DOCSLIB.ORG

Act Ii Original Broadway Cast Recording

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Act Ii Original Broadway Cast Recording ACT II ORIGINAL BROADWAY CAST RECORDING ACT II Disc 2 1. WHAT’D I MISS 2. CABINET BATTLE #1 3. TAKE A BREAK 4. SAY NO TO THIS 5. THE ROOM WHERE IT HAPPENS 6. SCHUYLER DEFEATED 7. CABINET BATTLE #2 8. WASHINGTON ON YOUR SIDE 9. ONE LAST TIME 10. I KNOW HIM 11. THE ADAMS ADMINISTRATION 12. WE KNOW 13. HURRICANE 14. THE REYNOLDS PAMPHLET 15. BURN 16. BLOW US ALL AWAY 17. STAY ALIVE (REPRISE) 18. IT’S QUIET UPTOWN 19. THE ELECTION OF 1800 20. YOUR OBEDIENT SERVANT 21. BEST OF WIVES AND BEST OF WOMEN 22. THE WORLD WAS WIDE ENOUGH 23. WHO LIVES, WHO DIES, WHO TELLS YOUR STORY ENSEMBLE Ready to face ACT II Aaa-ooo! whatever’s awaiting JEFFERSON me in N.Y.C. Me in N.Y.C. 1. WHAT’D I MISS I helped Lafayette draft a declaration, JEFFERSON then I said, ‘I gotta go. But who’s waitin’ for me when I step in the COMPANY I gotta be in Monticello.’ Now the work at place? Seventeen. Se- se- seventeen... home begins… My friend James Madison, red in the face. Se- se- seventeen... ENSEMBLE JEFFERSON BURR Aaa-ooo! He grabs my arm and 1789. I respond, ENSEMBLE How does the bastard orphan, JEFFERSON “What’s goin’ on?” Aaa-ooo! immigrant decorated war vet So what’d I miss? unite the colonies through more debt? What’d I miss? MADISON Fight the other founding fathers til he has Virginia, my home sweet home, I wanna give Thomas, we are engaged in a battle for our to forfeit? you a kiss. nation’s very soul. Have it all, lose it all, I’ve been in Paris meeting lots of different Can you get us out of the mess we’re in? you ready for more yet? ladies... Treasury Secretary. Washington’s the I guess I basic’lly missed the late eighties... ENSEMBLE President, I traveled the wide, wide world and came Aaa-ooo! ev’ry American experiment sets a precedent. back to this… Not so fast. Someone came along to resist him. MADISON Pissed him off until we had a two-party ENSEMBLE Hamilton’s new financial plan is nothing less system. Aaa-ooo! than government control. You haven’t met him yet, you haven’t had I’ve been fighting for the South alone. JEFFERSON Where have you been? the chance, There’s a letter on my desk from the President. ‘cause he’s been kickin’ ass as the ambassador Haven’t even put my bags down yet. ENSEMBLE JEFFERSON to France Sally be a lamb, darlin’, won’tcha open it? Aaa-ooo! Uh...France. but someone’s gotta keep the American It says the President’s assembling a cabinet promise. and that I am to be the Secretary of State, MADISON You simply must meet Thomas. Thomas! great! We have to win. And that I’m already Senate-approved... COMPANY JEFFERSON ENSEMBLE Thomas Jefferson’s coming home! I just got home and now I’m headed up to New York. What’d I miss? Wha? Wha? What’d Thomas Jefferson’s coming home! I miss? Thomas Jefferson’s coming home! ENSEMBLE Thomas Jefferson’s coming home! Headin’ to New York! What’d I miss? I’ve come home to Thomas Jefferson’s coming home Lord he’s Headin’ to New York! this? been off in Paris for so long! Headfirst into a Aaa-ooo! JEFFERSON political abyss! Aaa-ooo! Lookin’ at the rolling Headfirst, into the fields abyss! JEFFERSON I can’t ENSEMBLE France is following us to revolution, I have my first believe that we Believe that we are cabinet meeting there is no more status quo. are free. free But the sun comes up and the world still spins. today, Chik-a-pow! These are wise words, enterprising men Doin’ whatever the hell it is you do in I guess I better think quote ‘em. Monticello? of something to say, Don’t act surprised, you guys, cuz I wrote ‘em. If we assume the debts, the union gets A new line of credit, a financial diuretic. JEFFERSON/MADISON I’m already on my How do you not get it? If we’re aggressive and way, On my way Oww competitive The union gets a boost. You’d rather give it let’s get to the JEFFERSON bottom of this… a sedative? But Hamilton forgets A civics lesson from a slaver. Hey neighbor, What did I miss? his plan would have the government assume Ahhh ah! Your debts are paid cuz you don’t pay for state’s debts. labor. Now, place your bets as to who that benefits: “We plant seeds in the South. We create.” WASHINGTON the very seat of government where Hamilton Mr. Jefferson, welcome home. Yeah, keep ranting, sits. we know who’s really doing the planting. HAMILTON HAMILTON And another thing, Mr. Age of Enlightenment, Mr. Jefferson? Alexander Hamilton. Don’t lecture me about the war, you didn’t Not true! fight in it. WASHINGTON AND ENSEMBLE JEFFERSON You think I’m frightened of you, man? Mr. Jefferson, welcome home. Ooh, if the shoe fits, wear it. We almost died in a trench while you were off getting high with the COMPANY If New York’s in debt— why should Virginia bear it? Uh! Our debts are French. Mr. Jefferson, welcome home Thomas Jefferson, always hesitant with the Sir, you’ve been off in Paris for so long! paid, I’m afraid. Don’t tax the South cuz we got it made in President, the shade. reticent—there isn’t a plan he doesn’t jettison. JEFFERSON Madison, you’re mad as a hatter, son, take So what did I miss? In Virginia, we plant seeds in the ground. We create. You just wanna move our money your medicine. around. Damn, you’re in worse shape than the This financial plan is an outrageous demand, national debt is in, 2. CABINET BATTLE #1 and it’s too many damn pages for any man to sittin’ there useless as two shits. understand. Hey, turn around, bend over, I’ll show you WASHINGTON where my shoe fits. Ladies and gentlemen, you coulda been Stand with me in the land of the free anywhere in the world tonight, but you’re and pray to God we never see Hamilton’s WASHINGTON here with us in New York City. Are you ready candidacy. Excuse me? Jefferson, Madison, take a walk! for a cabinet meeting??? Look, when Britain taxed our tea, we got frisky. Hamilton, take a walk! We’ll reconvene after Imagine what gon’ happen when you try to a brief recess. Hamilton! WASHINGTON tax our whisky. The issue on the table: Secretary Hamilton’s WASHINGTON HAMILTON plan to assume state debt and establish a Sir! national bank. Secretary Jefferson, you have Thank you, Secretary Jefferson. Secretary the floor. Hamilton, your response. WASHINGTON A word. JEFFERSON HAMILTON ‘Life, liberty and the pursuit of happiness.’ Thomas. That was a real nice declaration. MADISON We fought for these ideals; we shouldn’t Welcome to the present, we’re running a You don’t have the votes. settle for less. real nation. Would you like to join us, or stay mellow, JEFFERSON/MADISON HAMILTON ELIZA AND PHILIP You don’t have the votes. They’re being intransigent. One two three four five six seven eight nine! JEFFERSON WASHINGTON HAMILTON Aha-ha-ha ha! You have to find a compromise. My dearest, Angelica, “tomorrow and tomorrow and tomorrow JEFFERSON/MADISON HAMILTON creeps in this petty pace from day to day” You’re gonna need congressional approval But they don’t have a plan, they just hate I trust you’ll understand the reference to and you don’t have the votes. mine! another Scottish tragedy without my having