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Shrek the Musical Study Guide
The contents of this study guide are based on the National Educational Technology Standards for Teachers. Navigational Tools within this Study Guide Backward Forward Return to the Table of Contents Many pages contain a variety of external video links designed to enhance the content and the lessons. To view, click on the Magic Mirror. 2 SYNOPSIS USING THE LESSONS RESOURCES AND CREDITS TABLE OF CONTENTS Section 1 BEHIND THE SCENES – The Making of Shrek The Musical Section 2 LET YOUR FREAK FLAG FLY Section 2 Lessons Section 3 THE PRINCE AND THE POWER Section 3 Lessons Section 4 A FAIRY TALE FOR A NEW GENERATION Section 4 Lessons Section 5 IT ENDS HERE! - THE POWER OF PROTEST Section 5 Lessons 3 Act I Once Upon A Time. .there was a little ogre named Shrek whose parents sat him down to tell him what all little ogres are lovingly told on their seventh birthday – go away, and don’t come back. That’s right, all ogres are destined to live lonely, miserable lives being chased by torch-wielding mobs who want to kill them. So the young Shrek set off, and eventually found a patch of swampland far away from the world that despised him. Many years pass, and the little ogre grows into a very big ogre, who has learned to love the solitude and privacy of his wonderfully stinky swamp (Big Bright Beautiful World.) Unfortunately, Shrek’s quiet little life is turned upside down when a pack of distraught Fairy Tale Creatures are dumped on his precious land. Pinocchio and his ragtag crew of pigs, witches and bears, lament their sorry fate, and explain that they’ve been banished from the Kingdom of Duloc by the evil Lord Farquaad for being freakishly different from everyone else (Story Of My Life.) Left with no choice, the grumpy ogre sets off left to right Jacob Ming-Trent to give that egotistical zealot a piece of his mind, and to Adam Riegler hopefully get his swamp back, exactly as it was. -
Me Jane Tour Playbill-Final
The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN, Chairman DEBORAH F. RUTTER, President Kennedy Center Theater for Young Audiences on Tour presents A Kennedy Center Commission Based on the book Me…Jane by Patrick McDonnell Adapted and Written by Patrick McDonnell, Andy Mitton, and Aaron Posner Music and Lyrics by Andy Mitton Co-Arranged by William Yanesh Choreographed by Christopher D’Amboise Music Direction by William Yanesh Directed by Aaron Posner With Shinah Brashears, Liz Filios, Phoebe Gonzalez, Harrison Smith, and Michael Mainwaring Scenic Designer Lighting Designer Costume Designer Projection Designer Paige Hathaway Andrew Cissna Helen Q Huang Olivia Sebesky Sound Designer Properties Artisan Dramaturg Casting Director Justin Schmitz Kasey Hendricks Erin Weaver Michelle Kozlak Executive Producer General Manager Executive Producer Mario Rossero Harry Poster David Kilpatrick Bank of America is the Presenting Sponsor of Performances for Young Audiences. Additional support for Performances for Young Audiences is provided by the A. James & Alice B. Clark Foundation; The Morris and Gwendolyn Cafritz Foundation; Paul M. Angell Family Foundation; Anne and Chris Reyes; and the U.S. Department of Education. Funding for Access and Accommodation Programs at the Kennedy Center is provided by the U.S. Department of Education. Major support for educational programs at the Kennedy Center is provided by David M. Rubenstein through the Rubenstein Arts Access Program. The contents of this document do not necessarily represent the policy of the U.S. Department of Education, and you should not assume endorsement by the Federal Government. " Patrons are requested to turn off cell phones and other electronic devices during performances. -
Recommended Talking Points
RECOMMENDED TALKING POINTS “What is SHREK THE MUSICAL?” The official title of the show is SHREK THE MUSICAL. SHREK THE MUSICAL is an entirely new musical based on the story and characters from William Steig’s book Shrek!, as well as the Oscar® winning DreamWorks Animation film Shrek, the first chapter of the Shrek movie series. SHREK THE MUSICAL looks backwards at all the fairy tale traditions we grew up on: a hero (a big, green, ill-tempered ogre), a beautiful princess (who is not all she appears to be), and a dastardly villain (with some obvious shortcomings) and takes great fun turning all their storytelling conventions upside-down and inside-out (and on their ear). “How did the musical come about?” Sam Mendes, the British director and producer, was a big fan of the first film, and he suggested the idea of creating a musical to DreamWorks’ Jeffrey Katzenberg, around the time the second film was in production. Now, the musical is being produced by DreamWorks Theatricals (Bill Damaschke, President) and Neal Street Productions, Ltd (principals Sam Mendes and Caro Newling). “How does the new musical fit into the Shrek pantheon?” The story of the musical follows the events and characters of the first Shrek feature film, which won the first-ever Academy Award® for Best Animated Feature. In SHREK THE MUSICAL, the creative team will go deeper into the background and story of Shrek, Princess Fiona, Donkey and the lovable collection of everyone’s favorite Fairy-Tale characters. SHREK THE MUSICAL will feature a completely original score by one the theatre’s most eclectic composers, Jeanine Tesori, working in theatre today. -
