Mary Poppins
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FEELING WICKED Launceston, Are You Ready to Get Wicked?
Encore Theatre Company SSHHOOWWBBUUZZZZ March 2016 encoretheatre.org.au FEELING WICKED Launceston, are you ready to get wicked? Don’t miss WICKED The Musical at the Princess Theatre in March 2017 Exclusive VIP & SHOWBUZZ SUBSCRIBER TICKET PRESALE starts 9am Monday 7 March 2016 Directed by Liz Bennett (Les Misérables, Jesus Christ Superstar, Evita) Musical Direction by Matt Dudfield (Mary Poppins, The Phantom of the Opera) Choreography by Jacquelyne France-Marsden (The Phantom of the Opera, Evita) Stage Manager Danny Gibson (Mary Poppins - Director, The Phantom of the Opera) Lighting Designer Jason Bovaird (Mary Poppins, Evita, The Phantom of the Opera) Sound Designer Marcello Lo Ricco (Mary Poppins, Evita, The Phantom of the Opera) Executive Producers Jamie Hillard, Belinda J King, Ross Marsden There are three easy ways to book IN PERSON at the Princess Theatre Box Office PHONE 6323 3666 ONLINE theatrenorth.com.au EXCLUSIVE PRESALE PASSWORD: WIZARD Presentation Partners H finalen t Encore Theatre Company SSHHOOWWBBUUZZZZ March 2016 encoretheatre.org.au A MAGNIFICENT 7 Encore Theatre Company has scooped the pool and is thrilled to have received 7 Tasmanian Theatre Awards (“The Errols”) last Saturday for their 2015 productions of Mary Poppins and Evita. Mary Poppins received 6 Awards in Community - Musical Theatre for Best Production, Best Lead Performances (Abbey Hansson & Frank Kerr), Best Direction (Danny Gibson), Best Choreography (Kelly Hortle) and Best Technical (Marcello Lo Ricco for Sound Design). And Evita picked up the Best Design Award (Darryl Rogers for Set Design). Company Co-President Belinda King says, “If Mary Poppins is about one central idea, then it has to be learning to fly. -
Feed the Birds from Walt Disney’S Mary Poppins
From: “Mary Poppins [Original Soundtrack]” Feed the Birds from Walt Disney’s Mary Poppins by RICHARD M. SHERMAN and ROBERT B. SHERMAN Published Under License From Walt Disney Music Publishing © 1963 Wonderland Music Company, Inc. Copyright Renewed International Copyright Secured All Rights Reserved Authorized for use by Louis Lagalante NOTICE: Purchasers of this musical file are entitled to use it for their personal enjoyment and musical fulfillment. However, any duplication, adaptation, arranging and/or transmission of this copyrighted music requires the written consent of the copyright owner(s) and of Musicnotes.com. Unauthorized uses are infringements of the copyright laws of the United States and other countries and may subject the user to civil and/or criminal penalties. Musicnotes.com FEED THE BIRDS from Walt Disney’s MARY POPPINS Words and Music by RICHARD M. SHERMAN Slowly, with feeling and ROBERT B. SHERMAN Em Am/E Em B o ooo x x o o ooo x Em Am/E Edim7 Am/E Em o ooo x x o x x x x o o ooo Ear - ly each day to the steps of Saint Paul’s the lit - tle old Am/E Em x x o o ooo bird wom - an comes. In her own spe - cial Am/E Edim7 Am/E Em x x o x x x x o o ooo way to the peo - ple she calls, “Come, buy my © 1963 Wonderland Music Company, Inc. Copyright Renewed International Copyright Secured All Rights Reserved Musicnotes.com Authorized for use by: Louis Lagalante 2 B7 Em D7 x o o ooo x x o bags full of crumbs. -
Articles from 2016
Preview Shelf Articles for 2016 December 1, 2016 Discovering the Wild Heritage of the Nineteenth State By Dianne Combs It has been a wonderful year of celebration for the state of Indiana. Two hundred years of statehood! We have learned many things about our political and historical heritage, but I believe that Indiana still has many secrets that need to be learned. Here at the library we have some beautiful books that will help you explore the natural history of our great state. “The Natural Heritage of Indiana,” edited by Marion T. Jackson, takes us on a lively jaunt through the terrain of our great state. To my delight, the very first picture in Part One is of the “Honeycomb Rock” at Pine Hills Nature Preserve in the southwestern part of Montgomery County. Glaciation and its effects on our landscape are explained in detail, which helps me to understand all the rock formations I come across while exploring some of our nationally renowned state parks. Throughout this section, written by Henry Gray, we are taken on several tours of Indiana. He describes the terrain as if he were driving along highways and illustrates his discussion with appropriate topographical maps. Our soil and water, wetlands and caves — all these give our state its unique stamp on the map of our nation. Beautiful photographs of the flora and fauna of Indiana fill the pages of this coffee table book. I could spend hours just turning its pages, learning about the native plants and animals with which we share our land. We have recently acquired two copies of “A Place Called Turkey Run — A Celebration of Indiana’s Second State Park in Photographs and Words,” by Daniel P. -
