The Creation and Development of Rent by Jonathan Larson
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If/Then Lights up PPAC
If/Then Lights Up PPAC It is not every day that we have a chance to see Broadway caliber performances here in our creative capitol. PPAC is changing that this weekend with the national tour of If/Then. This beautiful show ran for a year on Broadway and is completing its tour in New England, with three of the Broadway performers, Jackie Burns, Anthony Rapp and Tamara Gray. It’s exciting for audience members, and it’s also exciting for those in the theater. Caitlyn Dipompo, PPAC’s marketing projects specialist notes, “There is additional excitement around the theater when OBC members perform here. Not everyone has the chance to see these productions on Broadway with the original cast, so it is really special for people to see someone like Anthony Rapp or Jackie Burns right here in Providence, at their hometown theater.” Rapp, theatergoers will know from RENT, as Marc Cohen, and longtime PPAC audience members will remember his reprisal of that role in 2009 on tour. Burns stepped in for powerhouse Idina Menzel on Broadway, and took over Menzel’s leg of the national tour. Of course a musical that originally starred Menzel and Rapp will make even the novice RENThead reminiscent for Jonathan’s Larson’s musical. Rapp acknowledges that “there is some DNA they both share, and that many fans have remarked that and it’s very meaningful to Tom (Kitt) and Brian (Yorkey).” As an actress, you know that any role written for Idina Menzel is going to be pretty darn fabulous. This is something that Burns repeats with a smile. -
Dstprogram-Ticktickboom
SCOTTSDALE DESERT STAGES THEATRE PRESENTS May 7 – 16, 2021 DESERT STAGES THEATRE SCOTTSDALE, ARIZONA PRESENTS TICK, TICK...BOOM! Book, Music and Lyrics by Jonathan Larson David Auburn, Script Consultant Vocal Arrangements and Orchestrations by Stephen Oremus TICK, TICK...BOOM! was originally produced off-Broadway in June, 2001 by Victoria Leacock, Robyn Goodman, Dede Harris, Lorie Cowen Levy, Beth Smith Co-Directed by Mark and Lynzee 4man TICK TICK BOOM! is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI. www.mtishows.com WELCOME TO DST Welcome to Desert Stages Theatre, and thank you for joining us at this performance of Jonathan Larson’s TICK, TICK...BOOM! The talented casts that will perform in this show over the next two weekends include some DST “regulars” - familiar faces that you have seen here before - as well as actors who are brand new to the DST stage. Thank you to co- directors Mark and Lynzee 4man who were the natural choices to co- direct (and music direct and choreograph) a rock musical that represents our first teen/young adult production in more than a year. They have worked tirelessly with an extremely skilled team of actors, designers, and crew members to bring you this beautiful show, and everyone involved has enjoyed the process very much. We continue our COVID-19 safety protocols and enhanced cleaning measures to keep you and our actors safe. In return, we ask that you kindly wear your mask the entire time you are in the theatre, and stay in your assigned seat. -
Jonathan Larson
Famous New Yorker Jonathan Larson As a playwright, Jonathan Larson could not have written a more dramatic climax than the real, tragic climax of his own story, one of the greatest success stories in modern American theater history. Larson was born in White Plains, Westchester County, on February 4, 1960. He sang in his school choir, played tuba in the band, and was a lead actor in his high school theater company. With a scholarship to Adelphi University, he learned musical composition. After earning a Fine Arts degree, Larson had to wait tables, like many a struggling artist, to pay his share of the rent in a poor New York City apartment while honing his craft. In the 1980s and 1990s, Larson worked in nearly every entertainment medium possible. He won early recognition for co-writing the award-winning cabaret show Saved!, but his rock opera Superbia, inspired by The original Broadway Rent poster George Orwell’s novel 1984, was never fully staged in Larson’s lifetime. Scaling down his ambitions, he performed a one-man show called tick, tick … BOOM! in small “Off -Broadway” theaters. In between major projects, Larson composed music for children’s TV shows, videotapes and storybook cassette tapes. In 1989, playwright Billy Aronson invited Larson to compose the music for a rock opera inspired by La Bohème, a classical opera about hard-living struggling artists in 19th century Paris. Aronson wanted to tell a similar story in modern New York City. His idea literally struck Larson close to home. Drawing on his experiences as a struggling musician, as well as many friends’ struggles with the AIDS virus, Larson wanted to do all the writing himself. -
