The Pirates of Penzance Program
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The Pirates of Penzance
HOT Season for Young People 2014-15 Teacher Guidebook NASHVILLE OPERA SEASON SPONSOR From our Season Sponsor For over 130 years Regions has been proud to be a part of the Middle Tennessee community, growing and thriving as our area has. From the opening of our doors on September 1, 1883, we have committed to this community and our customers. One area that we are strongly committed to is the education of our students. We are proud to support TPAC’s Humanities Outreach in Tennessee Program. What an important sponsorship this is – reaching over 25,000 students and teachers – some students would never see a performing arts production without this program. Regions continues to reinforce its commitment to the communities it serves and in addition to supporting programs such as HOT, we have close to 200 associates teaching financial literacy in classrooms this year. , for giving your students this wonderful opportunity. They will certainly enjoy Thankthe experience. you, Youteachers are creating memories of a lifetime, and Regions is proud to be able to help make this opportunity possible. ExecutiveJim Schmitz Vice President, Area Executive Middle Tennessee Area 2014-15 HOT Season for Young People CONTENTS Dear Teachers~ We are so pleased to be able Opera rehearsal information page 2 to partner with Nashville Opera to bring students to Opera 101 page 3 the invited dress rehearsal Short Explorations page 4 of The Pirates of Penzance. Cast list and We thank Nashville Opera Opera Information NOG-1 for the use of their extensive The Story NOG-2,3 study guide for adults. -
R.B.K.C. Corporate Templates
The Pirates of Penzance Intergenerational Project ‘A creative music project for primary school children and individuals with varying forms and stages of dementia’ April 2015 In partnership with Public Health 1 Contents 1. Summary 3 2. Evaluation strategy 4 3. Project structure 4 4. Aims and Objectives 10 5. Benefits 11 6. Performance day 17 7. Documentation 18 8. Limitations 19 9. Conclusions 19 Appendix A) St Charles – Mood Boards 21 B) Opera rehearsal schedule 29 C) Composed lyrics 31 Throughout this report direct quotes are indicated in blue: A number of service users were really keen to share their school memories, particularly about singing – sometimes positive, sometimes not. One comment which really stuck in my memory was a gentleman describing how he had always wanted to sing at school but had been told he was not good enough, and how he was grateful now for the opportunity (Seth Richardson, Project Manager). 2 Summary Opera Holland Park’s The Pirates of Penzance has proven to be an extremely successful pilot intergenerational project for KS2 primary school children (Year 5) and individuals with varying forms and stages of dementia and Alzheimer’s. Part-funded by Public Health, two KS2 year 5 classes from St Charles Primary School (RBKC) and service users from a nearby Alzheimer’s day centre, Chamberlain House, enjoyed a variety of activities based around popular themes and music from Gilbert & Sullivan’s The Pirates of Penzance, culminating with a performance of the operetta delivered by a professional cast of opera singers. Participants took part in a series of workshops, both independently and jointly, with children from St Charles Primary School travelling to Chamberlain house for combined sessions. -
Pirates Playbill.Indd
Essgee’s Based on the operetta by W.S. Gilbert and Arthur Sullivan The 65th Anniversary Revival of De La Salle’s First-Ever Musical! April 27-29, 2017 De La Salle College Auditorium 131 Farnham Ave. Theatre De La Salle’s Based on the operetta by W.S. Gilbert and Arthur Sullivan Additional lyrics by Melvyn Morrow New Orchestrations by Kevin Hocking Original Production Director and Choreographer Craig Shaefer Conceived and Produced by Simon Gallaher Presented in cooperation with David Spicer Productions, Australia www.davidspicer.com.au Music Director Choreographer CHRIS TSUJIUCHI MELISSA RAMOLO Technical Director Set Designer CARLA RITCHIE MICHAEL BAILEY Directed by GLENN CHERNY and MARC LABRIOLA Produced by MICHAEL LUCHKA Essgee’s The Pirates of Penzance, Gilbert and Sullivan for the 21st Century, presented by arrangement with David Spicer Productions www.davidspicer.com.au representing Simon Gallaher and Essgee Entertainment Performance rights for Essgee’s The Pirates of Penzance are handled exclusively in North America by Steele Spring Stage Rights (323) 739-0413, www.stagerights.com I wish to extend to the Cast and Crew my sincerest congratulations on your very wonderful and successful 2017 production of e Pirates of Penzance! William W. Markle, Q.C. Cast Member, 1952 production of Th e Pirates of Penzance De La Salle College “Oaklands” Class of 1956 THE CAST The Pirate King ............................................... CALUM SLAPNICAR Frederic ............................................................. NICHOLAS DE SOUZA Samuel.................................................................... -