KS5 Exploring Performance Styles in Musical Theatre
Exploring performance KS5 styles in Musical Theatre Heidi McEntee Heidi McEntee is a Dance and KS5 – BTEC LEVEL 3, UNIT D10 Performing Arts specialist based in the Midlands. She has worked in education for over fifteen years delivering a variety of Dance and Performing Arts qualifications at Introduction Levels 1, 2 and 3. She is a Senior Unit D10: Exploring Performance Styles is one of the three units which sit within Module D: Assessment Associate working on musical theatre Skills Development from the new BTEC Level 3 in Performing Arts Practice Performing Arts qualifications and (musical theatre) qualification. This scheme of work focuses on the first unit which introduces a contributing author for student and explores different musical theatre styles. revision guides. This unit requires learners to develop their practical skills in dance, acting and singing while furthering their understanding of musical theatre styles. The unit culminates in a performance of two extracts in two different styles of musical theatre as well as a critical review of the stylistic qualities within these extracts. This scheme of work provides a suggested approach to six weeks of introductory classes, as a part of a full timetable, which explores the development of performance styles through the history of musical theatre via practical activities, short projects and research tasks. Learning objectives By the end of this scheme, learners will have: § Investigated the history of musical theatre and the factors which have influenced its development Unit D10: Exploring Performance § Explored the characteristics of different musical theatre styles and how they have developed Styles from BTEC L3 Nationals over time Performing Arts Practice (musical § Applied stylistic conventions to the performance of material theatre) (2019) § Examined professional work through critical analysis. -
KIPPS the NEW HALF a SIXPENCE MUSICAL Based on the H.G
“We Try To Please” and “Pleased To Try” MONDAY 5th - SATURDAY 10th JULY 2021 Mountview by arrangement with Cameron Mackintosh presents KIPPS THE NEW HALF A SIXPENCE MUSICAL Based on the H.G. Wells novel “KIPPS: The Story of a Simple Soul” and the original musical by BEVERLEY CROSS and DAVID HENEKER Original Songs by DAVID HENEKER Book by JULIAN FELLOWES New Songs and Additional Music and Lyrics by GEORGE STILES and ANTHONY DREWE Orchestrations by WILLIAM DAVID BROHN Co-created by CAMERON MACKINTOSH This amateur production is presented by arrangement with Music Theatre International (Europe). All authorised performance materials are also supplied by MTI Europe. mtishows.co.uk Director STEPHEN JAMESON Musical Director ANDREW HILTON Choreographer EMMA WOODS Set and Costume Designer PJ MCEVOY Lighting Designer BEN ORMEROD Sound Designer MATT MCKENZIE Photo by RULER ABOUT MOUNTVIEW Excellence, Access and Innovation in dramatic training are at the heart of our work. Since 1945, we have trained the very best performers, directors, theatre production artists and producers. We are committed to ensuring our community of over 500 students is representative and that drama training is accessible to all. Opened in 2018, our home in Peckham was conceived in partnership with Southwark Council as a truly 21st-century drama school and a creative arts hub for all. Our state-of-the-art facilities include the 200-seat Mountview Theatre (made possible by a £1m donation from Sir Cameron Mackintosh), the 80-seat Backstage Theatre, 21 acting/dance studios, TV and radio suites and production workshops. In recognition of their extraordinary work in establishing Mountview’s new home and for their commitment to promoting inclusivity, Joint Chief Executives Stephen Jameson and Sarah Preece were presented with Olivier Awards in 2020. -
HOTELS of the DISNEYLAND RESORT 165
