DOCSLIB.ORG

South Pacific the Articles in This Study Guide Are Not Meant to Mirror Or Interpret Any Productions at the Utah Shakespeare Festival

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
South Pacific the Articles in This Study Guide Are Not Meant to Mirror Or Interpret Any Productions at the Utah Shakespeare Festival Insights A Study Guide to the Utah Shakespeare Festival South Pacific The articles in this study guide are not meant to mirror or interpret any productions at the Utah Shakespeare Festival. They are meant, instead, to bean educational jumping-off point to understanding and enjoying the plays (in any production at any theatre) a bit more thoroughly. Therefore the stories of the plays and the interpretative articles (and even characters, at times) may differ dramatically from what is ultimately produced on the Festival’s stages. The Study Guide is published by the Utah Shakespeare Festival, 351 West Center Street; Cedar City, UT 84720. Bruce C. Lee, communications director and editor; Phil Hermansen, art director. Copyright © 2015, Utah Shakespeare Festival. Please feel free to download and print The Study Guide, as long as you do not remove any identifying mark of the Utah Shakespeare Festival. For more information about Festival education programs: Utah Shakespeare Festival 351 West Center Street Cedar City, Utah 84720 435-586-7880 www.bard.org. Cover photo: a scene from South Pacific, 2015. Contents Information on the Play Synopsis 4 Characters 5 About theSouth Playwrights: Richard Pacific Rodgers and Oscar Hammerstein II 6 Scholarly Articles on the Play South Pacific: Tales of Paradise 9 Utah Shakespeare Festival 3 351 West Center Street • Cedar City, Utah 84720 • 435-586-7880 The Story of the Play Ensign Nellie Forbush, a young American nurse stationed on a South Pacific island dur- ing World War II, has met and fallen in love with Emile de Becque, a middle-aged French plantation owner. Nellie, promising to think about the future of their relationship, rushes back to the hospital for her shift. Meanwhile on the beach, Luther Billis and the American sailors lament about the short- age of available women (since Navy nurses are commissioned officers and off-limits to enlisted men). A feisty native nicknamed Bloody Mary flirts with the sailors and joins in their fun. When U.S. Marine Lieutenant Joseph Cable arrives on the island, Bloody Mary tries to persuade him to visit Bali Ha’i which only officers can go to, and Billis offers to help him get a boat. Cable declines and reports to the island’s commanding officers, Capt. George Brackett and Commander William Harbison. Cable has been assigned to a dangerous spy mission to another nearby island, now held by the Japanese. The military plans to ask Emile to accompany him because he used to live there. They ask for Nellie’s help in learning more about him, and she realizes she doesn’t know him well and decides to end the relationship with him. However, before she has the chance to break things off, Emile reveals why he had to leave France: a story about a bully he stood up to and accidently killed in France long ago. He also expresses his love for her and asks her to marry him, and she realizes how much she loves him in return. Emile declines to accompany Cable on the spy mission because of his hopes for a new life with Nellie. Thus, Commander Harbison tells Cable to go on leave until the mission can take place; and Cable, Billis, and Bloody Mary go to Bali Ha’i where Bloody Mary intro- duces Cable to her daughter, Liat. She and Cable are instantly attracted. Meanwhile, Emile introduces Ngana and Jerome to her, and she is shocked when she real- izes they are his children by his first wife, a dark-skinned Polynesian women. Nellie cannot overcome her racial prejudice and leaves. On Thanksgiving Day, the GIs and nurses perform in a revue called “Thanksgiving Follies” that Nellie has helped put together. During the show, Cable leaves to see Liat. Now Bloody Mary pushes Cable to marry Liat and live a carefree life on the island. He is tempt- ed but ultimately refuses, and Bloody Mary angrily drags Liat away. After the show, Emile approaches Nellie and asks her to reconsider marrying him, but she still cannot let her prejudices go about his children’s Polynesian mother. Upset and con- fused, Emile asks Cable why she feels this way, and he says it is something that is taught at a young age. Emile mourns for the relationship that was almost his and agrees now to go with Cable on the spy mission behind enemy lines because now neither has much to lose. The men get to the island undetected and are able to get communications back to head- quarters about the enemy’s position. This information makes it possible for a major offen- sive, Operation Alligator, to start. War rages, including in the hearts of Cable and Nellie as they struggle with their prejudices and the changing world around