to name the play. JEFFERSON WASHINGTON They think me Macbeth, and ambition is Such a blunder sometimes it makes me Convince them otherwise. my folly, wonder why I even bring the thunder. HAMILTON I’m a polymath, a pain in the ass, a massive MADISON pain, What happens if I don’t get congressional Madison is Banquo, Jefferson’s Macduff Why he even brings the thunder… approval? And Birnam Wood is Congress on its way to WASHINGTON WASHINGTON Dunsinane. You wanna pull yourself together? I imagine they’ll call for your removal. HAMILTON/ANGELICA HAMILTON HAMILTON And there you are, an ocean away. I’m sorry, these Virginians are birds of a Sir— Do you have to live an feather. ocean away? WASHINGTON Thoughts of you subside, WASHINGTON Figure it out, Alexander. That’s an order from then I get another letter, Young man, I’m from Virginia, so watch your your commander. I cannot put the notion away… mouth. ELIZA HAMILTON 3. TAKE A BREAK Take a break. So we let Congress get held hostage by the South? ELIZA HAMILTON Un deux trois quatre PHILIP HAMILTON I am on my way. WASHINGTON Cinq six sept huit Un deux trois quatre You need the votes. ELIZA neuf. There’s a little surprise before supper Cinq six sept huit neuf. and it cannot wait. HAMILTON Good! No, we need bold strokes. We need this plan. Un deux trois quatre HAMILTON WASHINGTON Cinq six sept huit Un deux trois quatre I’ll be there in just a minute, save my plate. No, you need to convince more folks. neuf. Cinq six sept huit neuf. ELIZA Alexander— HAMILTON ELIZA James Madison won’t talk to me, that’s a PHILIP nonstarter. Sept huit neuf– HAMILTON Sept huit neuf– Okay, okay— WASHINGTON Sept huit neuf– Winning was easy, young man.
Load more

Recommended publications
  • Hamilton at the Paramount Seattle
    SPECIAL EDITION • FEBRUARY 2018 ENCORE ARTS PROGRAMS • SPECIAL EDITION HAMILTON FEBRUARY 2018 FEBRUARY PROGRAMS • SPECIAL EDITION HAMILTON ARTS ENCORE HAMILTON February 6 – March 18, 2018 Cyan Magenta Yellow Black Inks Used: 1/10/18 12:56 PM 1/11/18 11:27 AM Changes Prev AS-IS Changes See OK OK with Needs INITIALS None Carole Guizetti — Joi Catlett Joi None Kristine/Ethan June Ashley Nelu Wijesinghe Nelu Vivian Che Barbara Longo Barbara Proofreader: Regulatory: CBM Lead: Prepress: Print Buyer: Copywriter: CBM: · · · · Visual Pres: Producer: Creative Mgr Promo: Designer: Creative Mgr Lobby: None None 100% A N N U A L UPC: Dieline: RD Print Scale: 1-9-2018 12:44 PM 12:44 1-9-2018 D e si gn Galle r PD y F Date: None © 2018 Starbucks Co ee Company. All rights reserved. All rights reserved. ee Company. SBX18-332343 © 2018 Starbucks Co x 11.125" 8.625" Tickets at stgpresents.org SKU #: Bleed: SBUX FTP Email 12/15/2017 STARBUCKS 23 None 100% OF TICKET SALES GOOF TOTHE THE PARTICIPATING MUSIC PROGRAMS HIGH SCHOOL BANDS — FRIDAY, MARCH 30 AT 7PM SBX18-332343 HJCJ Encore Ad Encore HJCJ blongo014900 SBX18-332343 HotJavaCoolJazz EncoreAd.indd HotJavaCoolJazz SBX18-332343 None RELEASED 1-9-2018 Hot Java Cool Jazz None None None x 10.875" 8.375" D i sk SCI File Cabinet O t h e r LIVE AT THE PARAMOUNT IMPORTANT NOTES: IMPORTANT Vendor: Part #: Trim: Job Number: Layout: Job Name: Promo: File Name: Proj Spec: Printed by: Project: RELEASE BEFORE: BALLARD | GARFIELD | MOUNTLAKE TERRACE | MOUNT SI | ROOSEVELT COMPANY Seattle, 98134 WA 2401 Utah Avenue South2401
    [Show full text]
  • Production Images Released for Hadestown at the National Theatre Click Here to Download