2020 Variety Theatre Teen Intern Program Packet
2020 Variety Theatre Teen Intern Program Packet Executive Producer The executive producer intern will work directly with the executive producer to ensure that the production meets required criteria for the Variety Theatre production, including artistic merit, a professional staff, and budgetary needs. Executive Producer Jan Albus introduces all of the interns onstage before a performance Responsibilities could include, but are not limited to: Attend the intern/mentor orientation (required) at the beginning of the summer (date TBD) Reading the script Attending all auditions and callbacks to observe the professional casting process Attend production meetings as assigned Reviewing the budget and providing input on some purchases, as assigned Attend Curtain Up! summer camp and assist the directors and coordinators, as needed Attend rehearsals as assigned by mentor Attend all technical rehearsals and note sessions, as assigned Director/Choreographer Intern Interns will work directly with and receive mentorship and training from the director/choreographer and his/her assistants. Interns will observe the directing team and participate in the process of auditions, blocking, character work, and overseeing the overall concept of the story being told. The directing intern will interact with actors of all ages, the production team, and everyone else involved in the production. Directing Intern Taylor Branson working with Director Lara Teeter during a rehearsal Responsibilities could include, but are not limited to: Attend the intern/mentor -
The Gilbert & Sullivan Society of Edinburgh
FCT/PirateProdAd:FCT/PiratesProdAd 27/2/07 14:30 Page 1 edinburgh festival theatre The Gilbert & Sullivan Society of Edinburgh presents The Pirates of Penzance or The Slave of Duty Libretto by Music by W. S. Gilbert Arthur Sullivan Mon 30 April - Sat 5 May 24 - 28 April Director .....................................Alan Borthwick This production celebrates the incredible talent of Hosted by LIONEL BLAIR three world famous entertainers and some of the Choreography by ANTON DU BEKE Musical Director ...............................David Lyle finest music and song that has ever been recorded. & ERIN BOAG Experience Frank, Sammy and Dean’s classic recordings Assistant Director ....................... Liz Landsman Featuring a cast of outstanding world-class dance including: The Lady is a Tramp, Mr Bojangles, I’ve Got You champions, performing a number of styles, including Under My Skin, New York, New York… and many more. the Cha Cha, Salsa, Rumba, Quickstep and many, many more. CHARITY NUMBER: SC027486 http://www.edgas.org/ Box Office 0131 529 6000 Group Bookings 0131 529 6005 Book online www.eft.co.uk BOOKING FEE APPLIES W e l c o m e S y n o p s i s ood evening, Ladies and Gentlemen, and a warm welcome to the King’s Theatre, Edinburgh and to our rederic is a young pirate apprentice who has a somewhat abnormal con- Gproduction of The Pirates of Penzance. science. When he learns that he has been wrongly apprenticed to the The Pirates of Penzance is now reckoned to be Gilbert & Fpirate band he remains true to his indentures until they expire. Today is his Sullivan’s most popular operetta. -
Death of the Author by Steven Drukman (Page 3)
presents Death of the Author By Steven Drukman (page 3) and God of Carnage By Yasmina Reza Translated by Christopher Hampton (page 5) Streaming April 22-25, 2021 Death of the Author By Steven Drukman Directed by Colleen Kelly Assistant Direction by Denise Stewart Costume Coordination by Jenny McNee Technical Direction by Casey Horton Production Stage Management by Kathleen Mueller DEATH OF THE AUTHOR was originally produced by Geffen Playhouse (Randall Arney, Artistic Director; Ken Novice, Managing Director; Behnaz Ataee, General Manager; Regina Miller, Chief Development Officer). DEATH OF THE AUTHOR is presented by special arrangement with Dramatists Play Service, Inc., New York. Streaming April 22, 9pm; April 23, 7pm; April 24, 9pm; April 25, 2pm ©2021. This Video recording was produced by special arrangement with Dramatists Play Service and Steven Drukman. All rights reserved. This performance is authorized for non-commercial use only. By accepting this license, you agree not to authorize or permit the Video to be recorded, copied, distributed, broadcast, telecast or otherwise exploited, in whole or in part, in any media now known or hereafter developed. WARNING: Federal law provides severe civil and criminal penalties for the unauthorized reproduction, distribution or exhibition of copyrighted motion pictures, Audio & Videotapes or Audio & Videodiscs. Criminal copyright infringement is investigated by the FBI and may constitute a felony with a maximum penalty of up to five years in prison and/or a $250,000.00 fine. CAST OF CHARACTERS Jeff .............................................................................................Jack Clifford Bradley .................................................................................James Stringer Jr J. Trumbull Sykes ........................................................................Brian Willis Sarah ................................................................................. Cortney Lowinski Setting: One of the finest universities in the US. -