them. 4 Utah Shakespeare Festival 351 West Center Street • Cedar City, Utah 84720 • 435-586-7880 Characters: South Pacific Ensign Nellie Forbush (US Navy): A spirited, young nurse from Little Rock, Arkansas, Nellie is optimistic and tomboyish and falls in love with Emile, but she fights against her own prejudices as their relationship develops. Emile de Becque: A wealthy, sophisticated and older French gentleman, de Becque has built an impressive plantation on the island. He claims to have killed a man in France, forcing him to flee the country. He volunteers to serve as a spy for the American troops when Nellie calls things off between them. Ngana: Emile’s young daughter Jerome: Emile’s young son Henry: Emile’s native servant Bloody Mary: A sassy native merchant who makes her living selling souvenirs to the American sailors, Bloody Mary tries desperately to find a rich husband for her daughter Liat who she thinks can give her a better life. Liat: Bloody Mary’s beautiful Polynesian daughter, Liat falls in love with Lt. Cable Bloody Mary’s Assistant Luther Billis: A loveable and crafty man who helps provide much-needed comic relief for his fellow sailors, Billis has little to no respect for authority and is always scheming, but he is a good friend to Nellie. He runs a laundry enterprise with a homemade washing machine. “Stewpot” George Watts: A Sailor and Luther’s cohort, Watts run the laundry machine. “Professor”: A sailor and Luther’s cohort Lt. Joseph Cable (USMC): A handsome and intelligent officer, Cable is newly stationed on the island. Capt. George Brackett (US Navy): The commanding officer and highest-ranking officer on the island, Brackett is slightly self-important, but he hides a heart of gold. Cmdr. William Harbison (US Navy): Second-in-command on the island, Harbison is officious and hotheaded. He is Brackett’s right hand man. Radio Operator Bob McCaffrey: A sailor, McCaffrey sends and receives messages from an undercover mission. Lt. Buzz Adams: A pilot who flies the undercover mission Ensign Dinah Murphy: A nurse and Nellie’s closest friend Ensign Janet MacGregor: A nurse Sailors, Marines, Seabeas, Patrolman, Ensigns, Islanders, Nuns, Officers, Soldiers, Pilots Utah Shakespeare Festival 5 351 West Center Street • Cedar City, Utah 84720 • 435-586-7880 Richard Rodgers and Oscar Hammerstein II: Creators of South Pacific By Marlo Ihler Considered one of the most successful writing teams in Broadway history, Richard Rodgers (music) and Oscar Hammerstein II (lyrics and book) changed the face of the American musical. They also had a significant influence on the business side of show business. Together they made an indelible impact on musical theatre as we know it today. Richard Charles Rodgers was born on June 28, 1902, in Queens, New York. He was the second son born to physician Dr. William Rodgers and his wife Mamie. Not long after he was born, his family moved to upper Manhattan and he grew up in a home with music and theatre. By age nine, he played the piano by ear, and by fifteen was writing music and decided to pursue musical theatre as a career (biography.com). Rodgers attended Columbia University, where he wrote music for the school’s well-known annual Varsity Show. It was during one of these shows, his older brother introduced him to Lorenz Hart, a journalism student, and Hammerstein, a law student. Ironically, Rodgers, Hart, and Hammerstein had grown up only blocks away from one another but did not meet until they were classmates at Columbia. The Varsity Show of 1920, Fly with Me, with music by Rodgers and lyrics by Hart and Hammerstein, was a success that led to a partnership between Rodgers and Hart that lasted over twenty years. Rodgers and Hart composed music and lyrics for twenty-six Broadway musicals. They had scores of songs that have since become classics, such as “I’ll Take Manhattan,” “Blue Moon,” “My Funny Valentine,” and “The Lady is a Tramp” (c250columbia.edu). Oscar Greeley Clendenning Hammerstein II was born July 12, 1895 in New York City to a renowned theatre family. His father, William, managed a Vaudeville theatre, the Victoria; his grand- father, Oscar I, was an acclaimed opera impresario; and his uncle, Arthur, was a Broadway producer (biography.com). His happy childhood included music and theatre, but was marred by the death of his mother when he was fifteen, and the death of his father when he was nineteen (notablebiogra- phies.com). While attending Columbia, he studied law and started acting in and later writing for the Varsity Show revues. In 1919, his uncle gave him his first theatre job as an assistant stage manager. His uncle also produced his first play, entitled The Light, which lasted for only four performances (rnh.com). Though he did earn an undergraduate law degree, his love of theatre overtook his inter- est in law, and so in his second year of law school he dropped out to pursue a theatre career.