HOLLY WIENCEK PHOTOGRAPHY by BILL SFERRAZZA and ERIC WEBER INTRODUCTION 8 DISNEYLAND PARK 10 HOTELS of the DISNEYLAND RESORT 165 DOWNTOWN DISNEY DISTRICT 171 DISNEY CALIFORNIA ADVENTURE PARK 204 DISNEYLAND RESORT IS A WORLD OF MAGIC, a place where train station and into Town Square, I was overcome with emotion. stories, fantasy and enchantment unfold. It is a playground for It was familiar, yet brand new, and possessed a vibe I could hardly the child who lives within all of us, a manifestation of one man’s explain. The Disneyland Band was playing familiar tunes, and I dream. “Here you leave today and enter the world of yesterday, stopped in front of the fire station — Walt’s home away from home tomorrow and fantasy.” Disneyland Resort is a place where today — taking in the lamp in the window that glows as a reminder of disappears and fantasies spring to life, an imaginative story told his presence. It was surreal, as if I had just stepped into a dream, by Walt Disney that inspires all who follow in his footsteps. but I was about to walk in the same footsteps as one of the most It is no secret that I am a lifelong Disney enthusiast. It has creative minds to grace our world. been a part of my life since I was a toddler. Walt Disney World As I rounded the Emporium for my first glance of Sleeping Resort is a place where I escape my everyday world and immerse Beauty Castle, I was taken aback at how small it was. -
Mary Poppins Kids Casting Brief
CHILDRENS CASTING BRIEF Based on the beloved books by Australia’s P.L. Travers and the classic 1964 Walt Disney film, MARY POPPINS will open at Her Majesty’s Theatre Melbourne in July 2010. Produced by Cameron Mackintosh and Thomas Schumacher, for Disney Theatrical Productions, MARY POPPINS the stage musical features the Academy Award®‐winning music and lyrics of Richard M. Sherman and Robert B. Sherman. The stage production has been created, in collaboration with Cameron Mackintosh, by screenwriter Julian Fellowes, who wrote the book, and the team of George Stiles and Anthony Drewe, who composed new songs and additional music and lyrics. The production is directed by Richard Eyre, with co‐direction and choreography by Matthew Bourne. Set and costume designs are by Bob Crowley, co‐choreography by Stephen Mear, lighting design by Howard Harrison, orchestrations by William David Brohn. Associate Director is James Powell, Associate Choreographer is Geoffrey Garratt, and Musical Director is Paul Christ. ROLES TO BE CAST JANE BANKS Pretty and attractive girl. Exuberant but wilful. Occasionally inclined to snobbishness. Must be able to sing. Good coordination required with some dance skills. Must be between 125cm – 148cm. Must be born between May 15, 1997 and May 15, 2000 (10 – 13 yrs old as of May 15, 2010). MICHAEL BANKS Cute and cheeky. Excitable. Naughty. Adores his Father and tries to be like him. Must be able to sing (voice can’t have broken). Good coordination required with some dance skills. Must not be taller than 138cm. Must be born between May 15, 1998 and May 15, 2000 (10 – 12 years old as of May, 2010). -
CGF Resume Template
352 Seventh Avenue LEO ASH EVENS Suite 1501 AEA/SAG-AFTRA New York, NY 10001 212-379-6822 www.LeoAshEvens.com IG: @leoashevens BROADWAY SCHOOL OF ROCK Vacation Swing Winter Garden Theatre Laurence Connor SHUFFLE ALONG Brooks Ashmanskas (Standby) Music Box Theatre George C. Wolfe JESUS CHRIST SUPERSTAR Phillip Neil Simon Theatre Des McAnuf LONDON WEST END WEST SIDE STORY Riff Sadler’s Wells Joey McKneely OFF-BROADWAY JASPER IN DEADLAND Pluto West End Theatre Brandon Ivie FINKS Bobby Ensemble Studio Theatre Giovanna Sardelli IONESCAPADE: The Works of E. Ionesco Lead York Theatre Company Bill Castellino WANDA’S WORLD P.J. 45th Street Theatre L. Taylor-Corbett FINGERS AND TOES Toes (Lead) NYMF - Urban Stages Matt Lenz TOURS WEST SIDE STORY Riff 50th Anniversary Tour Alan Johnson 42ND STREET Billy Lawlor Moscow, Russia Randy Skinner DISNEY’S ON THE RECORD Mike National Tour Robert Longbottom CASPER THE MUSICAL w/ Chita Rivera Hollinger Pittsburgh CLO Tour David H. Bell REGIONAL THEATRE PETER AND THE STARCATCHER Black Stache Pioneer Theatre Company Jenn Thompson Victoria Theatre CABARET Emcee Theatre Under The Stars Bill Berry *Best Actor, Houston Excellence Awards The Arvada Center C. Montour-Larson SOMEWHERE (World Premiere Play) Jamie The Old Globe Theatre Giovanna Sardelli TheatreWorks, Palo Alto MARY POPPINS Bert Westchester Theater Richard Stafford FINKS Bobby TheatreWorks, Palo Alto Giovanna Sardelli OKLAHOMA! w/ Shirley Jones Will Parker Pittsburgh Civic Light Opera Glenn Casale Casa Mañana Denton Yockey RENT Mark Weston Playhouse Bill -
Dissertation Final Corrected
