It's Only a Paper Moon

Total Page:16

File Type:pdf, Size:1020Kb

It's Only a Paper Moon Wednesday Evening, February 4, 2015, at 8:30 Judy Kuhn Sings Richard Rodgers, Mary Rodgers, and Adam Guettel Oh, What a Beautiful Mornin’, from Oklahoma! Music by Richard Rodgers, lyrics by Oscar Hammerstein II The Call, from Floyd Collins Adam Guettel Am I?, from The Griffin and the Minor Cannon Music by Mary Rodgers, lyrics by Ellen Fitzhugh This Can’t Be Love, from The Boys from Syracuse Music by Richard Rodgers, lyrics by Lorenz Hart Dividing Day, from The Light in the Piazza Adam Guettel If I Loved You, from Carousel Music by Richard Rodgers, lyrics by Oscar Hammerstein II We’re Gonna Be Alright, from Do I Hear a Waltz? Music by Richard Rodgers, lyrics by Stephen Sondheim Nobody’s Heart, from By Jupiter Music by Richard Rodgers, lyrics by Lorenz Hart Hey, Love, from Hot Spot Music by Mary Rodgers, lyrics by Martin Charnin Love to Me, from The Light in the Piazza Adam Guettel If You Ask Me, from The Courtship of Miles Standish Mary Rodgers Daybreak, from Floyd Collins Adam Guettel Through the Mountain, from Floyd Collins Adam Guettel Song of Love, from Once Upon a Mattress Music by Mary Rodgers, lyrics by Marshall Barer A Wonderful Guy, from South Pacific Music by Richard Rodgers, lyrics by Oscar Hammerstein II Hello, Young Lovers, from The King and I Music by Richard Rodgers, lyrics by Oscar Hammerstein II Hero and Leander, from Myths and Hymns Adam Guettel The Sweetest Sounds, from No Strings Richard Rodgers Migratory V, from Myths and Hymns Adam Guettel CHOIR Jessie Barr Greg Kamp Tyler Bellmon Collin Kessler Veronica Benton Kyle Leatherbury Brock Bivens Chelsey LeBel Jen Brissman Angel Lin Bijaní Casalan Erica Lustig Adam Cochran Critter Manley Kate Douglas Matthew Marsh Annie Dow Barrie McLain Jason Fazio Brittney Morello Spencer Glass Grace Olson-Davidson Sarah Grace Lauren Parker Sean Green Mackenzie Perpich Jenny Hickman Brook Quintana Matt Hill Alex Rader Luke Hoback Becky Rosky Nicole Hood Casey Shane Josh Isaacs Sam Simahk Alec James Melissa Weyn Katie Johannigman Jenna Zito Meredith Jones .
Recommended publications
  • T T LJ I Republic/Universal's Flaw Sees C R E a T O R O F a L
    $6.95 (U.S.), $8.95 (CAN.), £5.50 (U.K.), 8.95 (EUROPE), Y2,500 (JAPAN) aw a zW MA!' THE INTERNATIONAL NEWSWEEKLY OF MUSIC, VIDEO, AND HOME ENTERTAINMENT, JUNE 22, 2002 BMG's Zomba Buy Sets Calder Free As BMG Absorbs Mandatory Deal, Industry Ponders Zomba Co- Founder's Plans BY GORDON MASSON Calder for more than 30 years, corn- ness," one former Calder associate LONDON-While the music industry ments, "I've always found it ex- notes. "Whatever he does next, I'm comes to terms with Zomba chair - tremely difficult to think of Clive not sure it'll be a phenomenal success." man/CEO Clive Calder's decision to sell doing anything. Having known him Calder was unavailable for com- out to BMG and the resulting mam- since the 1960s and having worked ment, but in a statement he said: moth payout, the most intrigu- "With its outstanding execu- ing part of the news for many tives and creative talent, Zom- lies in what the reclusive South SMG ba should add a lot of value to African plans to do next. With a Bertelsmann's music division, reputed $2.8 billion check soon BMG. While the exercise of heading his way from Bertelsmann's with him all those years, I can't this option will undoubtedly be a German headquarters in Gütersloh, believe he'll do nothing. But I don't surprise to many in the music Calder is not exactly in need of a job. have any idea what would be in his industry, this is a natural culmina- But those who know the man do not mind -I guess that's going to exer- tion of many years of close business believe he is about to simply retire.