Load more

Recommended publications
  • Music, Dance and Theatre (MDT) 1
    Music, Dance and Theatre (MDT) 1 MDT 510 Latin American Music (3 Credits) MUSIC, DANCE AND THEATRE A course in the music of selected Latin America countries offering music and Spanish-language majors and educators perspectives into the (MDT) musical traditions of this multifaceted region. Analysis of the music will be discussed in terms that accommodate non specialists, and all lyrics MDT 500 Louis Armstrong-American Hero (3 Credits) will be supplied with English translations. A study of the development of jazz with Louis Armstrong as the vehicle: MDT 511 Vocal Pedagogy (3 Credits) who he influenced and how he did it. Comparative analytical studies with This course is to provide the student of singing a deeper understanding his peers and other musicians are explored. of the vocal process, physiology, and synergistic nature of the vocal MDT 501 Baroque Music (3 Credits) mechanism. We will explore the anatomical construction of the voice as This course offers a study of 17th and 18th century music with particular well as its function in order to enlighten the performer, pedagogue and emphasis on the works of Johann Sebastian Bach, Dietrich Buxtehude, scholar. Each student will learn to codify a practical knowledge of, and Arcangelo Corelli, Francois Couperin, Andrea and Giovanni Gabrieli, skill in, teaching voice. George Frederick Handel, Jean-Baptiste Lully, Claudio Monteverdi, Jean- MDT 520 Musical On B'Way&Hollywood I (3 Credits) Philippe Rameau, Alessandro and Domenico Scarlatti, Gerog Telemann, This course offers an analysis of current Broadway musicals with special and Antonio Vivaldi. seminars with those connected with one or two productions.
    [Show full text]
  • A Quantitative Analysis of the Songs of Cole Porter and Irving Berlin
    i DEVELOPMENT OF CREATIVE EXPERTISE IN MUSIC: A QUANTITATIVE ANALYSIS OF THE SONGS OF COLE PORTER AND IRVING BERLIN A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy By Richard W. Hass January, 2009 ii ABSTRACT Previous studies of musical creativity lacked strong foundations in music theory and music analysis. The goal of the current project was to merge the study of music perception and cognition with the study of expertise-based musical creativity. Three hypotheses about the nature of creativity were tested. According to the productive-thinking hypothesis, creativity represents a complete break from past knowledge. According to the reproductive-thinking hypothesis, creators develop a core collection of kernel ideas early in their careers and continually recombine those ideas in novel ways. According to what can be called the field hypothesis, creativity involves more than just the individual creator; creativity represents an interaction between the individual creator, the domain in which the creator works, and the field, or collection of institutions that evaluate creative products. In order to evaluate each hypothesis, the musical components of a sample of songs by two eminent 20 th century American songwriters, Cole Porter and Irving Berlin, were analyzed. Five separate analyses were constructed to examine changes in the psychologically salient musical components of Berlin’s and Porter’s songs over time. In addition, comparisons between hit songs and non-hit songs were also drawn to investigate whether the composers learned from their cumulative songwriting experiences. Several developmental trends were found in the careers of both composers; however, there were few differences between hit songs and non-hit songs on all measures.