At Play Fall-Winter 03.Qxd
representing the american theatre by publishing and licensing the works of new and established playwrights JacquesBrelisAliveandWell Polly Pen on Writing Musicals Cowgirls’ Mary Murfitt Issue 9, Fall/Winter 2003 MUSICALS INTERVIEW WITH A BAT BOY Director of Professional Rights Robert Vaughan and Director of Publications Michael Fellmeth met with Bat Boy in the Palm Court of the Plaza Hotel in Manhattan to talk about growing up in a cave in Hope Falls, West Virginia, Bat Boy: The Musical, and his rise to global celebrity as the lead in a hit show about his own life. The pointy- eared, fanged star arrived with an entourage of bodyguards, personal assistants, agent, lawyer and publi- cist. Bat Boy, immaculately clad in Savile Row, seemed only vaguely aware of their presence. He greeted us warmly, sat down, lit a miniature cigar and ordered a bloody mary. continued on next page FELLMETH. Let me begin by saying how taken I EDGAR. Ahhh, Jenna. Jenna the Menace, that lips” motion.) Perhaps we’d best not discuss Dr. am with your voice, Bat Boy. Did you have any was my pet name for her. She was such a terror. Parker. That is a difficult subject for me. formal training? The media had it all wrong, though. It was she FELLMETH. Understandably so. A father who BAT BOY. Please don’t call me Bat Boy. My name who took to following me. After I finally got a abandoned you in infancy to be raised by bats is Edgar. restraining order she went on that binge in Texas and then — as if that weren’t enough — tried to FELLMETH. -
Broadway Guest Artists & High-Profile Key Note Speakers
Broadway Guest Artists & High-Profile Key Note Speakers George Hamilton, Broadway and Film Actor, Broadway Actresses Charlotte D’Amboise & Jasmine Guy speaks at a Chicago Day on Broadway speak at a Chicago Day on Broadway Fashion Designer, Tommy Hilfiger, speaks at a Career Day on Broadway AMY WEINSTEIN PRESIDENT, CEO AND FOUNDER OF STUDENTSLIVE Amy Weinstein has been developing, creating, marketing and producing education programs in partnership with some of the finest Broadway Artists and Creative teams since 1998. A leader and pioneer in curriculum based standards and exciting and educational custom designed workshops and presentations, she has been recognized as a cutting edge and highly effective creative presence within public and private schools nationwide. She has been dedicated to arts and education for the past twenty years. Graduating from New York University with a degree in theater and communication, she began her work early on as a theatrical talent agent and casting director in Hollywood. Due to her expertise and comprehensive focus on education, she was asked to teach acting to at-risk teenagers with Jean Stapleton's foundation, The Academy of Performing and Visual Arts in East Los Angeles. Out of her work with these artistically talented and gifted young people, she co-wrote and directed a musical play entitled Second Chance, which toured as an Equity TYA contract to over 350,000 students in California and surrounding states. National mental health experts recognized the play as an inspirational arts model for crisis intervention, and interpersonal issues amongst teenagers at risk throughout the country. WGBH/PBS was so impressed with the play they commissioned it for adaptation to teleplay in 1996. -
“The Secret Silk” with Stephen Schwartz and John Tartaglia Onboard Royal Princess
Princess Cruises Celebrates The Premiere Of “The Secret Silk” With Stephen Schwartz and John Tartaglia Onboard Royal Princess March 1, 2018 FORT LAUDERDALE, Fla. (March 1, 2018) – Princess Cruises celebrated the premiere of "The Secret Silk," the newest offering from it's first-of-its-kind partnership with Stephen Schwartz, the Oscar-, Grammy- and Tony Award-winning composer of "Wicked," "Godspell," and "Pippin." Joining Schwartz aboard Royal Princess for the premiere was the Tony Award nominated director/creator John Tartaglia ("Avenue Q," "Shrek"). The Secret Silk is a story of an Asian folkloric tale with a contemporary spin, featuring inspired performances through the use of music, dance, puppetry and special effects. Adapted from the ancient fable "The Grateful Crane," the story features Lan, a beautiful, selfless young woman who possesses a magical gift, secretly creating brilliant silk fabrics. Audiences will be introduced