    [Show full text]
  • Temecula Theater Your Experiences, Your Memories
    TEMECULA THEATER YOUR EXPERIENCES, YOUR MEMORIES 2019 - 2020 SEASON #ExperienceTemeculaTheater Reasons we all #LOVETemecula! The City of Temecula celebrates 30 years of incorporation on Sunday, SUBSCRIBE & SAVE December 1, 2019. Temecula’s commitment to providing world-class, affordable, and accessible cultural experiences is evidenced by 2019-2020 Season Package Pricing offers music, dance, and Temecula Theater’s 15th Season offering music, dance, and theater theater lovers the opportunity to experience extraordinary lovers extraordinary experiences at memorable live performances, so evenings at your favorite series performances at a significant close to home. savings. Buy Series Packages and receive the deepest discount or Create Your Own Series by selecting five or more shows to Love builds communities and we are grateful for all the love and get the Pick 5 rates. As a Season Subscriber, you will be set for support from our talented artists, generous volunteers, dedicated the Season without worrying about sold-out performances or staff, and loyal patrons. Temecula’s Theater is dedicated to waiting in line to purchase tickets. encouraging, inspiring, and developing the next generation of performers, producers, presenters, and patrons. BENEFITS The Old Town Temecula Community Theater has entertained • Best Value over 700,000 visitors since opening in 2005. Temecula Presents • Preferred Seating continues the tradition by curating various genres for all ages on • Advance Purchase multiple stages, reflecting the diversity of our growing community by • Prior Notices showcasing legendary heroes and rising stars. • Free Ticket Delivery Temecula’s Theater Foundation, Resident Companies, and community performance partners show love by providing traditional and GROUP SALES contemporary experiences through musical theater, chorus, dance, speakers, and all our @ The Merc Series’.
    [Show full text]
  • Playbill.Com
    ® PHILADELPHIA, PENNSYLVANIA PLAYBILL.COM 11-7 Wal Annie_LIVE.indd 1 10/24/17 10:07 AM PB PROGRAM LOGOS_Layout 1 4/11/13 10:33 AM Page 1 Dear Theatregoer, Welcome to another exciting holiday season at the Walnut! The successes we have celebrated over the past 35 years as a not-for-profit producing theatre company would not be possible without the support of loyal theatregoers like you. We would like to say thank you. You help to make the Walnut the most popular theatre company in Philadelphia and the most subscribed theatre company in the world! My wife and I love spending time with friends and family over the holiday season. I’m thrilled that our production of Annie has brought together so many members of our extended theatrical family to share with us this special time of the year. You’ll recognize many of our actors on stage as they perform the Grammy and Tony Award- winning songs during this heartwarming production. I’m delighted that you’ve taken the time to be with us today. Upstairs in our Independence Studio on 3, we have It’s a Wonderful Life: A Live Radio Play. I hope you’ll join us for this holiday classic, based on the iconic film. Set in a 1940s radio studio on a crisp Photo: Mark Garvin Christmas Eve, we have five enchanting actors and an array of live sound effects captivating audiences nightly with their storytelling. This production is the perfect way to continue to celebrate the season with your loved ones.
    [Show full text]
  • ANNUAL REPORT 2012 the ASCAP Foundation One Lincoln Plaza New
    ANNUAL REPORT 2012 The ASCAP Foundation One Lincoln Plaza New York, New York 10023 www.ascapfoundation.org [email protected] The ASCAP Foundation, established in 1975, is a publicly supported charity dedicated to supporting American music creators and encouraging their development through music education and talent development programs such as: songwriting workshops, scholarships, awards, community outreach and humanitarian programs, and providing grants to other 501(c)(3) organizations engaged in educational programs for aspiring songwriters and composers. The ASCAP Foundation supports programs in all musical genres that are national and regional in scope. Over the years, The ASCAP Foundation has developed and established its own scholarships, awards and music education programs and has collaborated with other organizations to meet its objectives. We are proud of the musical greats who have chosen to establish programs in their name and the families that have memorialized loved ones’ achievements by creating and funding named programs. They include: Harold Adamson, Richard Adler, Robert Allen, Herb Alpert, Harold Arlen, Louis Armstrong, Nick Ashford, Irving Berlin, Leonard Bernstein, Freddy Bienstock, Irving Burgie, Irving Caesar, Sammy Cahn, Desmond Child, Cy Coleman, Aaron Copland, Hal David, John Denver, Duke Ellington, George & Ira Gershwin, Jay Gorney, Morton Gould, W.C. Handy, Lorenz Hart, Jerry Herman, Bart Howard, Billy Joel, Quincy Jones, Leo Kaplan, Steve Kaplan, Dean Kay, Leiber & Stoller, Livingston & Evans, Frederick Loewe, John LoFrumento, Henry Mancini, Michael Masser, Joseph Meyer, Vic Mizzy, Jason Mraz, Jack Norworth, Rudy Perez, Cole Porter, Louis Prima, Joe Raposo, Irwin Robinson, Mary Rodgers, Richard Rodgers, David Rose, Stephen Sondheim, Jimmy Van Heusen, Paul Williams, and others.
    [Show full text]
  • Playbill: JUDY KUHN Sings RICHARD RODGERS, MARY
    02-04 Kuhn_GP2 copy 1/28/15 10:18 AM Page 1 Sponsored by Prudential Investment Management Wednesday Evening, February 4, 2015, at 8:30 m a r g Judy Kuhn Sings Richard Rodgers, o r Mary Rodgers, and Adam Guettel P Todd Almond, Arranger and Musical Director e Josh Clayton, Orchestrator h Malcolm Gets, Director T Jeremy Clayton, Woodwinds Suzy Perelman, Violin Peter Sachon, Cello Michael Aarons, Guitar Alana Dawes, Bass John Hadfield, Drums This evening’s program is approximately 75 minutes long and will be performed without intermission. Please make certain all your electronic devices are switched off. Major support for Lincoln Center’s American Songbook is provided by Amy & Joseph Perella. Wine generously donated by William Hill Estate Winery, Official Wine of Lincoln Center. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. The Appel Room Jazz at Lincoln Center’s Frederick P. Rose Hall 02-04 Kuhn_GP2 copy 1/28/15 10:18 AM Page 2 American Songbook Additional support for Lincoln Center’s American Songbook is provided by The Brown Foundation, Inc., of Houston, The DuBose and Dorothy Heyward Memorial Fund, The Shubert Foundation, Jill and Irwin B. Cohen, The G & A Foundation, Inc., Great Performers Circle, Chairman’s Council, and Friends of Lincoln Center. Endowment support is provided by Bank of America. Public support is provided by the New York State Council on the Arts. Artist catering is provided by Zabar’s and zabars.com. MetLife is the National Sponsor of Lincoln Center. Movado is an Official Sponsor of Lincoln Center.
    [Show full text]
  • Teaching BROADWAY with Standards Resources
    The Wicked. he he T T ent R nd a can be found at can be found are international blockbusters. ’s triumphant re-imagining of ’s ats, Les Miserables C Jerry Herman, Jonathan , offers tickets at an astronomical $480 each, in rehearsal and opening on Broadway 2nd Street, Miss Saigon, Sunday in Disney leads an astonishing resurrection of ebber 4 , Julie Taymor aiter before leaving his job to create exclusive behind-the-scenes footage of Wicked home movies of Jonathan Larson working as a w ighlights include: ritish imports like arson, 2nd Street. The smash hit musical comedy L ● EPISODE SIX Putting It Together (1980–2004) B This program also features: David Merrick, Cameron Mackintosh, Andrew Lloyd W H ● With Producers Lion King and after 9/11, Broadway’s corporate dominance con- and after 9/11, Broadway’s tinues to grow with big-budget shows such as 4 the Park with George, La Cage Aux Folles, Rent, The Producers Phantom of the Opera for more information. for www.artsedge.kennedy-center.org/ www.artsedge.kennedy-center.org/ WICKED een music and other disciplines and understand- een music and other disciplines usic heater and Music T Theater Standards Education Theater National The following analyzing and cri- when using these materials: apply productions; analyzing the role of the- theater tiquing in the past and the present; and understanding ater to historythe visual arts in relation and cultures. school theater high about more information For to standards, go site. the Arts’ ArtsEdge Web the Kennedy Center for Go to M stan- Music Education’s for Association The National relationships include understanding apply dards that betw to historying music in relation and culture.
    [Show full text]
  • Cripping Broadway: Neoliberal Performances of Disability in the American Musical
    Cripping Broadway: Neoliberal Performances of Disability in the American Musical by Samuel R. Yates B.A. in Dramatic Arts and English, May 2011, Centre College M.Phil in Theatre and Performance Studies, June 2013, Trinity College Dublin A Dissertation submitted to The Faculty of The Columbian College of Arts and Sciences of The George Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 19, 2019 Dissertation directed by David T. Mitchell Professor of English The Columbian College of Arts and Science of The George Washington University certifies that Samuel R. Yates has passed the Final Examination for the degree of Doctor of Philosophy as of 9 April, 2019. This is the final and approved form of the dissertation. Cripping Broadway: Neoliberal Performances of Disability in the American Musical Samuel R. Yates Dissertation Research Committee David T. Mitchell, Professor of English, Dissertation Director Robert McRuer, Professor of English, Committee Member Ann M. Fox, Professor of English, Committee Member ii © Copyright 2019 by Samuel R. Yates All Rights Reserved iii Chapters two and five of this dissertation contain reworked material previously published in the venues listed below. Additionally, Figure 5.1 is reprinted with permission from Springer Nature. I have permission from publishers to use the work listed below in my dissertation: Yates, Samuel. “Choreographing conjoinment: Side Show’s fleshly fixations and disability simulation.” Studies in Musical Theatre, vol. 13, no. 1, pp. 67–78, doi: 10.1386/smt.13.1.67_1 Yates, Samuel. “Spider-Man’s Designer Genes: Hyper-capacity and Transhumanism in a D.I.Y.
    [Show full text]
  • THE RODGERS FAMILY: a CENTURY of MUSICALS Saturday, August 1 and Sunday, August 2, 2015 3:00Pm the Barns at Wolf Trap
    THE RODGERS FAMILY: A CENTURY OF MUSICALS Saturday, August 1 and Sunday, August 2, 2015 3:00pm The Barns at Wolf Trap Steven Blier, Artistic Director, Pianist and Arranger with Talya Lieberman, Sarah Larsen, Abigail Levis, Frederick Ballantine, Thomas Richards, and Reginald Smith, Jr. Dear Old Syracuse, from The Boys from Syracuse (1938) Music by Richard Rodgers (1902 – 1979); lyrics by Lorenz Hart (1895 – 1943) Performed by Frederick Ballantine, Thomas Richards, and Reginald Smith, Jr. This is a terrible city. The people are cattle and swine. There isn’t a girl I’d call pretty Nor a friend that I’d call mine. And the only decent place on earth Is the town that gave me birth. You can keep your Athens, You can keep your Rome, I’m a hometown fellow And I pine for home. I want to go back… go back… To dear old Syracuse! Though I’ve won out sandals And my funds are low, There’s a light burning in the patio. I want to go back… go back… To dear old Syracuse! It is no metropolis, it has no big Acropolis, and yet there is a quorum of cuties in the forum. Both the Nile and Danube are a silly bore, I’ve a hometown river that assaults my door. I want to go back… go back… To dear old Syracuse! I do not agree with Mister Spartacus, I was never meant to be a hearty cuss. I want to go back… go back… To dear old Syracuse! Though the boys wear tunics That are out of style, They will always greet me 2 With a friendly smile.
    [Show full text]
  • Teacher Guide Grades 3-5
    TEACHER GUIDE GRADES 3-5 COMPREHENSIVE CURRICULUM BASED LESSON PLANS Freaky Friday Mary Rodgers READ, WRITE, THINK, DISCUSS AND CONNECT Fr e a ky Friday Mary Rodgers TEACHER GUIDE NOTE: The trade book edition of the novel used to prepare this guide is found in the Novel Units catalog and on the Novel Units website. Using other editions may have varied page references. Please note: We have assigned Interest Levels based on our knowledge of the themes and ideas of the books included in the Novel Units sets, however, please assess the appropriateness of this novel or trade book for the age level and maturity of your students prior to reading with them. You know your students best! ISBN 978-1-50203-799-2 Copyright infringement is a violation of Federal Law. © 2020 by Novel Units, Inc., St. Louis, MO. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or To order, contact your transmitted in any way or by any means (electronic, mechanical, photocopying, local school supply store, or: recording, or otherwise) without prior written permission from Novel Units, Inc. Toll-Free Fax: 877.716.7272 Reproduction of any part of this publication for an entire school or for a school Phone: 888.650.4224 system, by for-profit institutions and tutoring centers, or for commercial sale is 3901 Union Blvd., Suite 155 strictly prohibited. St. Louis, MO 63115 Novel Units is a registered trademark of Conn Education. [email protected] Printed in the United States of America. novelunits.com Table of Contents
    [Show full text]
  • Creating West Side Story
    Creating West Side Story: An Investigation of the Sociopolitical Backgrounds and Collaborative Relationships of Jerome Robbins, Arthur Laurents, Leonard Bernstein and Stephen Sondheim in the Creation of the Original Broadway Production of West Side Story By Nathan Stith B.F.A., Hofstra University, 1996 Advisor: Dr. Bud Coleman A Thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master of Arts Department of Theatre 2011 This thesis entitled: Creating West Side Story: An Investigation of the Sociopolitical Backgrounds and Collaborative Relationships of Jerome Robbins, Arthur Laurents, Leonard Bernstein and Stephen Sondheim in the Creation of the Original Broadway Production of West Side Story written by Nathan Stith has been approved by the Department of Theatre and Dance ___________________________________________ Bud Coleman ___________________________________________ Oliver Gerland ___________________________________________ Pamyla Stiehl Date: __________ The final copy of this thesis has been examined by the signatories, and we Find that both the content and the form meet acceptable presentation standards Of scholarly work in the above mentioned discipline. iii Nathan Stith (M.A. Theatre) Creating West Side Story: An Investigation of the Sociopolitical Backgrounds and Collaborative Relationships of Jerome Robbins, Arthur Laurents, Leonard Bernstein and Stephen Sondheim in the Creation of the Original Broadway Production of West Side Story Thesis directed by Associate Professor Dr. Bud Coleman This focus of this thesis is twofold: primarily, this investigation is focused on illustrating the sociopolitical similarities of Jerome Robbins, Arthur Laurents, Leonard Bernstein and Stephen Sondheim and to discern any possible influence those similarities had on the collaboration and the creation of the original production of West Side Story.
    [Show full text]
  • Audition Packet
    Audition Packet Music by Stephen Sondheim, Leonard Bernstein, Mary Rodgers, Richard Rodgers, Julie Styne. Lyrics by Stephen Sondheim Directed by Ron Richards Musical Director: Brenna Whitaker Choreographer: Anne Martin Assistant Director and Stage Manager: Diane Wilson Costumer: Norma Floyd Audition Dates: 7 p.m. Sunday, Nov. 3, and 7:30 p.m. Monday, Nov. 4, 2019, Noblesville First United Methodist Church, 2051 Monument St., Noblesville, Entrance 1. Get ready to laugh, cry and fall in love with lyrics that are heartbreakingly true and music that captures the soaring emotions of a new generation with "Side by Side by Sondheim." Simple and unpretentious, this Tony Award-winning musical revue is a perfect introduction to the work of this contemporary master and a must for die-hard fans. In this award-winning revue, some of the most lush, unforgettable songs from this musical theater master are presented in one magical evening. Featuring music from "Company," "Follies," "A Little Night Music," "A Funny Thing Happened on the Way to the Forum," "Anyone Can Whistle" and "Pacific Overtures," not to mention the classics written with musical theater giants, Leonard Bernstein, Julie Styne and Richard Rodgers, this dazzling array of some of Sondheim's best-known songs demonstrates his masterful craft and astounding creativity. All actors cast will be featured roles in this musical revue. ABOUT THE BELFRY THEATRE In July of 1965, a collection of Noblesville residents who enjoyed gathering to read plays decided it was time to take their passion to the next step. That summer, Mrs. Anne Braswell, Mr. and Mrs. Frank Campbell, Mrs.
    [Show full text]
  • Subversive Aspects of American Musical Theatre Donald Elgan Whittaker III Louisiana State University and Agricultural and Mechanical College, [email protected]
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2002 Subversive aspects of American musical theatre Donald Elgan Whittaker III Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Theatre and Performance Studies Commons Recommended Citation Whittaker III, Donald Elgan, "Subversive aspects of American musical theatre" (2002). LSU Doctoral Dissertations. 1125. https://digitalcommons.lsu.edu/gradschool_dissertations/1125 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. SUBVERSIVE ASPECTS OF AMERICAN MUSICAL THEATRE A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Theatre by Donald Elgan Whittaker III B.A., Rice University, 1991 M.A., Florida State University, 1996 May 2002 To my mother and father, who taught me. ii ACKNOWLEDGEMENTS No enterprise is ever undertaken in a vacuum, and this work is no exception. There is no way to thank everyone who has aided in the completion of this dissertation, but I wish to note particularly the contributions of the following people. To my family, Don and Jane Whittaker, the Ritters, Tanna and Howard Ritter, I offer my deepest thanks and love. I could no more have done this without your love and support than I could fly.
    [Show full text]