    [Show full text]
  • Clark Spring Semester 2020 Homeschoole MT
    Clark Spring Semester 2020 Homeschoole MT JENNA: In the early 1940s, Richard Rodgers and Oscar Hammerstein III’s ‘Oklahoma!,’ adapted ​ from a play written by Claremore playwright Lynn Riggs, opened on Broadway. It was the first musical they wrote together.. KYLE: Each had already found success on Broadway: Rodgers, having written a series of ​ popular musicals with lyricist Lorenz Hart, and Hammerstein, having written the monumental classic, ‘Show Boat.’ But together with ‘Oklahoma!', they would change musical theatre forever. “Oh! What a Beautiful Mornin’” There's a bright golden haze on the meadow There's a bright golden haze on the meadow The corn is as high as an elephant's eye And it looks like it's climbing clear up to the sky Oh, what a beautiful mornin' Oh, what a beautiful day I've got a beautiful feeling Everything's going my way All the cattle are standing like statues All the cattle are standing like statues They don't turn their heads as they see me ride by But a little brown maverick is winking her eye Oh, what a beautiful mornin' I've got a beautiful feeling Everything's going my way All the sounds of the earth are like music All the sounds of the earth are like music The breeze is so busy, it don't miss a tree And an old weeping willow is laughing at me Oh, what a beautiful mornin' Oh, what a beautiful day I've got a beautiful feeling Everything's going my way Oh, what a beautiful day ALEXA I: With its character-driven songs and innovative use of dance, ‘Oklahoma’ elevated how ​ musicals were written.
    [Show full text]
  • PLAYHOUSE SQUARE January 12-17, 2016
    For Immediate Release January 2016 PLAYHOUSE SQUARE January 12-17, 2016 Playhouse Square is proud to announce that the U.S. National Tour of ANNIE, now in its second smash year, will play January 12 - 17 at the Connor Palace in Cleveland. Directed by original lyricist and director Martin Charnin for the 19th time, this production of ANNIE is a brand new physical incarnation of the iconic Tony Award®-winning original. ANNIE has a book by Thomas Meehan, music by Charles Strouse and lyrics by Martin Charnin. All three authors received 1977 Tony Awards® for their work. Choreography is by Liza Gennaro, who has incorporated selections from her father Peter Gennaro’s 1977 Tony Award®-winning choreography. The celebrated design team includes scenic design by Tony Award® winner Beowulf Boritt (Act One, The Scottsboro Boys, Rock of Ages), costume design by Costume Designer’s Guild Award winner Suzy Benzinger (Blue Jasmine, Movin’ Out, Miss Saigon), lighting design by Tony Award® winner Ken Billington (Chicago, Annie, White Christmas) and sound design by Tony Award® nominee Peter Hylenski (Rocky, Bullets Over Broadway, Motown). The lovable mutt “Sandy” is once again trained by Tony Award® Honoree William Berloni (Annie, A Christmas Story, Legally Blonde). Musical supervision and additional orchestrations are by Keith Levenson (Annie, She Loves Me, Dreamgirls). Casting is by Joy Dewing CSA, Joy Dewing Casting (Soul Doctor, Wonderland). The tour is produced by TROIKA Entertainment, LLC. The production features a 25 member company: in the title role of Annie is Heidi Gray, an 11- year-old actress from the Augusta, GA area, making her tour debut.
    [Show full text]
  • “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.
    [Show full text]
  • Virtual Live Auction 5 Pm on Sunday, September 20
    Virtual Live Auction 5 pm on Sunday, September 20 Auctioneer: Nick Nicholson Host: Bryan Batt 1. Join Seth Rudetsky as a Special Guest on Stars in the House Your name will be added to the roster of entertainment luminaries when you join Seth Rudetsky as a special guest on an episode of Stars in the House. Created with his husband, James Wesley, in response to the coronavirus pandemic, Stars in the House brings together music, community and education. Benefiting The Actors Fund, the daily livestream features remote performances from stars in their homes, conversing with Rudetsky and Wesley in between songs. The incredible 800 guests so far have included everyone from Annette Benning to Jon Hamm to Phillipa Soo. Don’t miss the opportunity to join for an episode and make your smashing debut as a special guest on Stars in the House. Opening bid: $500 2. Virtual Meeting with the Legendary Bernadette Peters There are few leading ladies as notably creative and compassionate as Bernadette Peters. The two-time Tony Award winner made her Broadway debut in 1967’s The Girl in the Freudian Slip. In the decades since, she’s created some of musical theater’s most memorable roles including Dot in Sunday in the Park with George and The Witch in Into the Woods. She’s a member of the Broadway Cares/Equity Fights AIDS Board of Trustees who has created memorable performances in stunning Broadway revivals, notably Annie Get Your Gun, Gypsy, Follies and, most recently, Hello Dolly!. Today, you can win a virtual meet-and-greet with this legend.