to original life-size puppetry from Jim Henson's Creature Shop, and an original song, "Sing to the Sky," both created exclusively for the production. Overseeing the creative development of four entertainment shows for Princess Cruises, Schwartz brings together an illustrious team of Broadway talent to support the productions through direction and design. "The Secret Silk" is created and directed by Tartaglia and in addition to Royal Princess, will be rolled out on Island Princess for the 2018 summer Alaska season, and Diamond Princess in winter 2018, sailing year-round Japan. Additional creative team talent includes choreography by Shannon Lewis ("Fosse"), scenic design by Tony Award nominee Anna Louizos ("School of Rock"), costumes by Tony Award winner Clint Ramos ("Eclipsed"), and music direction from Brad Ellis ("Glee"). -
Baptist Church in Nursing - Education (BSN to MSN); and Valecia Baldwin, Girls Do Not Always Have the Get the Shovel and Conduct My Sumter
Woods in the hunt at 2 under B1 SERVING SOUTH CAROLINA SINCE OCTOBER 15, 1894 FRIDAY, APRIL 12, 2019 75 CENTS Sumter Police arrest 6 in drug-related sting A2 School district waiting on state for next move Financial recovery plan had $6.6M in budget cuts, but state board turned it down BY BRUCE MILLS enue levels. Because the state board de- its intention is to achieve necessary per- mean the state can take over the entire [email protected] nied the district’s appeal of state Super- sonnel cuts through attrition and re- district or take board members off their intendent of Education Molly Spear- structuring. seats, but it does allow them to lead the Though it will change because Sum- man’s fiscal emergency declaration in “I don’t know where the plan stands district financially. ter School District’s appeal of its state- Sumter, the state will recommend now, since we lost the appeal,” Miller In an email to all district employees declared fiscal emergency was denied changes to the plan and budget. said. “I’m waiting to hear from the state late Wednesday afternoon, Interim Su- Tuesday, the financial recovery plan District Chief Financial Officer Jenni- Department. I am not allowed to move perintendent Debbie Hamm also said presented at the hearing showed about fer Miller said Thursday that she and forward with anything, and we’re on administration is waiting on guidance $6.6 million in budget cuts.The cuts pre- administration are on hold now, waiting hold until the state Department con- from the state Department and doesn’t sented before the state Board of Educa- on those recommendations from the tacts us because they are technically in want to cut personnel. -
The 35Th Annual Daytime Entertainment Emmy Award
THE NATIONAL ACADEMY OF TELEVISION ARTS & SCIENCES ANNOUNCES 35th ANNUAL DAYTIME ENTERTAINMENT EMMY ® AWARD NOMINATIONS Daytime Emmy Awards To Be Telecast June 20, 2008 On ABC at 8:00 p.m. (ET) Live from Hollywood’s’ Kodak Theatre Regis Philbin to Receive Lifetime Achievement Award New York – April 30, 2008 – The National Academy of Television Arts & Sciences today announced the nominees for the 35th Annual Daytime Entertainment Emmy ® Awards. The announcement was made live on ABC’s “The View”, hosted by Whoopi Goldberg, Joy Behar, Elisabeth Hasselbeck, and Sherri Shepherd. The nominations were presented by “All My Children” stars Rebecca Budig (Greenlee Smythe) and Cameron Mathison (Ryan Lavery), Farah Fath (Gigi Morasco) and John-Paul Lavoisier (Rex Balsam) of “One Life to Live,” Marcy Rylan (Lizzie Spaulding) from “Guiding Light” and Van Hansis (Luke Snyder) of “As the World Turns” and Bryan Dattilo (Lucas Horton) and Alison Sweeney (Sami DiMera) from “Days of our Lives.” Nominations were announced in the following categories: Outstanding Drama Series; Outstanding Lead Actor/Actress in a Drama Series; Outstanding Supporting Actor/Actress in a Drama Series; Outstanding Younger Actor/Actress in a Drama Series; Outstanding Talk Show – Informative; Outstanding Talk Show - Entertainment; and Outstanding Talk Show Host. As previously announced, this year’s Lifetime Achievement Award will be presented to Regis Philbin, host of “Live with Regis and Kelly.” Since Philbin first stepped in front of the camera more than 40 years ago, he has ambitiously tackled talk shows, game shows and almost anything else television could offer. Early on, Philbin took “A.M. Los Angeles” from the bottom of the ratings to number one through his 7 year tenure and was nationally known as Joey Bishop’s sidekick on “The Joey Bishop Show.” In 1983, he created “The Morning Show” for WABC in his native Manhattan. -
Lighting Designer