    12 November 2018 Production images released for Hadestown at the National Theatre Click here to download Music, lyrics and book by Anaïs Mitchell Developed with Rachel Chavkin Olivier Theatre Press Night 13 November, in rep until 26 January Following record-breaking runs at New York Theatre Workshop and Canada’s Citadel Theatre, Hadestown comes to the National Theatre prior to Broadway. In the warmth of summertime, songwriter Orpheus and his muse Eurydice are living it up and falling in love. But as winter approaches, reality sets in: these young dreamers can’t survive on songs alone. Tempted by the promise of plenty, Eurydice is lured to the depths of industrial Hadestown. On a quest to save her, Orpheus journeys to the underworld where their trust in each other is put to a final test. Celebrated singer-songwriter Anaïs Mitchell and director Rachel Chavkin have transformed Mitchell’s acclaimed concept album into a genre-defying new musical that mixes modern American folk music with vintage New Orleans jazz to reimagine a sweeping ancient tale. ‘Inventive. Beguiling. Luminous. Spellbinding.’ – New York Times The cast includes Sharif Afifi, Reeve Carney, André De Shields, Rosie Fletcher, Amber Gray, Beth Hinton-Lever, Carly Mercedes Dyer, Eva Noblezada, Seyi Omooba, Gloria Onitiri, Patrick Page, Aiesha Pease, Joseph Prouse, Jordan Shaw and Shaq Taylor. Directed by Rachel Chavkin, with set design by Rachel Hauck, costume design by Michael Krass, lighting design by Bradley King, sound design by Nevin Steinberg and Jessica Paz, choreography by David Neumann, musical direction and vocal arrangements by Liam Robinson, orchestrations and arrangements by Michael Chorney and Todd Sickafoose, with Ken Cerniglia as dramaturg.
    [Show full text]
  • Who Tells Your Story?: Intersections of Power, Domesticity, and Sexuality Relating to Rap and Song in the Musical Hamilton
    WHO TELLS YOUR STORY?: INTERSECTIONS OF POWER, DOMESTICITY, AND SEXUALITY RELATING TO RAP AND SONG IN THE MUSICAL HAMILTON By Tia Marie Harvey A THESIS Submitted to Michigan State University in partial fulfillment of the requirement for the degree Musicology—Master of Arts 2019 ABSTRACT WHO TELLS YOUR STORY?: INTERSECTIONS OF POWER, DOMESTICITY, AND SEXUALITY RELATING TO RAP AND SONG IN THE MUSICAL HAMILTON By Tia Marie Harvey In January 2015, Lin-Manuel Miranda’s Hamilton: An American Musical premiered at The Public Theater in New York City. Later that year it moved to Broadway with an engagement at the Richard Rodgers Theater, followed by productions in Chicago and London. Commercially successful and critically acclaimed, Hamilton continues to hold significant cultural relevance in 2019. As a result of this musical’s cultural significance, it has the ability to communicate positive, but also limiting, aspects of our society. In this thesis, I examine the concept of rap as a musical language of power. To do this, I assert that characters in Hamilton who have power, and particularly when expressing that power, do so through rap. In contrast, when characters don’t have power, or are entering realms of the powerless (i.e. spaces gendered female), they do so through lyrical song. In chapter 1, I set up the divide between rap and song as it primarily translates among male characters and class. Chapter 2 is focused on the domestic sphere, and in chapter 3 I discuss sexuality. In the conclusion of this thesis, I revisit the character of Eliza and explore the perceived power of her role as storyteller and the way in which the themes I discuss illuminate many missed opportunities to present an interpretation of America’s founding that is truly revolutionary.