    [Show full text]
  • THE CLEVELAN ORCHESTRA California Masterwor S
    ����������������������� �������������� ��������������������������������������������� ������������������������ �������������������������������������� �������� ������������������������������� ��������������������������� ��������������������������������������������������� �������������������� ������������������������������������������������������� �������������������������� ��������������������������������������������� ������������������������ ������������������������������������������������� ���������������������������� ����������������������������� ����� ������������������������������������������������ ���������������� ���������������������������������������� ��������������������������� ���������������������������������������� ��������� ������������������������������������� ���������� ��������������� ������������� ������ ������������� ��������� ������������� ������������������ ��������������� ����������� �������������������������������� ����������������� ����� �������� �������������� ��������� ���������������������� Welcome to the Cleveland Museum of Art The Cleveland Orchestra’s performances in the museum California Masterworks – Program 1 in May 2011 were a milestone event and, according to the Gartner Auditorium, The Cleveland Museum of Art Plain Dealer, among the year’s “high notes” in classical Wednesday evening, May 1, 2013, at 7:30 p.m. music. We are delighted to once again welcome The James Feddeck, conductor Cleveland Orchestra to the Cleveland Museum of Art as this groundbreaking collaboration between two of HENRY COWELL Sinfonietta
    [Show full text]
  • The Golden Age Exposed: the Reality Behind This Romantic Era
    Illinois Wesleyan University Digital Commons @ IWU Honors Projects Theatre Arts, School of 4-28-2017 The Golden Age Exposed: The Reality Behind This Romantic Era Danny Adams Follow this and additional works at: https://digitalcommons.iwu.edu/theatre_honproj Part of the Theatre and Performance Studies Commons Recommended Citation Adams, Danny, "The Golden Age Exposed: The Reality Behind This Romantic Era" (2017). Honors Projects. 22. https://digitalcommons.iwu.edu/theatre_honproj/22 This Article is protected by copyright and/or related rights. It has been brought to you by Digital Commons @ IWU with permission from the rights-holder(s). You are free to use this material in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This material has been accepted for inclusion by faculty at Illinois Wesleyan University. For more information, please contact [email protected]. ©Copyright is owned by the author of this document. Illinois Wesleyan University The Golden Age Exposed: The Reality Behind This Romantic Era Danny Adams Honors Research April 28th, 2017 1 In the spring of 2016, I took a class called "Music Theatre History and Literature" which is about exactly what it sounds like: a course on the history of music theatre and how it evolved into what it is today. From The Black Crook, the first known "integrated musical" in 1866, to In the Heights and shows today, the class covered it all.
    [Show full text]
  • YCH Monograph TOTAL 140527 Ts
    UCLA UCLA Electronic Theses and Dissertations Title Transformation of The Musical: The Hybridization of Tradition and Contemporary Permalink https://escholarship.org/uc/item/1hr7f5x4 Author Hu, Yuchun Chloé Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Transformation of The Musical: The Hybridization of Tradition and Contemporary A dissertation submitted in partial satisfaction of the requirement for the degree Doctor of Philosophy in Music by Yu-Chun Hu 2014 Copyright by Yu-Chun Hu 2014 ABSTRACT OF THE DISSERTATION Transformation of The Musical: The Hybridization of Tradition and Contemporary by Yu-Chun Hu Doctor of Philosophy in Music University of California, Los Angeles, 2014 Professor Ian Krouse, Chair Music and vision are undoubtedly connected to each other despite opera and film. In opera, music is the primary element, supported by the set and costumes. The set and costumes provide a visual interpretation of the music. In film, music and sound play a supporting role. Music and sound create an ambiance in films that aid in telling the story. I consider the musical to be an equal and reciprocal balance of music and vision. More importantly, a successful musical is defined by its plot, music, and visual elements, and how well they are integrated. Observing the transformation of the musical and analyzing many different genres of concert music, I realize that each new concept of transformation always blends traditional and contemporary elements, no matter how advanced the concept is or was at the time. Through my analysis of three musicals, I shed more light on where this ii transformation may be heading and what tradition may be replaced by a new concept, and vice versa.
    [Show full text]
  • Save Century II Newsletter #6 - the Truth Comes Out!
