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Download the La Cage Aux Folles Playbill
AUGUST 23 - SEPTEMBER 9 Sales Exchange Co., Inc. Jewelers and Collateral Loanbrokers The Pine Grove Inn has served generations of guests since its establishment in 1910. Our seasonal menus emphasize prime beef, fresh local seafood and the traditional German fare which made us famous. The Palm Bar & outdoor patio overlooks the Swan River. Enjoy Live Music Thursday through Saturday Classic and $6 Martinis Tuesday through Friday Open for Lunch and Dinner Wednesday through Sunday Contemporary from 4-7 at the bar Available for Parties Monday & Tuesday Choose us for your next special event – Platinum our catering department will be pleased to work with you to design your affair and Gold Wednesday Lobsterfest Thursday Prime Rib Night Jewelry designs that will excite your senses. Chapel Avenue & First St., Patchogue, NY 11772 • 631.475.9843 www.pinegroveinn.com PRESENT THIS VOUCHER FOR PRESENT THIS VOUCHER FOR One East Main St., Patchogue 631.289.9899 www.wmjoneills.com $5 OFF LUNCH $10 OFF DINNER on checks of $30 or more on checks of $60 or more Mention this ad for 10% discount on purchase Expires September 15, 2006. Reservations suggested. Expires September 15, 2006. Reservations suggested. 2 May not be combined with any other promotional offer. May not be combined with any other promotional offer. Specialists in Family Owned & Quality & Service Operated Since 1976 European-style Desserts and Espresso Drinks Open Late 6 Nights per Week Signature Martini Bar 1135 Montauk Hwy., Mastic • 399-1890/653-RUGS Outdoor Café Seating 721 Rte. 25A (next to Personal Fitness), Rocky Point • 631-744-1810 Open 7 Days Live Jazz Every Thursday & Restaurant Late Night Friday We love it when you love what you’re walking on. -
Updated: 18 April 2021
Updated: 18 April 2021 ~ 0 ~ z FORWARD This work has been assembled by me from many sources including some related to me verbally. As it says on the cover, they can be tales or myths or legends and possibly sometimes of dubious validity. This has been put together less as a history lesson in some cases, and more as a celebration of what small town life was and still is to some degree. I have decided to not use real names in a few circumstances for various reasons. I don’t consider this a work of fiction for the most part, nor of total fact in a few cases. It was collected mainly for the enjoyment of any former or present Paw Paw resident, or anyone else with ties to the community. Several people have been instrumental in helping this work get into print. The Paw Paw District Library, the Harry Bush family, and most of all Dan Smith, PPHS-63 who has placed it on his pawpawwappaw.com website, and has really spent a lot of time finding candidates for the book, and pictures of them. He also has done a lot to make this work look professional. Thanks to all. Robert “Butch” Hindenach Paw Paw High School Class of ‘57 ~ 1 ~ Table of Contents Forward ................................................................................................................................. 1 Table of Contents ................................................................................................................... 2 Happy Days ........................................................................................................................... -
Parody As a Borrowing Practice in American Music, 1965–2015