    [Show full text]
  • Hammy Collage Pittsburgh
    ... ,-. ,// ./- ,-.,.:-.-: Hamilton’s Plot Point Problems (an incomplete list) - The two main characters, Hamilton and Burr, barely knew each other during the war years; their paths rarely crossed. - Alexander Hamilton did not punch the bursar at Princeton College. - Hamilton did not carouse at a tavern with Mulligan, Lafayette, and Laurens in 1776 and Sam Adams, who Miranda name-checks as the brewer of the beer at that pub, is a reference to a brewing company that wasn’t established until 1984. In truth, Hamilton met Mulligan, Lafayette, and Laurens separately, several years after 1776. - Angelica Schuyler sings that “My father has no sons so I’m the one / Who has to social climb.” That’s nonsense. In 1776, Philip Schuyler had three sons. - Angelica Schuyler was married her rich British husband before she ever met Alexander Hamilton. - Samuel Seabury wrote four loyalist pamphlets, not one. He wrote them in 1774 and 1775, not in 1776. By 1776, the patriots had already imprisoned Seabury in Connecticut for speaking out against the war. - King George did go mad later in life, although not until many years later. The causes were medical not geopolitical. - Burr’s meeting with General Washington, the meeting in which he tries to offer questions and suggestions, is invented. - John Laurens was not “in South Carolina redefending bravery” during the Battle of Yorktown. He was there at the battle and went to South Carolina later. - Hamilton never asked Burr to join him in writing The Federalist Papers - John Adams didn’t fire Hamilton during his presidency. Hamilton had resigned earlier, in 1795, while Washington was still president.
    [Show full text]
  • PDF Download Hamilton: the Revolution
    HAMILTON: THE REVOLUTION PDF, EPUB, EBOOK Lin-Manuel Miranda | 288 pages | 14 Nov 2016 | Little, Brown Book Group | 9781408709238 | English | London, United Kingdom Hamilton: The Revolution PDF Book I can proudly say that I can spit off every single line of Angelica Schuyler's "Satisfied" and many, many more. His finger is in so many pies he must have stolen a couple extra hands. How am I supposed to write a review for Hamilton: The Revolution , if all I want to do is hug it to my chest and never let go? Jeremy McCarter. I adored Lin's comments and insights on the songs, but I think I actually ended up enjoying Jeremy McCarter's essays more than Lin's notes. Actually, I didn't expect it to be emotional at all. A hip hop twist Say No To This, she pleaded. The thick paper. In addition, Miranda has written more than funny, revealing footnotes for his award-winning libretto, the full text of which is published here. Throughout his life, like so many leaders of the time, he allowed or used slavery to advance his I hereby award this book ten million stars and a book hangover. The only people who are calling for one are those who support the hate and the racism in the first place. More books by Lin- Manuel Miranda. The double-sided gold badge bears enamel decorations. The Hairy Dieters: Fast Food. Everything this man does is smart, thoughtful, and complex. Treasury, Hamilton built a financial foundation for the new nation, against fierce opposition from arch rival Thomas Jefferson.