FROM PENCIL TO PERFORMANCE: The creative nexus of arranging, orchestration and music direction in works of contemporary pop/rock musical theatre BRYAN SCHIMMEL 8300995 A thesis submitted to the Faculty of Humanities University of the Witwatersrand, Johannesburg in fulfilment of the requirements for the Degree of Master of Music Final Corrected Submission 22 September 2014 ABSTRACT In the art form of musical theatre, available literature on the creative musical aspects of musicals has focused primarily on the composers and/or lyricists; their works having been extensively analysed and documented. There is, however, comparatively less literature and documentation on the processes that guide the transformation of the theatre composer’s work to an eventual performance embracing arranging, orchestration and music direction. This dissertation explores these practices from two perspectives – the creative and the recreative. First, from the creative perspective, I challenge Joseph P. Swain who makes a compelling case for composition as a tool of dramaturgy in his book The Broadway Musical: A Critical and Musical Survey (2002). I contest that his argument cannot hold true for pop/rock musicals in which the scores are comprised of pre-existing popular music that was not originally or intentionally composed for the stage. In order to understand how music functions as a dramatic element in musical theatre, it must follow that all collaborative creative forces that contribute to this music must be evaluated in a holistic manner. Dramaturgy contextualises and elucidates storytelling and artistic vision. While Swain has postulated that composition is an element of dramaturgy, I offer the notion that since arranging and orchestration contextualise and elucidate the composition they therefore cannot be excluded as dramaturgical devices. -
Home and Family
5 Home and Family UNCORRECTED PAGE PROOFS Copyright © 2017 (and distributed by) Bedford, Freeman & Worth High School Publishers. Strictly for use with its products. Not for redistribution 06_JAG_8251_ch05_148_307.indd 148 18/08/16 12:26 PM hat makes a house a W home? “Home” suggests sanctuary, loved ones, nourishment — a place where everybody knows your name. The term is woven deep into our language as well as our consciousness. Consider the connotations of homemade and homespun. Home can offer refuge from the hostile world, or it can be a prison. People living together inevitably — sometimes intentionally — rub one another the wrong way. This chafing provides writers with rich material for art. (Remember, without conflict there is no story.) Are these writers working through their own failed relationships with mothers, fathers, and siblings? Sometimes. Are they exploring their conflicted feelings toward a home they left behind? Maybe. Are they holding up a mirror that allows us to see our own homes and families in a new light? Most certainly. Though the trappings of Happy families are all alike; home and family differ across every unhappy family is unhappy cultures, human families have in its own way. much in common. Legend has it that a man from Czechoslovakia, — Leo Tolstoy, Anna Karenina after watching a production of August Wilson’s Fences (set in Pittsburgh in the 1950s), approached the playwright and asked him, “How did you know about my family?” Wilson may not have known that particular man’s family, but he knew about families and how the sins of the Getty Images / father play out in the lives of sons. -
Ahmanson Theatre
AHMANSON THEATRE 1967-68 PREMIERE SEASON 1968-69 SEASON “More Stately Mansions” “Captain Brassbound’s Conversion” by Eugene O’Neill; by George Bernard Shaw; Starring Ingrid Bergman, Arthur Hill Starring Greer Garson, and Colleen Dewhurst; Darren McGavin, Jim Backus, Paul Directed by José Quintero. Ford, John Williams, George Rose (American Premiere). and Tony Tanner; September 12 - October 21, 1967. Directed by Joseph Anthony. “The Happy Time” September 24 - November 9, 1968. Book by N. Richard Nash; “Love Match” Based on the play by Samuel A. Book by Christian Hamilton; Taylor and the book by Robert L. Music by David Shire; Fontaine; Music by John Kander; Lyrics by Richard Maltby Jr.; Lyrics by Fred Ebb; Starring Patricia Routledge, Starring Robert Goulet and Michael Allinson and Hal Linden; David Wayne; Directed and choreographed by Directed and choreographed by Danny Daniels. Gower Champion. (World Premiere). (World Premiere). November 19, 1968 - January 4, 1969. November 13 - December 23, 1967. The Royal Shakespeare Company in The Royal Shakespeare Company in “Dr. Faustus” “As You Like It” by Christopher Marlowe; by William Shakespeare; Directed by Clifford Williams. Directed by David Jones. “Much Ado About Nothing” “The Taming of the Shrew” by William Shakespeare; by William Shakespeare; Directed by Trevor Nunn. Directed by Trevor Nunn. January 14 - March 1, 1969. January 2 - February 10, 1968. “Rosencrantz and Guildenstern Are Dead” “Catch My Soul” by Tom Stoppard; Words by William Shakespeare; Starring Brian Murray and Music by Ray Pohlman; George Backman; Starring William Marshall, Jerry Lee Directed by Derek Goldby. Lewis and Julienne Marie; March 11 - April 26, 1969. -
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