READING INTERNATIONAL, INC. (Exact Name of Registrant As Specified in Its Charter)
UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 FORM 10-K þ ANNUAL REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the fiscal year ended December 31, 2020 or ¨ TRANSITION REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the transition period from _______ to ______ Commission File No. 1-8625 READING INTERNATIONAL, INC. (Exact name of registrant as specified in its charter) Nevada 95-3885184 (State or other jurisdiction of incorporation or organization) (I.R.S. Employer Identification Number) 5995 Sepulveda Boulevard, Suite 300 Culver City, CA 90230 (Address of principal executive offices) (Zip Code) Registrant’s telephone number, including Area Code: (213) 235-2240 Securities Registered pursuant to Section 12(b) of the Act: Title of each class Trading Symbol Name of each exchange on which registered Class A Nonvoting Common Stock, $0.01 par value RDI NASDAQ Class B Voting Common Stock, $0.01 par value RDIB NASDAQ Securities registered pursuant to Section 12(g) of the Act: None Indicate by check mark if the registrant is a well-known seasoned issuer, as defined in Rule 405 of the Securities Act. Yes ¨ No þ Indicate by check mark if the registrant is not required to file reports pursuant to Section 13 or 15(d) of the Securities Exchange Act of 1934. Yes ¨ No þ Indicate by check mark whether registrant (1) has filed all reports required to be filed by Section 13 or 15(d) of the Exchange Act of 1934 during the preceding 12 months (or for shorter period than the Registrant was required to file such reports), and (2) has been subject to such filing requirements for the past 90 days. -
“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. -
Annual Stockholders Meeting
2019 ANNUAL STOCKHOLDERS MEETING MAY 7, 2019 DISCLAIMERS Our comments today may contain forward-looking statements and This presentation is intended to summarize the projects on which management may make additional forward-looking statements in we are working and our plan for moving our Company forward. response to your questions. Such written and oral disclosures are made pursuant to the Safe Harbor provision of the Private Securities Many of the projects are in their early stages and will be subject to Litigation Reform Act of 1995. various Governmental and Board approvals. Accordingly, no assurances can be given that the plans discussed herein will be Although we believe our expectations expressed in such forward- achieved. looking statements are reasonable, we cannot assure you that they will be realized. Investors are cautioned that such forward-looking Further, some of the design concepts included in this presentation statements involve risks and uncertainties that could cause actual include proposed architectural renderings that represent works in results to differ materially from the anticipated results, and progress. therefore we refer you to a more detailed discussion of the risks and uncertainties in the Company’s filings with the Securities & Exchange Commission. FINANCIAL RECONCILATIONS We use EBITDA in the evaluation of our Company’s performance since we believe that EBITDA EBIT and EBITDA also fail to take into account the cost of interest and taxes. Interest is clearly a real provides a useful measure of financial performance and value. We believe this principally for the cost that for us is paid periodically as accrued. Taxes may or may not be a current cash item but are following reasons: nevertheless real costs that, in most situations, must eventually be paid. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Doing the Time Warp: Queer Temporalities and Musical Theater Permalink https://escholarship.org/uc/item/1k1860wx Author Ellis, Sarah Taylor Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Doing the Time Warp: Queer Temporalities and Musical Theater A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Theater and Performance Studies by Sarah Taylor Ellis 2013 ABSTRACT OF THE DISSERTATION Doing the Time Warp: Queer Temporalities and Musical Theater by Sarah Taylor Ellis Doctor of Philosophy in Theater and Performance Studies University of California, Los Angeles, 2013 Professor Sue-Ellen Case, Co-chair Professor Raymond Knapp, Co-chair This dissertation explores queer processes of identification with the genre of musical theater. I examine how song and dance – sites of aesthetic difference within the musical – can warp time and enable marginalized and semi-marginalized fans to imagine different ways of being in the world. Musical numbers can complicate a linear, developmental plot by accelerating and decelerating time, foregrounding repetition and circularity, bringing the past to life and projecting into the future, and physicalizing dreams in a narratively open present. These excesses have the potential to contest naturalized constructions of historical, progressive time, as well as concordant constructions of gender, sexual, and racial identities. While the musical has historically been a rich source of identification for the stereotypical white gay male show queen, this project validates a broad and flexible range of non-normative readings. -