    [Show full text]
  • Rappin' History
    Rappin’ History Composing Historical Raps in the Classroom with Lessons Integrating Historical Raps from the Broadway Show Hamilton Rappin’ in the Classroom Hamilton! Lessons Using the Broadway Show Hamilton Traveling Exhibit Activities Lois MacMillan – 2018 Jane Ortner Education Award Submission South Middle School – Grants Pass, OR Outline of Rappin’ History Introduction: Impact of the Broadway show Hamilton & Historical Rap Lesson Experiences (pages 1-2) “Composing Historical Raps” Five Day Lesson Plan (pages 3-21) o Joseph Plumb Martin Worksheet PDF o Joseph Plumb Martin Adventures, Sufferings, and Dangers PDF o Joseph Plumb Martin Bio PDF o Article “Of Rocks, Trees, Rifles, and Militia” PDF o Rap Facts Worksheets PDF “World Turned Upside Down” The Battle of Yorktown Lesson Plan (pages 22-26) o “World Turned Upside Down Worksheet” PDF “Constitution Needed!” Events Around the Constitution Lesson Plan (pages 27-37) o “Events Around the Constitution” PDF o “Events Around the Constitution Worksheet” PDF o PowerPoint “Plain, Honest Men” “The Dinner Deal” Choosing the Nation’s Capital Lesson Plan (pages 38-44) o “The Dinner Deal Worksheet” PDF o “In Room Where It Happens” PDF “Election of 1800” Crisis in the Electoral College Lesson Plan (pages 45-49) o “Election of 1800” PDF “Code Duello and the Hamilton-Burr Duel” Two Day Lesson Plan (pages 50-57) o “Code Duello” PDF o PowerPoint “Five Duel Experiences” o “Your Obedient Servant” PDF Introduction: In 2004, Ron Chernow published Hamilton, earning him Gilder Lehrman’s George Washington Book
    [Show full text]
  • South Pacific
    THE MUSICO-DRAMATIC EVOLUTION OF RODGERS AND HAMMERSTEIN’S SOUTH PACIFIC DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By James A. Lovensheimer, M.A. ***** The Ohio State University 2003 Dissertation Committee: Approved by Professor Arved Ashby, Adviser Professor Charles M. Atkinson ________________________ Adviser Professor Lois Rosow School of Music Graduate Program ABSTRACT Since its opening in 1949, Rodgers and Hammerstein’s Pulitzer Prize- winning musical South Pacific has been regarded as a masterpiece of the genre. Frequently revived, filmed for commercial release in 1958, and filmed again for television in 2000, it has reached audiences in the millions. It is based on selected stories from James A. Michener’s book, Tales of the South Pacific, also a Pulitzer Prize winner; the plots of these stories, and the musical, explore ethnic and cutural prejudice, a theme whose treatment underwent changes during the musical’s evolution. This study concerns the musico-dramatic evolution of South Pacific, a previously unexplored process revealing the collaborative interaction of two masters at the peak of their creative powers. It also demonstrates the authors’ gradual softening of the show’s social commentary. The structural changes, observable through sketches found in the papers of Rodgers and Hammerstein, show how the team developed their characterizations through musical styles, making changes that often indicate changes in characters’ psychological states; they also reveal changing approaches to the musicalization of the novel. Studying these changes provides intimate and, occasionally, unexpected insights into Rodgers and Hammerstein’s creative methods.
    [Show full text]
  • Hamiltunes at Winter Park Library
    Hamiltunes: an American Singalong @ Winter Park Public Library 11/17/2018, 7 p.m. Songs & Parts Alexander Hamilton Stage Name Alternate Burr Emma Laurens/Philip Jefferson Mulligan/Madison Hamilton Paloma Washington Eliza/Angelica Monica W. Aaron Burr, Sir Stage Name Alternate Hamilton Dayton Burr Anabelle Emma Gavigangster Lafayette Emma Mulligan Laurens My Shot Stage Name Alternate Hamilton Andi Anabelle Golaso Lafayette Emma Mulligan Laurens Anabelle Burr The Story of Tonight Stage Name Alternate Lafayette Emma Mulligan Hamilton C.wicker Laurens Paloma Schuyler Sisters Stage Name Alternate Burr Dayton Gavigangster Angelica Anabelle Kaitlyn Eliza Emma Peggy Paloma Farmer Refuted Stage Name Alternate Samuel Seabury Andi Hamilton Anabelle River Mulligan Burr Paloma You'll Be Back Stage Name Alternate