Parody as a Borrowing Practice in American Music, 1965–2015 A dissertation submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Division of Composition, Musicology, and Theory of the College-Conservatory of Music by John P. Thomerson BM, State University of New York at Fredonia, 2008 MM, University of Louisville, 2010 Committee Chair: bruce d. mcclung, PhD ABSTRACT Parody is the most commonly used structural borrowing technique in contemporary American vernacular music. This study investigates parody as a borrowing practice, as a type of humor, as an expression of ethnic identity, and as a response to intellectual trends during the final portion of the twentieth century. This interdisciplinary study blends musicology with humor studies, ethnic studies, and intellectual history, touching on issues ranging from reception history to musical meaning and cultural memory. As a structural borrowing technique, parody often creates incongruity—whether lyrical, stylistic, thematic, evocative, aesthetic, or functional—within a recognized musical style. Parodists combine these musical incongruities with other comic techniques and social conventions to create humor. Parodists also rely on pre-existing music to create, reinforce, and police ethnic boundaries, which function within a racialized discourse through which parodists often negotiate ethnic identities along a white-black binary. Despite parody’s ubiquity in vernacular music and notwithstanding the genre’s resonance with several key themes from the age of fracture, cultivated musicians have generally parody. The genre’s structural borrowing technique limited the identities musicians could perform through parodic borrowings. This study suggests several areas of musicological inquiry that could be enriched through engagement with parody, a genre that offers a vast and largely unexplored repertoire indicating how musical, racial, and cultural ideas can circulate in popular discourse. -
Music by Lyrics by Book by Alan Menken Lynn Ahrens Mike Ockrent & Lynn Ahrens
November 26—December 22, 2013 Music by Lyrics by Book by ALAN MENKEN LYNN AHRENS MIKE OCKRENT & LYNN AHRENS Based on the story by CHARLES DICKENS Original Choreography by SUSAN STROMAN Originally Directed by MIKE OCKRENT Originally Presented by Radio City Entertainment at the Theater at Madison Square Garden Directed by GAVIN MAYER Musical Director Choreographer Scenic Design DAVID NEHLS KITTY SKILLMAN HILSABECK BRIAN MALLGRAVE Lighting Design Sound Design Costume Design VANCE MCKENZIE DAVID THOMAS CHRIS CAMPBELL Wig and Makeup Design Production Stage Manager Assistant Stage Manager LISA ROKICKI LISA COOK* LISA A. KURTZ* Artistic Producer ROD A. LANSBERRY Casting by wojcik | seay casting, llc A Christmas Carol is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI • 421 West 54th Street, New York, NY 10019 • Phone: 212-541-4684 • Fax: 212-397-4684 • www.MTIShows.com The videotaping or other video or audio recording of this performance is strictly prohibited. CAST OF CHARACTERS Ebenezer Scrooge ............................... Richard White * Mr. Hawkins ........................................Rob Costigan * Ghost of Christmas Past ..............Megan Van De Hey * Mr. Fezziwig .........................................Gregory Price * Ghost of Christmas Present ...................Stephen Day * Mrs. Fezziwig ................................Sharon Kay White * Ghost of Christmas Future ..Kitty Skillman Hilsabeck * Young Scrooge ......................................David -
Soteriology of Beauty and the Beast and the Hunchback of Notre Dame Soteriology of Beauty and the Beast and the Hunchback of Notre Dame
Soteriology of Beauty and the Beast and The Hunchback of Notre Dame Soteriology of Beauty and the Beast and The Hunchback of Notre Dame Aaron Selby Abstract Popular culture is prevalent in the ability of citizens to conceptualize complex issues and sit- uations within society. Several religious scholars, including John Lyden, propose that elements of popular culture relate to and interact with sociopolitical anomalies in a way that mirrors and mobilizes patterns of religion. As such, these scholars conclude that certain popular culture phenomena act as a kind of religion in and of