    Save Century II Newsletter #6 - The Truth Comes Out! The Wichita Eagle published a story on March 3 reporting that the Broadway musical, “Hamilton,” is coming to Wichita. Anyone questioning the Riverfront Legacy Plan to demolish Century II will recall that “Hamilton” has often been used as an example of a Broadway production that could not come to Wichita because of the physical limitations of Century II - the stage was 11 feet too shallow. According to the American Theater Guild, the performance will not leave pieces of the set in the trucks as feared. Rather, “the Hamilton production will be of the same size and quality as the one at the Richard Rodgers Theatre in New York and currently on tour” and will “100% be the full-sized tour seen in all other markets and equity [produced].” The Wichita Eagle clarified the actual reason for not getting Hamilton before the 2021-22 season was strictly related to ticket sales. Riverfront Legacy backers and the public relations firms they’ve hired to spread their propaganda have used the Hamilton excuse to convince Wichita citizens, Music Theatre Wichita staff, and City Council members that Century II should be destroyed. For too long, special interests have had their way with City Hall and we're still waiting on an Ethics Policy from City Council. We ask that you keep reading, listening, and thinking. We owe thanks to reporters and opinion writers at the Wichita Eagle, the Wichita Business Journal and reporters at local TV and radio stations for their investigative reporting. Check out three of the
    [Show full text]
  • November 13 – the Best of Broadway
    November 13 – The Best of Broadway SOLOISTS: Bill Brassea Karen Babcock Brassea Rebecca Copley Maggie Spicer Perry Sook PROGRAM Broadway Tonight………………………………………………………………………………………………Arr. Bruce Chase People Will Say We’re in Love from Oklahoma……….…..Rodgers & Hammerstein/Robert Bennett Try to Remember from The Fantasticks…………………………………………………..Jack Elliot/Jack Schmidt Can’t Help Lovin’ Dat Man from Show Boat……………………………Oscar Hammerstein/Jerome Kern/ Robert Russell Bennett Gus: The Theatre Cat from Cats……………………………………….……..…Andrew Lloyd Webber/T.S. Eliot Selections from A Chorus Line…………………………………….……..Marvin Hamlisch/Arr. Robert Lowden Glitter and Be Gay from Candide…………………….………………………………………………Leonard Bernstein Let’s Call the Whole Thing Off from Shall We Dance…….…….……………………George & Ira Gershwin Impossible Dream from Man of La Mancha………………………………………….…Mitch Leigh/Joe Darion Mambo from Westside Story……………………………………………..…………………….…….Leonard Bernstein Somewhere from Westside Story……………………………………….…………………….…….Leonard Bernstein Intermission Seventy-Six Trombones from The Music Man………………………….……………………….Meredith Willson Before the Parade Passes By from Hello, Dolly!……………………………John Herman/Michael Stewart Vanilla Ice Cream from She Loves Me…………..…………....…………………….Sheldon Harnick/Jerry Bock Be a Clown from The Pirate..…………………………………..………………………………………………….Cole Porter Summer Time from Porgy & Bess………………………………………………………….………….George Gershwin Move On from Sunday in the Park with George………….……..Stephen Sondheim/Michael Starobin The Grass is Always Greener from Woman of the Year………….John Kander/Fred Ebb/Peter Stone Phantom of the Opera Overture……………………………………………………………….Andrew Lloyd Webber Music of the Night from Phantom of the Opera…….………………………………….Andrew Lloyd Webber Love Never Dies from Love Never Dies………………..…..……………………………….Andrew Lloyd Webber Over the Rainbow from The Wizard of Oz….……………………………………….Harold Arlen/E.Y. Harburg Arr. Mark Hayes REHEARSALS: Mon., Oct. 17 7 p.m.
    [Show full text]
  • Barnard College Bulletin 2017-18 3
    English .................................................................................... 201 TABLE OF CONTENTS Environmental Biology ........................................................... 221 Barnard College ........................................................................................ 2 Environmental Science .......................................................... 226 Message from the President ............................................................ 2 European Studies ................................................................... 234 The College ........................................................................................ 2 Film Studies ........................................................................... 238 Admissions ........................................................................................ 4 First-Year Writing ................................................................... 242 Financial Information ........................................................................ 6 First-Year Seminar ................................................................. 244 Financial Aid ...................................................................................... 6 French ..................................................................................... 253 Academic Policies & Procedures ..................................................... 6 German ................................................................................... 259 Enrollment Confirmation ...........................................................
    [Show full text]