King George Emma Sophie Zee Right Hand Man Stage Name Alternate Washington Hamilton Burr A Winter's Ball (LADIES!) Stage Name Alternate Burr Hamilton Helpless Stage Name Alternate Eliza Angela W. Emma Hamilton Monica W Angelica Paloma Satisfied Stage Name Alternate Angelica Dayton Monica W. Anabelle Hamilton Emma Paloma Eliza Andi Angela W. Laurens Story of Tonight (Reprise) Stage Name Alternate Laurens Hamilton C.wicker Mulligan Lafayette Burr Wait for It Stage Name Alternate Burr Anabelle Emma Stay Alive Stage Name Alternate Hamilton Washington Paloma Charles Lee Andi Lafayette Laurens Ten Duel Commandments Stage Name Alternate Laurens Hamilton Andi Washington Burr Barbi 1776 Charles Lee Meet Me Inside Stage Name Alternate Hamilton Anabelle
    [Show full text]
  • Determining Stephen Sondheim's
    “I’VE A VOICE, I’VE A VOICE”: DETERMINING STEPHEN SONDHEIM’S COMPOSITIONAL STYLE THROUGH A MUSIC-THEORETIC ANALYSIS OF HIS THEATER WORKS BY ©2011 PETER CHARLES LANDIS PURIN Submitted to the graduate degree program in Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ___________________________ Chairperson Dr. Scott Murphy ___________________________ Dr. Deron McGee ___________________________ Dr. Paul Laird ___________________________ Dr. John Staniunas ___________________________ Dr. William Everett Date Defended: August 29, 2011 ii The Dissertation Committee for PETER PURIN Certifies that this is the approved version of the following dissertation: “I’VE A VOICE, I’VE A VOICE”: DETERMINING STEPHEN SONDHEIM’S COMPOSITIONAL STYLE THROUGH A MUSIC-THEORETIC ANALYSIS OF HIS THEATER WORKS ___________________________ Chairperson Dr. Scott Murphy Date approved: August 29, 2011 iii Abstract This dissertation offers a music-theoretic analysis of the musical style of Stephen Sondheim, as surveyed through his fourteen musicals that have appeared on Broadway. The analysis begins with dramatic concerns, where musico-dramatic intensity analysis graphs show the relationship between music and drama, and how one may affect the interpretation of events in the other. These graphs also show hierarchical recursion in both music and drama. The focus of the analysis then switches to how Sondheim uses traditional accompaniment schemata, but also stretches the schemata into patterns that are distinctly of his voice; particularly in the use of the waltz in four, developing accompaniment, and emerging meter. Sondheim shows his harmonic voice in how he juxtaposes treble and bass lines, creating diagonal dissonances.
    [Show full text]
  • The Representation of Minorities in American Musical Theater Since the 1950S
    The Representation of Minorities in American Musical Theater since the 1950s Krstičević, Klara Master's thesis / Diplomski rad 2020 Degree Grantor / Ustanova koja je dodijelila akademski / stručni stupanj: University of Zagreb, University of Zagreb, Faculty of Humanities and Social Sciences / Sveučilište u Zagrebu, Filozofski fakultet Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:131:689147 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-09-23 Repository / Repozitorij: ODRAZ - open repository of the University of Zagreb Faculty of Humanities and Social Sciences Odsjek za anglistiku Filozofski fakultet Sveučilište u Zagrebu DIPLOMSKI RAD The Representation of Minorities in American Musical Theater since the 1950s (Smjer: Američka književnost i kultura) Kandidat: Klara Krstičević Mentor: dr. sc. Jelena Šesnić Ak. godina: 2019./2020. 1 Contents 1. Introduction .....................................................................................................................2 2. African Americans in representations and productions of Broadway musicals .................8 2.1. Hello, Dolly! ................................................................................................................9 2.2. Hamilton: An American Musical ................................................................................ 12 3. An overview of the history of Puerto Rican representation on Broadway ................ 19 3.1.West Side Story ..........................................................................................................