themselves. Drawing from the work of several such scholars and the concept of soteriology in narrative, I analyze the similarities between two Disney animated films, Beauty and the Beast and The Hunchback of Notre Dame and their overall interaction with the sociopolitical landscape of the 1990s. Both Beauty and Hunchback provide a lens of commentary, criticism, and guidance in light of the now infamous events that took place during President Bill Clinton’s administration. Middle Tennessee State University 35 Scientia et Humanitas: A Journal of Student Research Disney and Theories of Salvation Among the four canonical gospels of the Christian scriptures, the Gospel of Saint John is unique as it seems oddly numinous regarding content. Furthermore, John 3:161 has become one of the most important, influential, and important scriptures in modern day Christendom. This text—which tells us that “God so loved the world that he gave His one and only Son, so that whoever believes in him shall not perish but have everlasting life”—would seem to suggest that the crucifixion of Jesus was a freely given act of love to save all people and bring them back to the love of God. -
Beauty and the Beast in Concert
Norman Huynh, conductor Friday, December 27, 2019, at 7:00PM Saturday, December 28, 2019, at 2:00PM Saturday, December 28, 2019, at 7:00PM Disney Beauty and the Beast in Concert Directed by Gary Trousdale and Kirk Wise Produced by Don Hahn Executive Producer Howard Ashman Animation Screenplay by Linda Woolverton Songs by Howard Ashman and Alan Menken Original Score by Alan Menken Voice Cast Belle Paige O’Hara Beast Robby Benson Gaston Richard White Lumiere Jerry Orbach Cogsworth David Ogden Stiers Mrs. Potts Angela Lansbury Chip Bradley Pierce Maurice Rex Everhart LeFou Jesse Corti Philippe Hal Smith Wardrobe jo Anne Worley Presented in association with and under license by Today’s performance lasts approximately 1 hour and 50 minutes, including a 25-minute intermission. The performance is a presentation of the complete film Beauty and the Beast with a live performance of the film’s entire score. Out of respect for the musicians and your fellow audience members, please remain seated until the conclusion of the end credits. NORMAN HUYNH Norman Huynh has established himself as a conductor with an ability to captivate an audience through a multitude of musical genres. This season, Huynh continues to showcase his versatility in concerts featuring Itzhak Perlman, Hip-Hop artists Nas and Wyclef Jean, and vocal superstar Storm Large. Born in 1988, Huynh is a first generation Asian American and the first in his family to pursue classical music as a career. He is currently the Harold and Arlene Schnitzer Associate Conductor of the Oregon Symphony and maintains an international guest conducting schedule. -
Sweeney Todd
SC 55th Season • 524th Production SEGERSTROM STAGE / JANUARY 19 - FEBRUARY 16, 2019 Paula Tomei MANAGING DIRECTOR David Emmes & Martin Benson FOUNDING ARTISTIC DIRECTORS presents SWEENEY TODD THE DEMON BARBER OF FLEET STREET A Musical thriller music and lyrics by book by Stephen Sondheim Hugh Wheeler from the adaptation by Christopher Bond originally directed on Broadway by Harold Prince orchestrations by Jonathan Tunick John Iacovelli Melanie Watnick Lap Chi Chu Cricket Myers Kelly Todd SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN SOUND DESIGN CHOREOGRAPHER Philip D. Thompson Joshua Marchesi Joanne DeNaut, CSa Jamie A. Tucker* ACCENT COACH PRODUCTION MANAGER CASTING STAGE MANAGER Music Director David O Directed by Kent Nicholson Sophie & Larry Cripe James, Kimberly, Haley Honorary Producers & Kolby Jacobs Haskell & White LLP Honorary Producers Corporate Honorary Associate Producer Originally produced on Broadway by Richard Barr, Charles Woodward, Robert Fryer, Mary Lea Johnson, Martin Richards in association with Dean and Judy Manos. SWEENEY TODD is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI. www.MTIShows.com Sweeney Todd • South CoaSt RepeRtoRy • P1 CAST OF CHARACTERS Anthony ........................................................................................................................... Devin Archer* Beggar Woman ................................................................................................. Erica Hanrahan-Ball* -