La-Boheme-Study-Guide-Reduced.Pdf
VANCOUVER OPERA PRESENTS LA BOHÈME Giacomo Puccini STUDY GUIDE OPERA IN FOUR ACTS By Giacomo Puccini Libretto by Giuseppe Giacosa and Luigi Illica, based on Henri Murger’s novel Scènes de la Vie de bohème. In Italian with English Surtitles™ CONDUCTOR Judith Yan DIRECTOR Renaud Doucet QUEEN ELIZABETH THEATRE February 14, 16, 19 & 21at 7:30PM | February 24 at 2PM DRESS REHEARSAL Tuesday, February 12 at 7PM OPERA EXPERIENCE Tuesday, February 19 and 21 at 7:30PM EDUCATION LA BOHÈME VANCOUVER OPERA | STUDY GUIDE LA BOHÈME Giacomo Puccini CAST IN ORDER OF VOCAL APPEARANCE MARCELLO, A PAINTER Phillip Addis RODOLFO, A POET Ji-Min Park COLLINE, A PHILOSOPHER Neil Craighead SCHAUNARD, A MUSICIAN Geoffrey Schellenberg BENOIT, A LANDLORD J. Patrick Raftery MIMI, A SEAMSTRESS France Bellemare PLUM SELLER Wade Nott PARPIGNOL, A TOY SELLER William Grossman MUSETTA, A WOMAN OF THE LATIN QUARTER Sharleen Joynt ALCINDORO, AN ADMIRER OF MUSETTA J. Patrick Raftery CUSTOMS OFFICER Angus Bell CUSTOMS SERGEANT Willy Miles-Grenzberg With the Vancouver Opera Chorus as habitués of the Latin Quarter, students, vendors, soldiers, waiters, and with the Vancouver Opera Orchestra. SCENIC DESIGNER / COSTUME DESIGNER André Barbe CHORUS DIRECTOR/ ASSOCIATE CONDUCTOR Leslie Dala CHILDREN’S CHORUS DIRECTOR / PRINCIPAL RÉPÉTITEUR Kinza Tyrrell LIGHTING DESIGNER Guy Simard WIG DESIGNER Marie Le Bihan MAKEUP DESIGNER Carmen Garcia COSTUME COORDINATOR Parvin Mirhady MUSICAL PREPARATION Tina Chang, Perri Lo* STAGE MANAGER Theresa Tsang ASSISTANT DIRECTOR Peter Lorenz ASSISTANT STAGE MANAGERS Marijka Asbeek Brusse, Michelle Harrison ASSISTANT LIGHTING DESIGNER Sara Smith ENGLISH SURTITLE™ TRANSLATIONS David Edwards Member of the Yulanda M. Faris Young Artist Program* The performance will last approximately 2 hours and 18 minutes. -
Hair for Rent: How the Idioms of Rock 'N' Roll Are Spoken Through the Melodic Language of Two Rock Musicals
HAIR FOR RENT: HOW THE IDIOMS OF ROCK 'N' ROLL ARE SPOKEN THROUGH THE MELODIC LANGUAGE OF TWO ROCK MUSICALS A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Music Eryn Stark August, 2015 HAIR FOR RENT: HOW THE IDIOMS OF ROCK 'N' ROLL ARE SPOKEN THROUGH THE MELODIC LANGUAGE OF TWO ROCK MUSICALS Eryn Stark Thesis Approved: Accepted: _____________________________ _________________________________ Advisor Dean of the College Dr. Nikola Resanovic Dr. Chand Midha _______________________________ _______________________________ Faculty Reader Interim Dean of the Graduate School Dr. Brooks Toliver Dr. Rex Ramsier _______________________________ _______________________________ Department Chair or School Director Date Dr. Ann Usher ii TABLE OF CONTENTS Page LIST OF TABLES ............................................................................................................. iv CHAPTER I. INTRODUCTION ............................................................................................................1 II. BACKGROUND OF THE STUDY ...............................................................................3 A History of the Rock Musical: Defining A Generation .........................................3 Hair-brained ...............................................................................................12 IndiffeRent .................................................................................................16 III. EDITORIAL METHOD ..............................................................................................20 -
153 Theater, Memory, and the HIV Crisis of the 1990S: an Analysis of the Musical RENT Jessica Grossman in the Second Act Of
