * Rap * Dance 49 Donor Discount Club 5 Gospel 50 Gift Order Blank 6 Country 50 Gift Certificates 6 Folk * Traditional 52 Free Gifts 7 Blues 58 Be A Slipper Supporter 7 Jazz ; 60 Ladyslipper Especially Recommends 8 Classical 62 Women's Spirituality * New Age 9 Spoken 64 Recovery 22 Children's 65 Women's Music * Feminist Music 23 "Mehn's Music". 70 Comedy 35 Videos 71 Holiday 35 Kids'Videos 75 International: African 37 Songbooks, Books, Posters 76 Arabic * Middle Eastern 38 Calendars, Cards, T-shirts, Grab-bag 77 Asian 39 Jewelry 78 European 40 Ladyslipper Mailing List 79 Latin American 40 Ladyslipper's Top 40 79 Native American 42 Resources 80 Jewish 43 Readers' Comments 86 Artist Index 86 MAIL: Ladyslipper, PO Box 3124-R, Durham, NC 27715 ORDERS: 800-634-6044 M-F 9-6 INQUIRIES: 919-683-1570 M-F 9-6 ordering information FAX: 919-682-5601 Anytime! PAYMENT: Orders can be prepaid or charged (we BACK ORDERS AND ALTERNATIVES: If we are tem CATALOG EXPIRATION AND PRICES: We will honor don't bill or ship C.O.D. except to stores, libraries and porarily out of stock on a title, we will automatically prices in this catalog (except in cases of dramatic schools). Make check or money order payable to back-order it unless you include alternatives (should increase) until September. -
Fanny Brice, Funny Girl, and “The Streisand Phenomenon”
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Columbia University Academic Commons ____________________________________________________________________ Glorifying the Jewish-American Girl: Fanny Brice, Funny Girl, and “The Streisand Phenomenon” ____________________________________________________________________ ____________________________________________________________________ “What makes [a contemporary production of Funny Girl] all the more impressive is that few actors, or theater companies outside of summer stock, dare to attempt Jule Styne's and Bob Merrill's grand spectacle that propelled Barbra Streisand's career nearly 40 years ago.” Jillian Hornbeck Ambroz, The New York Times (April 2001) “Our renewed fondness, even adoration, of Streisand is evidence of a nostalgia for a time when striving for excellence was at least as important as making a buck, and when originality was prized over focus- grouped packaging. In the early 1960s, Streisand reset the cultural parameters when she walked onstage in Funny Girl and said ‘Hello, Gorgeous’ to herself in the mirror – a slender, unusual girl who wouldn’t compromise on appearance, performance, or integrity. Fifty years later, she still matters, and for all the same reasons.” William Mann, Hello, Gorgeous (2012) ____________________________________________________________________ Alexandra Strycula Thesis submitted in partial fulfillment of the requirements for the major in American Studies, Barnard College April 25, 2014 Thesis Advisers: