DOCSLIB.ORG

TBDC-Visualguide-2016.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

MISSION The days of being “just” a dancer are over. You have to be able to do it all. The Broadway Dance Collective was created to give students the tools necessary to flourish in today’s American Musical Theatre by connecting them with Broadway’s finest working professionals. The Broadway Dance Collective is a 4-hour Musical Theatre Master Class Tour where students are split into three groups (Youth, Teen, and College) and take breakout classes in Musical Theatre Jazz, Broadway Tap, Vocal Performance, and Audition Techniques. WHO WE ARE Collectively our Broadway Teaching Artists have performed in over 100 Broadway shows. We have trained at our nation’s most prestigious Universities, graced the World’s greatest stages, trained students across the Globe and are ready to share the information! You will learn original Broadway choreography from the dancers who are currently performing it on Broadway. The day will culminate with a Parent Presentation and Industry Q&A. THE TRUTH Broadway producers want to invest in an ensemble of storytellers who can do everything. Separate singing and dancing ensembles are a practice of the past. Come get the tools. Don’t come to be perfect. Don’t not come because you “can’t” do one of the disciplines. Come to get ready. Robert Hartwell founder BROADWAY TRAINING “Every student Motown NC School of the Arts has a story and I Memphis Hungarian was placed on Cinderella National Ballet this earth to Dreamgirls help them tell it Nice Work If You Houston Ballet more joyfully!” Can Get It Stagedoor Manor TEACHING Broadway Connection Camp Broadway Broadway Artist Alliance Open Jar Institute The University of Michigan StudentsLive Stage Door Connections Broadway Classroom COLLEGE The University of Michigan, Musical Theatre Department BFA, Magna Cum Laude SHONICA RYAN Eloise Cody GOODEN STEELE Kropp Williams BROADWAY/TOUR BROADWAY/TOUR BROADWAY/TOUR BROADWAY/TOUR Cats Matilda Cats Cinderella Matilda Newsies On The Town Memphis Cinderella Billy Elliot Dames At Sea On The Town Bring It On West Side Story West Side Story An American In Paris Adrienne cary krisha charlie Howard tedder marcano williams BROADWAY/TOUR BROADWAY/TOUR BROADWAY/TOUR BROADWAY/TOUR Memphis Big Fish Aida Memphis Shuffle Along Memphis Fosse How To Succeed Radio City The Times... Motown Hedwig And The Rockette Dames At Sea Sweet Charity Angry Inch West Side Story The Color Purple Honeymoon Alvin Ailey In Vegas Martha Graham tanya andy ariana grasan birl jones debose kingsberry BROADWAY/TOUR BROADWAY/TOUR BROADWAY/TOUR BROADWAY/TOUR Chaplin Cats Pippin Aida Memphis Cinderella Motown Dreamgirls On The Town Bullets Over Hamilton Nice Work How To Succeed Broadway Bring It On Leap Of Faith Finian’s Rainbow On A Clear Day The Color Purple A Christmas Story Finian’s Rainbow Cat On A Hot Tin Roof Motown Catch Me If You Can samantha max cameron preston sturm clayton adams dugger III BROADWAY/TOUR BROADWAY/TOUR BROADWAY/TOUR BROADWAY/TOUR Cats Gigi Gigi Motown Matilda On The Town Shrek Memphis Nice Work Something Rotten Cry Baby Ballet San Jose Holiday Inn Hairspray Dance Theatre of On The Town Nice Work Harlem The Addams Family Oklahoma! She Loves Me The Music Man How To Succeed MONETTE Darius Jamison paloma MCKAY Barnes Scott garcia-lee BROADWAY/TOUR BROADWAY/TOUR BROADWAY/TOUR BROADWAY/TOUR Memphis Hamilton Grease Nice Work Spider-Man Memphis Motown On The Town Mamma Mia! Cinderella Memphis The Great Comet Spider-Man Altar Boyz Of 1812 New York City Spider-Man The Phantom Of Ballet The Opera jarran kirstin chaz mary michael muse tucker wolcott patterson BROADWAY/TOUR BROADWAY/TOUR BROADWAY/TOUR BROADWAY/TOUR Motown Cinderella Cats Anthing Goes Hairspray Trip Of Love Newsies The Phantom Of Dreamgirls West Side Story The Opera American Idiot White Christmas Our Teaching artists have danced the WORKS OF THE following choreographers on broadway: CLASSES Wayne Cilento, Bob Fosse, Donald Byrd, Warren Adams, Patti Wilcox, Robert Longbottom, Galen Hooks, Kathleen BROADWAY TAP Marshall, Randy Skinner, Jerry Mitchell, Sergio Trujilio, Christopher Gatelli, Peter So many trained dancers Darling, Jerome Robbins, Josh Bergasse, are afraid of tapping in Rob Ashford, Susan Stroman, Warren auditions, but you’d be Carlyle, and Josh Rhodes. surprised how many Broadway choreographers have hired ”dancer VOCAL PERFORMANCE dancers” and taught them FOR DANCERS how to tap in the rehearsal process. Even if tap is not ”what you do,” taking You’re a fantastic yourself out of your dancer, chances are comfort zone will place you you will make it strides ahead of the through the dance competition. cut. But the most important factor in booking the job is nailing your 16 bar vocal audition. In the vocal performance class, you will learn how to warm up your voice, and how to select a great audition song. The best part is, you will walk away that day MUSICAL THEATRE JAZZ with sheet music in hand to bring into any audition with You will be immersed confidence. We’re in Original Tony Award gonna get you Winning Broadway singing. Jazz choreography. From classical to contemporary, we will cover a vast and diverse repertoire. What the people are saying “One of the BEST experiences my daughter has ever had! What she learned in this 4-hour workshop, was not only fun, but will stay with her for years to come. Robert and the rest of the team were nothing but professional, fun, outgoing, and incredibly knowlegeable.” – Natalie “What an amazing experience! My daughter has been to many classes and workshops but to be taking classes with today’s Broadway stars was really something special!” – Cindee “As a parent, I loved coming in at the end seeing all the dancers smiling and having a blast! She has attended many workshops and she says was by far her favorite!” – Jenny “My daughter is 18 and has trained in NYC with some of the top in the business. Went into this event somewhat tentatively but instead found a workshop that not only can compete with anything in Manhattan, it rivals or surpasses the best out there! Hard to find true Broadway quality jazz, tap AND voice all in one place. If the B’way Dance Collective visits your city, sign up!” – Melissa “So much of dance now is based around competitions and huge conventions, it is refreshing to have opportunities like this to open the kids eyes to the professional world!” – Jessica “I couldn’t have asked for better role models to work with my daughter.” – Heather “Going in as a singer, I knew that the class would be a struggle and a challenge. Everything taught was taught for improvement. I loved every second of it. The teachers are terrific and always there to help!” – Ivan “Beyond voice and dance, this experience builds self-esteem, imparts life skills applicable to any future endeavor, and affords an opportunity to move beyond one’s comfort zone – but all wrapped in the gifts of kindness and humbleness. If you have the opportunity to participate in this class, go for it! It’s amazing! Your dancer likely will see new personal possibilites as a result.” – David “Expect a professional, fast-paced class that woke my daughter up to the level she needs to attain to continue a career in musical theater. My daughter took home the importance of being prepared physically and mentally for the next level!” – Chris “If you get a chance to study under these very talented professional dancers and singers, you better be there!!!” – Juan “They teach you how to break out of your shell and sing like nobody is listening. They were very patient and very welcoming! I would definitely recommend this to anyone who wants to be on Broadway.” – Lily “It will open their eyes to a whole new world and show them how to tell a story in a whole new way!!” – Emily “They used words like ‘when you are living in New York and going to auditions’ and ‘when you go to a dance call’ which made the kids feel that they were really taking their dreams and goals very seriously.” – Melissa #bwaycollective @bwaycollective CLass schedule TIME GROUP A GROUP B GROUP c 8:00-8:30AM Group Warm up 8:20-9:20AM Musical Theatre Jazz Vocal Performance Broadway Tap 9:20-10:10AM Vocal Performance Broadway Tap Musical Theatre Jazz 10:10-11:00AM broadway Tap Musical Theatre Jazz Vocal Performance 11:00-11:30AM Parent Presentation 11:30-12:00PM Industry Q&A HOW TO REGISTER Each student’s parent can register and pay directly on our site! www.bwaycollective.com stay connected @BWAYCollective #BWAYCollective 646.801.0773 [email protected] © The Broadway Collective, Inc. All Rights Reserved. 2017. Tour Schedule, Classes, and Faculty Subject To Change Without Notice. .
Recommended publications
  • Page 1 MMD Resume, 2020 1

    Page 1 MMD Resume, 2020 1

    M A R C I A M I L G R O M D O D G E SDC Director & Choreographer, Teacher Tony Award Nominated Freelance Director and Choreographer of classic and world premiere plays and musicals with a track record of success working in Broadway, Off-Broadway, Regional, Summer Stock and University venues in the United States and Abroad. I am committed to the principles of Equity, Diversity and Inclusion. I recognize that every person, organization, and community is unique. I listen carefully, discuss options, seek to understand, and endeavor to build accord so that every interaction with staff, artists and students is a learning opportunity. --------------------------- Skills --------------------------- • Director • Lecturer • Choreographer • Master Instructor • Teacher • Consultant • Playwright • Strong Leader --------------- Complete Professional Experience ------------- I approach revivals as if they are new works and I bring extensive knowledge of classical form and structure to my collaborations with new writers. I work in large venues from 11,000-seat outdoor theatres to tiny venues such as 60-seat black box theatres 2020 SHERLOCK HOLMES & THE WEST END HORROR, A Radio Drama, Co-Author, ©2001, 2020 www.allclassical.org/Broadway Rose Theatre, Portland, OR, Broadcast Dates: 10/1 & 2, 10/30 & 31 BUDDY THE BUDDY HOLLY STORY, Director & Choreographer, Cincinnati Playhouse in the Park DISNEY+ ENCORE! with Kristen Bell, “Theatre Director” S1/Ep1 Annie and S1Ep12Ragtime https://disneyplusoriginals.disney.com/show/encore **Five 2020 stage productions postponed
  • Broadway Starts to Rock: Musical Theater Orchestrations and Character, 1968-1975 By

    Broadway Starts to Rock: Musical Theater Orchestrations and Character, 1968-1975 By

    Broadway Starts to Rock: Musical Theater Orchestrations and Character, 1968-1975 By Elizabeth Sallinger M.M., Duquesne University, 2010 B.A., Pennsylvania State University, 2008 Submitted to the graduate degree program in Musicology and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Chair: Paul R. Laird Roberta Freund Schwartz Bryan Kip Haaheim Colin Roust Leslie Bennett Date Defended: 5 December 2016 ii The dissertation committee for Elizabeth Sallinger certifies that this is the approved version of the following dissertation: Broadway Starts to Rock: Musical Theater Orchestrations and Character, 1968-1975 Chair: Paul R. Laird Date Approved: 5 December 2016 iii Abstract In 1968, the sound of the Broadway pit was forever changed with the rock ensemble that accompanied Hair. The musical backdrop for the show was appropriate for the countercultural subject matter, taking into account the popular genres of the time that were connected with such figures, and marrying them to other musical styles to help support the individual characters. Though popular styles had long been part of Broadway scores, it took more than a decade for rock to become a major influence in the commercial theater. The associations an audience had with rock music outside of a theater affected perception of the plot and characters in new ways and allowed for shows to be marketed toward younger demographics, expanding the audience base. Other shows contemporary to Hair began to include rock music and approaches as well; composers and orchestrators incorporated instruments such as electric guitar, bass, and synthesizer, amplification in the pit, and backup singers as components of their scores.
  • DAA 2XXXL Broadway Styles 1

    DAA 2XXXL Broadway Styles 1

    Cover Sheet: Request 14379 DAA 3XXXL Broadway Styles 1 Info Process Course|New|Ugrad/Pro Status Pending at PV - University Curriculum Committee (UCC) Submitter Stanley Kaye [email protected] Created 10/25/2019 1:38:37 PM Updated 11/22/2019 11:54:40 AM Description of New course DAA 3XXX Dance Styles 1 request Actions Step Status Group User Comment Updated Department Transferred CFA - Fine Arts Jennifer Setlow 10/25/2019 011301000 No document changes Department Approved CFA - Theatre Peter Carpenter 11/1/2019 and Dance 011304000 No document changes College Approved CFA - College of Jennifer Setlow Please note that 2 credit 11/22/2019 Fine Arts hours/4 contact hours is standard for this type of course--reviewing the courses available under the DAA prefix in the course catalog will provide multiple examples. Please also note that this assignment of credits is accepted by our accrediting body, the National Association of Schools of Dance. Class participation rubric_MT Dance courses.pdf 11/13/2019 University Pending PV - University 11/22/2019 Curriculum Curriculum Committee Committee (UCC) No document changes Statewide Course Numbering System No document changes Office of the Registrar No document changes Student Academic Support System No document changes Catalog No document changes College Notified No document changes Original file: Cover sheet.pdf Course|New for request 14379 Info Request: DAA 3XXXL Broadway Styles 1 Description of request: New course DAA 3XXX Dance Styles 1 Submitter: Jennifer Setlow [email protected] Created: 11/13/2019 10:43:28 AM Form version: 8 Responses Recommended Prefix DAA Course Level 2 Course Number XXX Category of Instruction Introductory Lab Code L Course Title Broadway Dance Styles 1 Transcript Title Broadway Dance Sty 1 Degree Type Baccalaureate Delivery Method(s) On-Campus Co-Listing No Effective Term Spring Effective Year 2020 Rotating Topic? No Repeatable Credit? No Amount of Credit 2 S/U Only? No Contact Type Regularly Scheduled Weekly Contact Hours 4 Course Description Jerome Robbins, Bob Fosse.
  • Arizona Dance E-Star (January 2016)

    Arizona Dance E-Star (January 2016)

    Arizona e statewide listing of performances January 2016 DANCEmaster classes auditions articles | | tips | news | and more RIVERDANCE Tucson / Mesa If/Then ASU Gammage The Peking Acrobats Scottsdale CPA BODYTRAFFIC UA Presents Just West of BROADWAY | PHX Carley Conder Master Classes CONDER/dance | Breaking Ground Social Dances Photo by Dan Perrine Jobs, Tips & more... Arizona Dance e-Star Arizona Dance e-Star a publication of the Arizona Dance Coalition Volume 6, Issue 1 January 2016 Dear readers, Table of Contents Happy New Year! I've included last year's New Year's Resolution page (pg 33), since it still applies. Plus, it looks nice. As in the past Calendar of Events 3-6, 12 four years, the January issue also contains an INDEX of 2015 Member Master Classes/Workshops 7-9 articles, photos, and tips (pg 51). This issue marks the 6th year Nominations. .. .. .. .. .. .. .. .. .. .. .. .. 9 the ADC is bringing greater visibility to our statewide DANCE community through this free Arizona Dance e-Star publication. Comm College Dance Courses. .. .. 10-11 You can become involved in making more people aware about the Photo of the Month 13 various dance communities in AZ, events, classes, and auditions Mbr Auditions & Announcements 14-20 just by sharing the e-Star / ADC website / Facebook page, and by Regional News. .... 21-23 inviting your friends and colleagues to join our Facebook group. Interesting STUFF is always happening and you just never know Article: Lindy Hopping Again. .. .. .. .. .. 24-27 when a special performance or master class is going to pop up! Social Dance / Workshops 28-31 The New Year IS going to be great! This January issue is Call for Dancers / Auditions.
  • A Chorus Line: Does It Abide by Rules Established by Actors' Equity Association for the Audition Process?

    A Chorus Line: Does It Abide by Rules Established by Actors' Equity Association for the Audition Process?

    University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2006 A Chorus Line: Does It Abide By Rules Established By Actors' Equity Association For The Audition Process? Mark Hardin University of Central Florida Part of the Theatre and Performance Studies Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Hardin, Mark, "A Chorus Line: Does It Abide By Rules Established By Actors' Equity Association For The Audition Process?" (2006). Electronic Theses and Dissertations, 2004-2019. 751. https://stars.library.ucf.edu/etd/751 A CHORUS LINE: DOES IT ABIDE BY RULES ESTABLISHED BY ACTORS’ EQUITY ASSOCIATION FOR THE AUDITION PROCESS? by MARK W. HARDIN B.M. East Texas Baptist University, 1991 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in the Department of Theatre in the College of Arts and Sciences at the University of Central Florida Orlando, Florida Spring Term 2006 © 2006 Mark W. Hardin ii ABSTRACT I have been cast as “Bobby” in A Chorus Line at Orlando Broadway Dinner Theatre in Orlando. I will use this opportunity as my thesis role. As part of my thesis defense, I will combine an analysis of the character of “Bobby” in A Chorus Line with an assessment of Actors’ Equity Association’s audition policies from 1970 to the present, and investigate whether the audition held in the show abides by the policies established by AEA for Broadway calls.
  • Center Corporate Fund. for How It Went from EMS Arc the Best That Can

    Center Corporate Fund. for How It Went from EMS Arc the Best That Can

    DOCUMENT RESUME CS 508 905 ED 381 838 AUTHOR Carr, John C. Business Without Really Trying." TITLE "How To Succeed in Spotlight on Theater Notes. for the Performing Arts, INSTITUTION John F. Kennedy Center Washington, D.C. Washington, DC. SPONS AGENCY Department of Education, PUB DATE [95) Performance Plus Program, NOTE 13p.; Produced by the Kennedy Center EducationDepartment. Funding also provided by the KennedyCenter Corporate Fund. For other guides in thisseries, see CS 508 902-906. PUB TYPE Guides General (050) EDRS PRICE MF01/PC01 Plus Postage. *Drava; Higher DESCRIPTORS Acting; *Cultural Enrichment; Education; Playwrit..ng;Popular Culture; Production Techniques; SecondaryEducation *How to Succeed in Business IDENTIFIERS Historical Background; Without Really Trying;Musicals ABSTRACT This booklet presents avariety of materials Succeed in concerning the current revivalof the 1961 play "How to introduction to the Business Without ReallyTrying." After a brief the plot of the play,how it went from play, the booklet discusses information on the best seller to prize-winningmusical, biographical :Abe Burrows), a lead actok. (MatthewBroderick) and the playwright biographical information aboutthe quiz about plays, and book on which composer/lyricist (FrankLoesser), the author of the and the designer. the play is based, thedirector, the choreographer, (RS) *********.A.****-::**)%-**,:z************** can he made Reproductions supplied byEMS arc the bestthat from the originaldocument. :*,::).:***************************.A***************************** Produced by the Performance Plus Program, Education Departaent U.S. DEPARTMENT OF EDUCATION Office of Educational Research and Improvement EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC) This document has been reproduced as received from the person or organization originating it. 0 Minor changes have been made to improve reproduction quality.
  • SHUBERT THEATER, 221-233 West 44Th Street, Manhattan

    SHUBERT THEATER, 221-233 West 44Th Street, Manhattan

    Landmarks Preservation Commission December 15, 1987; Designation List 198 LP-1378 SHUBERT THEATER, 221-233 West 44th Street, Manhattan. Built 1912-13; architect, Henry B. Herts. Landmark Site: Borough of Manhattan Tax Map Block 1016, Lot 15 in part consisting of the land on which the described building is situated. On June 14 and 15, 1982, the Landmarks Preservation Commission held a pub 1 ic hearing on the proposed designation as a Landmark of the Shubert Theater and the proposed designation of the related Landmark Site (Item No. 74). The hearing was continued to October 19, 1982. Both hearings had been duly advertised in accordance with the provisions of law. Eighty-one witnesses spoke or had statements read into the record in favor of designation. One witness spoke in opposition to designation. The owner, with his representatives, appeared at the hearing, and indicated that he had not formulated an opinion regarding designation. The Commission has received many 1 etters and other express ions of support in favor of this designation. DESCRIPTION AND ANALYSIS The Shubert Theater survives today as one of the historic theaters that symbolize American theater for both New York and the nation. Built in 1912-13, shortly before World War I, to the designs of Henry B. Herts, the Shubert was one of a pair with the Booth, and was among the numerous theaters constructed by the Shuberts, one of the most active and influential families in American theater history. The Shubert was built as a memorial to Sam S. Shubert, leader of the family's theatrical enterprises until his untimely death in a train wreck.
  • Minskoff Theatre

    Minskoff Theatre

    Jimmy Award CV.qxp_Dummy Cover w/PLAYBILL.COM 6/17/19 9:56 AM Page 1 ® MINSKOFF THEATRE ® ® 2019 CELEBRATING JIMMY NEDERLANDER James M. Nederlander or “Jimmy,” Chairman of The Nederlander Organization, was the visionary theatrical impresario who built one of the largest private live entertainment companies in the world known for producing and presenting world-class entertainment since 1912. Jimmy started working in the theatre at age 7 sweeping floors for his father, David Tobias (D.T.) Nederlander, in Detroit, Michigan. During a career that spanned over 70 years, Jimmy amassed a network of premier legitimate theatres including nine on Broadway: the Brooks Atkinson, Gershwin, Lunt-Fontanne, Marquis, Minskoff, Nederlander, Neil Simon, Richard Rodgers, and the world famous Palace; in Los Angeles: The Pantages; in London: the Adelphi, Aldwych, and Dominion; and in Chicago: the Auditorium, Broadway Playhouse, Cadillac Palace, and CIBC Theatres, and the Oriental Theatre which this year was renamed the James M. Nederlander Theatre in Jimmy’s honor. He produced over one hundred acclaimed Broadway musicals and plays including Annie, Applause, La Cage aux Folles, Les Liaisons Dangereuses, Me and My Girl, Nine, Noises Off, Peter Pan, Sweet Charity, The Life and Adventures of Nicholas Nickelby, The Will Rogers Follies, Woman of the Year, and many more. “Generous,” “loyal” and “trusted” are just a few of the accolades his friends use to describe him. Jimmy was beloved by the industry and the recipient of many distinguished honors including an Honorary Doctorate of Fine Arts from the University of Connecticut (2014), the Exploring the Arts Foundation Award (2014), the United Nations Foundation Champion Award (2012), The Broadway League’s Schoenfeld Vision for Arts Education Award (2011), the New York Pop’s Man of the Year (2008), and the special Tony Award for Lifetime Achievement (2004).
  • A Chorus Line: Does It Abide by Rules Established by Actors’ Equity Association for the Audition Process?

    A Chorus Line: Does It Abide by Rules Established by Actors’ Equity Association for the Audition Process?

    A CHORUS LINE: DOES IT ABIDE BY RULES ESTABLISHED BY ACTORS’ EQUITY ASSOCIATION FOR THE AUDITION PROCESS? by MARK W. HARDIN B.M. East Texas Baptist University, 1991 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in the Department of Theatre in the College of Arts and Sciences at the University of Central Florida Orlando, Florida Spring Term 2006 © 2006 Mark W. Hardin ii ABSTRACT I have been cast as “Bobby” in A Chorus Line at Orlando Broadway Dinner Theatre in Orlando. I will use this opportunity as my thesis role. As part of my thesis defense, I will combine an analysis of the character of “Bobby” in A Chorus Line with an assessment of Actors’ Equity Association’s audition policies from 1970 to the present, and investigate whether the audition held in the show abides by the policies established by AEA for Broadway calls. “Bobby” has an interesting arc of development as he actually gives the director what he (the director) does not want, yet is still cast in the fictitious Broadway show. Why he would choose to stray from the director’s instructions is an interesting question and demanding study. To facilitate my research on the character (aside from script and score analysis), I will interview Thommie Walsh (about for whom the role was written and the original “Bobby” on Broadway) as well as other men who have played the role to get insights into the character that will enhance my performance. Mr. Walsh will also elaborate on his real-life relationship with Michael Bennett and how that compares and contrasts with the relationship between “Bobby” and “Zach.” I also will interview as many of the original cast members as possible (namely Baayork Lee) to get contributing memories and anecdotal evidence from the original production.
  • Download the Playbill

    Download the Playbill

    Jimmyy CV_Dummy Cover w/PLAYBILL.COM 6/22/16 8:39 AM Page 1 ® MINSKOFF THEATRE 2016 © The Al Hirschfeld Foundation. PLAYBILL.COM Jimmy 32pg 6-16_Layout 1 6/22/16 9:07 AM Page 2 Celebrating Jimmy Nederlander James M. Nederlander or “Jimmy,” Chairman of The Nederlander Organization, is the visionary theatrical impresario who built one of the largest private live entertainment companies in the world known for producing and presenting world-class entertainment since 1912. Jimmy started working in the theatre at age 7 sweeping floors for his father, David Tobias (D.T.) Nederlander, in Detroit, Michigan. D uring a career that spans over 70 years, Jimmy has amassed a network of premier legitimate theatres including nine on Broadway: the Brooks Atkinson, Gershwin, Lunt-Fontanne, Marquis, Minskoff, Nederlander, Neil Simon, Richard Rodgers, and the world famous Palace; in Chicago: Auditorium and Private Bank Theaters, Broadway Playhouse, Cadillac Palace, and Oriental Theaters; in Los Angeles: The Pantages; and in London: the Adelphi, Aldwych, and Dominion. He has produced over one hundred acclaimed Broadway musicals and plays including Annie, Applause, La Cage aux Folles, Les Liaisions Dangereuses, Me and My Girl, Nine, Noises Off, Peter Pan, Sweet Charity, The Life and Adventures of Nicholas Nickelby, The Will Rogers Follies, Woman of the Year, and many more. “Generous,” “loyal” and “trusted” are just a few of the accolades his friends use to describe him. Jimmy is beloved by the industry and is the recipient of many distinguished honors including an Honorary Doctorate of Fine Arts from the University of Connecticut (2014), the Exploring the Arts Foundation Award (2014), the United Nations Foundation Champion Award (2012), The Broadway League’s Schoenfeld Vision for Arts Education Award (2011), the New York Pop’s Man of the Year (2008), and the special Tony Award for Lifetime Achievement (2004).
  • Minskoff Theatre

    Minskoff Theatre

    Jimmy CV.qxp_Dummy Cover w/PLAYBILL.COM 6/16/17 10:12 AM Page 1 ® MINSKOFF THEATRE 2017 © The Al Hirschfeld Foundation PLAYBILL.COM Celebrating Jimmy Nederlander James M. Nederlander or “Jimmy,” Chairman of The Nederlander Organization, was the visionary theatrical impresario who built one of the largest private live entertainment companies in the world known for producing and presenting world-class entertainment since 1912. Jimmy started working in the theatre at age 7 sweeping floors for his father, David Tobias (D.T.) Nederlander, in Detroit, Michigan. During a career that spanned over 70 years, Jimmy amassed a network of premier legitimate theatres including nine on Broadway: the Brooks Atkinson, Gershwin, Lunt-Fontanne, Marquis, Minskoff, Nederlander, Neil Simon, Richard Rodgers, and the world famous Palace; in Chicago: Auditorium and Private Bank Theaters, Broadway Playhouse, Cadillac Palace, and Oriental Theaters; in Los Angeles: The Pantages; and in London: the Adelphi, Aldwych, and Dominion. He produced over one hundred acclaimed Broadway musicals and plays including Annie, Applause, La Cage aux Folles, Les Liaisions Dangereuses, Me and My Girl, Nine, Noises Off, Peter Pan, Sweet Charity, The Life and Adventures of Nicholas Nickelby, The Will Rogers Follies, Woman of the Year, and many more. “Generous,” “loyal” and “trusted” are just a few of the accolades his friends use to describe him. Jimmy was beloved by the industry and the recipient of many distinguished honors including an Honorary Doctorate of Fine Arts from the University of Connecticut (2014), the Exploring the Arts Foundation Award (2014), the United Nations Foundation Champion Award (2012), The Broadway League’s Schoenfeld Vision for Arts Education Award (2011), the New York Pop’s Man of the Year (2008), and the special Tony Award for Lifetime Achievement (2004).
  • Wicked-Playbill-2018.Pdf

    Wicked-Playbill-2018.Pdf

    ® WICKED, BROADWAYMarch 28 – April 22, 2018 • The THEATRE official playbill of the Tennessee Performing Arts Center THE PROGRAM TRIM SIZE IS 5.375”W X 8.5”H THE COVER IMAGE SIZE IS 5.625”W X 6.75”H THIS INCLUDES THE 1/8” BLEED NEEDED ON 3 OF 4 SIDES (BOTTOM, LEFT AND RIGHT). THE TOP OF THE COVER IMAGE WILL BUTT TRAP TO THE PLAYBILL BANNER BOX. PLEASE ALLOW 1/4” SAFETY FOR LIVE TYPE AND IMAGES. PLAYBILL.COM The Book Bubble Guppies Live! Alan Cumming Love Never FOR TICKETS: of Moron Ready to Rock Sings Sappy Songs Waitress Dies 615-782-4040 May 5 May 13 May 31 June 5-10 June 19-24 TPAC.ORG Nashville Children’s Theatre 2018-19 Season Memberships Now On Sale • NashvilleCT.org TWINKLE, TWINKLE, LITTLE STAR TUCK EVERLASTING August 11–September 9, 2018 September 13-October 7, 2018 Created by Ernie Nolan Book by Claudia Shear and Tim Federle Music by Chris Miller • Lyrics by Nathan Tysen Disney’s THE LITTLE MERMAID GHOST November 8–December 23, 2018 January 17-February 3, 2019 Music by Alan Menken • Lyrics by Howard Ashman By Idris Goodwin • A World Premiere and Glenn Slater • Book by Doug Wright Based on the book Ghost by Jason Reynolds THE VERY HUNGRY CATERPILLAR SHOW TOMÁS AND THE LIBRARY LADY February 21–April 7, 2019 April 25-May 19, 2019 Created by Jonathan Rockefeller By José Cruz Gonzalez Based on Eric Carle’s books Adapted from the book by Pat Mora B:7.25” T:7” S:6.5” B:11.125” S:10.375” T:10.875” Vanderbilt Health now offers walk-in care options across Middle Tennessee.