Theater, Memory, and the HIV Crisis of the 1990s: An Analysis of the Musical RENT Jessica Grossman In the second act of RENT, a main character named Mark proclaims, “Why am I the witness?”1 The outburst, although somewhat dramatic, certainly brings forth the question: not only why, but how are we “the witness”? What are we witnessing, and why is it important to remember? These questions, explored throughout both the plot and external events surrounding RENT, allow for a greater understanding of the ways in which memory is a pervasive motif throughout Jonathan Larson’s 1997 musical. Although it is rarely explicitly addressed, the task of remembering, acknowledging, and memorializing people who were previously absent, silenced, and erased drives the plot of RENT forward perhaps more than the musical numbers. However, the story of RENT’s creation is just as unique as the musical itself. Larson had been working on a reboot of Puccini’s opera La Bohème for years, but after all of his work, the playwright never saw his show come to fruition. Larson died the night of the first performance from a sudden aortic dissection. Essentially, the show became Larson’s legacy. His contemporaries claimed that he would “change the American musical theater,”2 and his rock opera certainly did. RENT was the first musical since Hair (1967) to address drug addiction. It arguably was the first musical to address drug addiction honestly, mostly avoiding the typical pitfalls of romanticizing drug abuse. The show, set in Alphabet City during the 1990s, follows a group of friends as they encounter love, death, disease, and addiction. -
Cole Porter: the Social Significance of Selected Love Lyrics of the 1930S
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Unisa Institutional Repository Cole Porter: the social significance of selected love lyrics of the 1930s by MARILYN JUNE HOLLOWAY submitted in accordance with the requirements for the degree of MASTER OF ARTS in the subject of ENGLISH at the UNIVERSITY OF SOUTH AFRICA SUPERVISOR: PROFESSOR IA RABINOWITZ November 2010 DECLARATION i SUMMARY This dissertation examines selected love lyrics composed during the 1930s by Cole Porter, whose witty and urbane music epitomized the Golden era of American light music. These lyrics present an interesting paradox – a man who longed for his music to be accepted by the American public, yet remained indifferent to the social mores of the time. Porter offered trenchant social commentary aimed at a society restricted by social taboos and cultural conventions. The argument develops systematically through a chronological and contextual study of the influences of people and events on a man and his music. The prosodic intonation and imagistic texture of the lyrics demonstrate an intimate correlation between personality and composition which, in turn, is supported by the biographical content. KEY WORDS: Broadway, Cole Porter, early Hollywood musicals, gays and musicals, innuendo, musical comedy, social taboos, song lyrics, Tin Pan Alley, 1930 film censorship ii ACKNOWLEDGEMENTS I should like to thank Professor Ivan Rabinowitz, my supervisor, who has been both my mentor and an unfailing source of encouragement; Dawie Malan who was so patient in sourcing material from libraries around the world with remarkable fortitude and good humour; Dr Robin Lee who suggested the title of my dissertation; Dr Elspa Hovgaard who provided academic and helpful comment; my husband, Henry Holloway, a musicologist of world renown, who had to share me with another man for three years; and the man himself, Cole Porter, whose lyrics have thrilled, and will continue to thrill, music lovers with their sophistication and wit. -
RENT Actor Anthony Rapp FSU Visit Article
By: Natalie Kates April 2006 Rent Star, Anthony Rapp, Speaks at FSU On April 3, Rent star Anthony Rapp shared with a packed crowd at Florida State University’s Ruby Diamond Auditorium stories about his newest book, the Rent movie, and his experiences acting in the Broadway musical. According to Rapp, “Rent has been my favorite role because it has spoken to young people and has served as a voice for progressive thought in an often conservative country.” Critics have considered Rent to be highly controversial because of its subject matter concerning AIDS, drugs, homosexuality, and transsexual lifestyles. Rapp, 35, has been acting since he was 10. He is most famous for his Broadway performances in Rent and You’re a Good Man Charlie Brown. He has acted in movies, including Dazed and Confused, Road Trip, Twister, a Beautiful Mind and Cruise Control. He’s also appeared on Law & Order and the X-files. By far, Rapp considers his part as Mark Cohen in Rent to also be his most famous role. “I love playing parts. To get to do something like Rent that puts together everything I believe in is very invigorating and incredible to be a part of,” said Rapp. When Rapp came onstage, the audience broke into applause since many ‘Rentheads’, as Rent fans are often called, came to hear him speak. “Each time I listen to Rent, I take in more and more from the songs and they mean more to me each time I hear them played,” said ‘Renthead’ fan, Amy Purifoy. The three main people who hosted this event were Griffith, Allison Segal, Manager of Student Life Cinema, and Allison Parkin, volunteer at Student Life Cinema.