Main- stage Richard Hopkins, Producing Artistic Director Rita Rehn and Jo Twiss. Photo by Matthew Holler. Sponsored in part by the State of Florida, Department of State, Division of Cultural Affairs and the Florida Council on Arts and Culture. THE ROOMMATE by Jen Silverman CAST (in order of appearance) Sharon...........................Jo Twiss* Robyn............................Rita Rehn* Scenic & Costume Designer Lex Liang Lighting Designer Mike Wood Assistant Lighting Designer Ryan Finzelber Stage Manager Roy Johns* Director Gavin Cameron-Webb Season Underwriters Georgia Court, Dennis & Graci McGillicuddy, Anne Nethercott Setting: Iowa City Time: Present - Late Summer/Early Fall Special Thanks: Terry Layman The Roommate will be presented in two acts with a fifteen minute intermission. World premiere in the 2015 Humana Festival of New American Plays at ACTORS THEATRE OF LOUISVILLE. The Roommate is produced by special arrangement with United Talent Agency. The videotaping or other video or audio recording of this production is strictly prohibited. * Denotes member Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. ARTIST PROFILES JO TWISS (Sharon) This Purchase. He has directed new plays and old is Jo’s FST debut. She has plays, American classics like The Glass Menag- performed extensively in erie, English classics like Man and Superman, regional theaters through- French classics like The Imaginary Invalid, and out the country and many even German classics such as Love and Intrigue. years in NYC with the And a lot of Shakespeare, including Hamlet and world renowned Circle Rep I Hate Hamlet. Currently he makes his home in Theatre Company, and on Broadway in Cat on Irvine, CA with his wife, Jane Page, [FST: Rabbit a Hot Tin Roof. -
National Endowment for the Arts Annual Report 1989
National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1989. Respectfully, John E. Frohnmayer Chairman The President The White House Washington, D.C. July 1990 Contents CHAIRMAN’S STATEMENT ............................iv THE AGENCY AND ITS FUNCTIONS ..............xxvii THE NATIONAL COUNCIL ON THE ARTS .......xxviii PROGRAMS ............................................... 1 Dance ........................................................2 Design Arts ................................................20 . Expansion Arts .............................................30 . Folk Arts ....................................................48 Inter-Arts ...................................................58 Literature ...................................................74 Media Arts: Film/Radio/Television ......................86 .... Museum.................................................... 100 Music ......................................................124 Opera-Musical Theater .....................................160 Theater ..................................................... 172 Visual Arts .................................................186 OFFICE FOR PUBLIC PARTNERSHIP ...............203 . Arts in Education ..........................................204 Local Programs ............................................212 States Program .............................................216 -
MEMPHIS' Comes to the Big Screen for Four Showings Only
March 17, 2011 Broadway's 2010 Tony® Winner ‘MEMPHIS' Comes to the Big Screen for Four Showings Only NCM Fathom and Broadway Worldwide Present Exclusive Broadway Musical Event This Spring in More than 530 Movie Theaters CENTENNIAL, Colo.--(BUSINESS WIRE)-- MEMPHIS, Broadway's current Tony Award®-winning Best Musical, is hitting big screens nationwide for an exclusive four-night run on Thursday, April 28; Saturday, April 30; and Tuesday, May 3 at 7:30 p.m., with a special matinee on Sunday, May 1 at 12:30 p.m. (all times are local). This is the first time the current Tony Award®- winning Best Musical will be presented in movie theaters while concurrently running on Broadway. In addition to the electrifying musical, audiences will be treated to an exclusive behind-the-scenes look at the musical that won four 2010 Tony Awards® and continues to play to sold-out houses on Broadway. MEMPHIS was captured live in performance with the original Broadway cast for this special Fathom event presentation. Tickets for MEMPHIS are available at participating theater box offices and online at www.FathomEvents.com. For a complete list of theater locations, prices and additional information — including cast photos and other details —visit the NCM Fathom website (theaters and participants are subject to change). Presented by NCM Fathom and Broadway Worldwide, MEMPHIS was captured live in performance at Broadway's renowned Shubert Theatre in New York City, and will be broadcast to more than 530 movie theaters nationwide through NCM's exclusive Digital Broadcast Network. Broadway Worldwide's production team is led by founder and executive producer Bruce Brandwen, Emmy Award®-winning director Don Roy King (Saturday Night Live, CBS' The Early Show, Survivor) and Grammy® and Emmy Award®-winning sound producer Matt Kaplowitz (Ghandi, PBS' To Bear Witness). -
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.