    [Show full text]
  • Hollywood Pantages Theatre Los Angeles, California
    ® HOLLYWOOD PANTAGES THEATRE LOS ANGELES, CALIFORNIA 3.12.20 - 3.31.20 Hamilton @ Pantages LA.indd 1 2/27/20 4:29 PM HOLLYWOOD PANTAGES THEATRE March 12-March 31, 2020 Jeffrey Seller Sander Jacobs Jill Furman AND The Public Theater PRESENT BOOK, MUSIC AND LYRICS BY Lin-Manuel Miranda INSPIRED BY THE BOOK ALEXANDER HAMILTON BY Ron Chernow WITH Rubén J. Carbajal Nicholas Christopher Joanna A. Jones Taylor Iman Jones Carvens Lissaint Simon Longnight Rory O’Malley Sabrina Sloan Wallace Smith Jamael Westman AND Sam Aberman Gerald Avery Amanda Braun Cameron Burke Yossi Chaikin Trey Curtis Jeffery Duffy Karlee Ferreira Tré Frazier Aaron Alexander Gordon Sean Green, Jr. Jared Howelton Sabrina Imamura Jennifer Locke Yvette Lu Taeko McCarroll Mallory Michaellann Antuan Magic Raimone Julian Ramos Jen Sese Willie Smith III Terrance Spencer Raven Thomas Tommar Wilson Mikey Winslow Morgan Anita Wood SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN SOUND DESIGN David Korins Paul Tazewell Howell Binkley Nevin Steinberg HAIR AND WIG DESIGN ARRANGEMENTS MUSIC COORDINATORS ASSOCIATE MUSIC SUPERVISOR Charles G. LaPointe Alex Lacamoire Michael Keller Matt Gallagher Lin-Manuel Miranda Michael Aarons EXECUTIVE PRODUCER PRODUCTION SUPERVISOR PRODUCTION STAGE MANAGER MUSIC DIRECTOR Maggie Brohn J. Philip Bassett Scott Rowen Andre Cerullo MARKETING & COMMUNICATIONS TECHNICAL SUPERVISION CASTING Laura Matalon Hudson Theatrical Associates Telsey + Company John Gilmour Bethany Knox, CSA ASSOCIATE & SUPERVISING DIRECTOR ASSOCIATE & SUPERVISING CHOREOGRAPHER Patrick Vassel
    [Show full text]
  • Economic Lessons from the Musical Hamilton
    Economic Lessons from the Musical Hamilton The musical Hamilton is the most popular musical in recent history and might be the best single album one could use to teach economic concepts. We explore how the songs in Hamilton can be used to teach about opportunity cost, trade-offs, time preferences and time-inconsistent preferences, the Federal Reserve System and central banking, economic freedom, and more. We also provide discussion questions that educators could use to teach concepts presented in Hamilton. Matthew C. Rousu† Courtney A. Conrad† †Susquehanna University © 2017 Journal of Economics Teaching. All rights reserved. Rousu and Conrad / Journal of Economics Teaching (2017) 1. Introduction While it is still the primary way instructors are teaching economics, educators are slow- ly shifting away from the traditional “chalk-and-talk” method of instructing (Becker & Watts, 1996, 2001; Becker, Becker, & Watts, 2006; Watts & Schaur, 2011). Some economics instructors are using non-traditional methods to teach, including using works of art (Watts & Christopher, 2012; Al-Bahrani, Holder, Patel, & Wooten, 2016), historical novels (Cotti & Johnson, 2012), mov- ies (Mateer, O’Roark, & Holder, 2016; Mateer & Stephenson, 2011), television series (Kuester, Mateer, & Youderian, 2014; Ghent, Grant & Lesica, 2011), and social media (Al-Bahrani & Patel, 2015). By incorporating these alternative methods, educators are attempting to better reach their students. Yet another way teachers are innovating is by using music in their courses, and many in- structors have touted the benefits of this practice (Lawson, Hall, & Mateer, 2008; Krasnozhon, 2013; Tinari & Khandke, 2000; Hall & Lawson, 2008; Holder, Hoffer, Al-Bahrani, & Lindahl, 2015). To this point, economists touting the use of music to teach have illustrated how multiple songs from multiple sources can be used.
    [Show full text]