Alan Menken Alan Menken Michael T
DISNEY BEAUTY AND THE BEAST DANCERS RILEY COSTELLO SARAH JAYNE JENSEN HAYLEE RODERICK IN CONCERT AT THE HOLLYWOOD BOWL GABRIEL CROOM SELENA MOSHELL OWEN SCARLETT ZOOEY DESCHANEL TAYE DIGGS REBEL WILSON CONCERT SPECIAL MUSIC ARRANGEMENTS CHRIS BACON & SANDY CAMERON ANTHONY EVANS DEKE SHARON EMILY BEAR ADAM GUBMAN JULIA SOKOLOWSKA KELSEY GRAMMER JANE KRAKOWSKI ASSISTANT CONDUCTOR CONCERTMASTER ORCHESTRA CONTRACTOR VOCAL CONTRACTOR STEVEN ALLEN FOX BRUCE DUKOV PETER ROTTER JASPER RANDALL ANTHONY EVANS MARISSA JARET WINOKUR MUSIC EDITOR & MUSIC PREPARATION “EVERMORE” SPECIAL GUESTS FILM PREPARATION COORDINATOR BOOKER WHITE MUSIC BY ALAN MENKEN ALAN MENKEN MICHAEL T. RYAN MARSHALL BOWEN LYRICS BY TIM RICE SCOTT MCRAE ADDITIONAL FILM PREPARATION CONCERT CREDITS DCAPPELLA EMILY BEAR SANDY CAMERON TINA GUO ED KALNINS JAMES JACOBY OPENING ACT PIANO VIOLIN CELLO VIDEO DIRECTOR CASTING DIRECTORS HAIR & MAKEUP MUSIC BY LYRICS BY SCORE BY KENNETH SHAPIRO ROBERT J. ULRICH, CAROL KRITZER, DIAN BETHUNE COBLE ALAN MENKEN HOWARD ASHMAN ALAN MENKEN & ALEX NEWMAN CONDUCTOR PRESIDENT, DISNEY MUSIC GROUP MICHAEL KOSARIN KEN BUNT DISNEY CONCERTS WORLDWIDE DISNEY CONCERTS, OPERATIONS CONCERT DIRECTOR CHIP MCLEAN, SVP/GM MAE CROSBY RICHARD KRAFT ROYD HASTON DISNEY MUSIC GROUP, MARKETING & PUBLICITY DISNEY MUSIC GROUP, BUSINESS AFFAIRS CONCERT PRODUCED BY LAURA GONZALEZ MEG ROSS LAURA ENGEL & RICHARD KRAFT MARIA KLEINMAN JESENIA GALLEGOS TIM FOX & ALISON AHART WILLIAMS DARRYL FRANKLIN ANDREW HEWITT & BILL SILVA PRESENTS In association with and under license by -
“Happ'ly-Ever-Aftering”: Changing Social And
“HAPP’LY-EVER-AFTERING”: CHANGING SOCIAL AND INDUSTRY CONVENTIONS IN HOLLYWOOD MUSICAL ADAPTATIONS, 1960-75 BY MEGAN BOLANDER WOLLER DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Musicology with a concentration in Cinema Studies in the Graduate College of the University of Illinois at Urbana-Champaign, 2014 Urbana, Illinois Doctoral Committee: Associate Professor Gayle Sherwood Magee, Chair Professor Jeffrey Magee Associate Professor Christina Bashford Associate Professor Anustup Basu ABSTRACT This dissertation explores seven Hollywood adaptations of Broadway musicals from the 1960s and early seventies. Though generally considered beyond the “Golden Age” of film, this period produced some of the most enduring and well-loved film musicals of any decade. Furthermore, they can all be seen as products of their time. The 1960s were a highly volatile time in American history as well as within the film industry. Socio-cultural and political factors, such as the Cold War, feminism, the civil rights movement, the Vietnam War, the sexual revolution, and the gay rights movement, all impacted American society and popular culture. Furthermore, the studio system continued to break down and with it the Hollywood Production Code. Towards the end of the decade, the so-called New Hollywood filmmakers introduced new ways of American filmmaking. Through seven case studies – West Side Story (1961), The Music Man (1962), Bye Bye Birdie (1963), The Sound of Music (1965), Camelot (1967), Paint Your Wagon (1969), and Cabaret (1972) – I place film adaptations of musicals in their socio-political and film industry situation by analyzing the changes made in the translation from stage to screen, delving into the possible reasons for the alterations.