Quarter IV: 20Th and 21St CENTURY MULTIMEDIA FORMS
DOWNLOAD K-12 MATERIALS AT DEPED TAMBAYAN 20th and 21st Century Multimedia Forms richardrrr.blogspot.com Quarter IV: 20th AND 21st CENTURY MULTIMEDIA FORMS CONTENT STANDARDS The learner demonstrates understanding of... 1. Characteristic features of 20th and 21st century opera, musical play, ballet, and other multi-media forms. 2. The relationship among music, technology, and media. PERFORMANCE STANDARDS The learner... 1. Performs selections from musical plays, ballet, and opera in a satisfactory level of performance. 2. Creates a musical work, using media and technology. DEPEDLEARNING COMPETENCIES COPY The learner... 1. Describes how an idea or story in a musical play is presented in a live performance or video. 2. Explains how theatrical elements in a selected part of a musical play are combined with music and media to achieve certain effects. 3. Sings selections from musical plays and opera expressively. 4. Creates/improvises appropriate sounds, music, gestures, movements, and costumes using media and technology for a selected part of a musical play. 5. Presents an excerpt from a 20th or 21st century Philippine musical and highlights its similarities and differences to other Western musical p l a y s . From the Department of Education curriculum for MUSIC Grade 10 (2014) 141 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office. MUSIC Quarter IV OPERA IN THE PHILIPPINES he emergence of the Filipino opera started to take shape during the middle part of Tthe 19th century. Foreign performers, including instrumental virtuosi, as well as opera singers and Spanish zarzuela performers came to the country to perform for enthusiastic audiences. -
Festival 2021
ARTS ACADEMY FESTIVAL 2 021 Interlochen Center for the Arts, a recipient of the National Medal of Arts, is a global arts organization that includes: • Interlochen Arts Academy - Arts boarding high school with Academy Fact Sheet rigorous college-prep academics • Interlochen Arts Camp - 59th Year | August 2020 - May 2021 Summer arts programs for grades 3-12 • College of Creative Arts - Lifelong learning in the arts Total Enrollment Classes • Interlochen Public Radio - 545 Students Freshman 50 Two stations: Classical Music and News (NPR Member Station) Sophomore 95 46 U.S. states and territories Junior 165 • Interlochen Presents - presenting more than 600 events annaully represented Senior 213 featuring students, faculty, and Post-graduate 22 internationally recognized guest artists. Top state delegations: • Interlochen Online - a virtual State Students Residential Status platform that brings the world- Michigan 104 Boarding 503 renowned Interlochen experience Day Students 42 into your home, building a virtual California 32 bridge of connection to the world’s New York 26 leading arts educators. Arts Areas Florida 25 Creative Writing 25 Interlochen Arts Academy challenges Illinois 23 Dance 41 students to achieve artistically and Texas 19 Film & New Media 22 academically. Since 1980, 46 Arts Wisconsin 18 Interdisciplinary Arts 24 Academy students have been named Presidential Scholars, unmatched Ohio 17 Music 269 by any other high school in the country. Maryland 16 Theatre 109 Indiana 14 Visual Arts 55 Academy students create hundreds of presentations including student concerts, performances, exhibits, readings, and screenings. 20 countries and territories More than 300 faculty and staff work to maintain a positive and safe Angola 1 Korea 6 environment for all students. -
Repertoire and Performance History Virginia Opera Repertoire 1974-2020
Repertoire and Performance History Virginia Opera Repertoire 1974-2020 1974–1975 Initial Projects LA BOHÈME – January 1975 N LA TRAVIATA – June 1975 N 1975–1976 Inaugural Subscription Season TOSCA – October/November 1975 N LUCIA DI LAMMERMOOR – January 1976 N THE BARBER OF SEVILLE – March/April 1976 N 1976–1977 RIGOLETTO – October/November 1976 N IL TROVATORE – January 1977 N THE IMPRESARIO/I PAGLIACCI – March/April 1977 N 1977–1978 MADAMA BUTTERFLY – October/November 1977 N COSÌ FAN TUTTE – January/February 1978 N MARY, QUEEN OF SCOTS – American Premiere– April 1978 N 1978–1979 CARMEN – October/November 1978 N THE DAUGHTER OF THE REGIMENT – January 1979 N DON GIOVANNI – March/April 1979 N 1979–1980 LA BOHÈME – October/November 1979 N A CHRISTMAS CAROL – World Premiere – December 1979 N DON PASQUALE – January/February 1980 N THE TALES OF HOFFMAN – March 1980 N 1980–1981 PORGY AND BESS – October/November 1980 N, R HANSEL AND GRETEL – December 1980 N WERTHER – January/February 1981 N I CAPULETI E I MONTECCHI – March/April 1981 N 1981–1982 FAUST – October/November 1981 N CINDERELLA – December 1981 N LA TRAVIATA – January 1982 N THE MAGIC FLUTE – March 1982 N 1982–1983 DIE FLEDERMAUS – October/November 1982 N, R AMAHAL AND THE NIGHT VISITORS – December 1982 N MACBETH – January 1983 N THE ELIXIR OF LOVE – March 1983 N 1983–1984–Inaugural Subscription Season Richmond NORMA – October 1983 R GIANNI SCHICCHI/SUOR ANGELICA – December 1983 R RIGOLETTO – January 1984 N, R THE GIRL OF THE GOLDEN WEST – February/March 1984 N 1984–1985 THE MARRIAGE -
Sing Solo Pirate: Songs in the Key of Arrr! a Literature Guide for the Singer and Vocal Pedagogue
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research, Creative Activity, and Performance - School of Music Music, School of 5-2013 Sing Solo Pirate: Songs in the Key of Arrr! A Literature Guide for the Singer and Vocal Pedagogue Michael S. Tully University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicstudent Part of the Music Pedagogy Commons, Music Performance Commons, and the Music Practice Commons Tully, Michael S., "Sing Solo Pirate: Songs in the Key of Arrr! A Literature Guide for the Singer and Vocal Pedagogue" (2013). Student Research, Creative Activity, and Performance - School of Music. 62. https://digitalcommons.unl.edu/musicstudent/62 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Student Research, Creative Activity, and Performance - School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. SING SOLO PIRATE: SONGS IN THE KEY OF ARRR! A LITERATURE GUIDE FOR THE SINGER AND VOCAL PEDAGOGUE by Michael S. Tully A DOCTORAL DOCUMENT Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Doctor of Musical Arts Major: Music Under the Supervision of Professor William Shomos Lincoln, Nebraska May, 2013 SING SOLO PIRATE: SONGS IN THE KEY OF ARRR! A LITERATURE GUIDE FOR THE SINGER AND VOCAL PEDAGOGUE Michael S. Tully, D.M.A. University of Nebraska, 2013 Advisor: William Shomos Pirates have always been mysterious figures. -
TI World Language Materials
World Language Connections: Treasure Island Teacher Tidbits The “piratespeak” people try to reproduce today certainly comes from literature and stereotypes; the real thing was probably a mixture of at least English, French, Italian, Spanish and Arabic. There are very few written documents. From what is known and documented about pirate life and culture, one can deduce there would never really have been one language that pirates spoke. This is because piracy has been practiced for hundreds and hundreds of years by seafaring peoples from all over the world, and they didn't exactly band together into one group. Pirates would have spoken languages from the Mediterranean, Scandinavia, the Middle East, Eastern Europe, India, East Asia, the rest of Europe, North Africa and North America. During what we think of is the ‘Golden Age’ of piracy from the 1600's to the 1800's, pirates from different parts of the world would have developed ways to communicate - just not as one consistent pidgin or creole. There is some discussion in which it was suggested that modern "piratespeak" could be attributed to Robert Newton in the 1950 movie of Treasure Island. Incidentally, he was from the southwest of England, as are the pirates in The Pirates of Penzance, also a possible modern day popular source. So it's fairly plausible that modern "piratespeak" is based on the alleged "Maritime Pidgin English" spoken by pirates who hailed from that part of the United Kingdom. Meanwhile, pirates from everywhere else in the world would have been busy developing their own pidgins based on where they were from, who they traded with, who they raided, and who they took as slaves or hostages. -
Contemporary Productions of Gilbert & Sullivan's the Pirates of Penzance
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2007 Food For Joyous Laughter: Contemporary Productions Of Gilbert & Sullivan's The Pirates Of Penzance Julia Winstead 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 Winstead, Julia, "Food For Joyous Laughter: Contemporary Productions Of Gilbert & Sullivan's The Pirates Of Penzance" (2007). Electronic Theses and Dissertations, 2004-2019. 3414. https://stars.library.ucf.edu/etd/3414 FOOD FOR JOYOUS LAUGHTER: CONTEMPORARY PRODUCTIONS OF GILBERT & SULLIVAN’S THE PIRATES OF PENZANCE. by JULIA COURTNEY WINSTEAD B.A. Murray State University, 2004 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 & Humanities at the University of Central Florida Orlando, Florida Summer Term 2007 ABSTRACT The operetta, The Pirates of Penzance, is a classic work by Gilbert and Sullivan, a work that continues to be produced frequently despite its Victorian setting and operatic style. For many years the standard performance style of all the operettas by Gilbert and Sullivan was upheld by the D‟Oyly Carte Opera Company, who attempted to perform the operettas as they had originally been done.