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cTlif g'nliimltiis Dl5|inlth Fritfay, April 30, 1993 Otterbein makes ‘Big River’ better than it is By Michael Grossberg The acting is superb. So is tlie lioiiK! tube “civilized.” Dispdich Thcaicr Critic singing (guided by vocal director Riciardson and Moore’s stir THEATER REVIEW Craig Johnson), the lively pit orches ring durts (Mnddy Water, River in Big Riwr falls short of the ait- tra (conducted by music director the Ra'ni and especially Worlds istry and depOi of Into Vie WooiL% Big River, Otterbein College's stii- David DeVenney), Rob John.son’s AjKiii) rellect their grawing lioiids Sweeney Todd, Evita, A Chorm ilent production of the musical picturesque scenic design, Katie of tinst ind friendship. Line and Man of La Mancha — all adaptation of I luck Finn's adven Robbins’ rags-io-nouvean riche- The show’s underlying spiritual first-i’ank Broadway musicals that tures. Directed by John Stefano. style 19th-century costumes and ity is caiveyed with grice and long- have received first-class I’evivals at Jim............................Ron Richardson lighting designer Fred Thayer’s biu'- suffering strength by the black OUerbein College in recent yeai-s. I luck Finn.....................Corey Moore slaves ii Cmssing Over and by iH- ;• Yet, Otterbein’s rousing produc nished sunsets, hazy sunrises and King...............................Keith Weirich ice’s Duighter (’Tonya Watson) in tion of Bitj River, which opened last (h'amatic atmosjiheric effects. Duke................................ Todtl Crain night at Westeiwille’s Cowan Hall, is The cast’s soaidng baritones, the gosjel-style How Blest We Air.. Mark'Twain..............Daryl Toziipone I iwlished and professional that one plmigent tenois and lilting sopranos Hov ble.ssed indeed is Otterbein Tom Sawyer......................losh Gildrie ('iisily overlooks tlie show’s folksy, make Miller’s catchall coimti^-west- to have such a strong supporting- Pap Finn.......................Nick Koeslers fiimiiy-oiiented vulgaiizations. -
American Spiritual Program Spring 2009
American Spiritual Ensemble Sunday, February 22, 2009 • 4 p.m. Asbury United Methodist Church Comprised of some of the finest voices in the world, the internationally acclaimed ensemble offers stirring renditions of Negro spirituals, Broadway songs and other music in the African-American tradition. The concert is sponsored by Asbury United Methodist Church; the Peter and Judy Jackson Music Performance Fund; Salisbury University’s Department of Music, Office of the Dean of the Charles R. and Martha N. Fulton School of Liberal Arts and Office of Multicultural Student Services; the SU Foundation, Inc.; and is made possible, in part, by a grant from the Salisbury Wicomico Arts Council, awarded by the Maryland State Arts Council and the National Endowment for the Arts. AMERICAN SPIRITUAL ENSEMBLE EVERETT MCCORVEY , F OUNDER AND MUSIC DIRECTOR www.americanspiritualensemble.com PROGRAM Walk Together, Children ............................................................arr. William Henry Smith We Shall Walk Through the Valley in Peace ............................................arr. Moses Hogan Plenty Good Room ......................................................................arr. William Henry Smith Oh, What A Beautiful City! ........................................................................arr. Johnie Dean Mari-Yan Pringle, Jeryl Cunningham, Sopranos I Want Jesus to Walk With Me ....................arr. Eurydice Osterman/Tedrin Blair Lindsay Ricky Little, Baritone Fi-yer, Fi-yer Lord (from the operetta Fi-yer! )......................Hall -
Summach, the Structure, Function, and Genesis of the Prechorus
Volume 17, Number 3, October 2011 Copyright © 2011 Society for Music Theory The Structure, Function, and Genesis of the Prechorus (1) Jay Summach NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.11.17.3/mto.11.17.3.summach.php KEYWORDS: popular music, rock music, form, prechorus, sentence, srdc ABSTRACT: Prechoruses emerged in the mid-1960s as verse-chorus and strophic forms converged upon a four-part formal disposition that Everett (1999) calls “statement, restatement, departure, and conclusion,” or srdc. This study traces the expansion of the srdc scheme from its compact deployment in strophes to expanded iterations that approximate verse- chorus form. Received February 2011 [1] This article examines an episode in the evolution of verse-chorus form in pop/rock music. Until the mid-1960s, most verse-chorus songs alternated between the two formal sections from which verse-chorus form takes its name: verses and choruses. Example 1, Mark Dinning’s “Teen Angel,” illustrates the form.(2) As is typical for verse-chorus songs, the focal point of “Teen Angel” is the chorus: it contains the most engaging musical material; its unchanging lyric makes it easy to remember; and it is marked for special attention by additional vocal and instrumental parts. The verses, on the other hand, provide context: each verse advances the song narrative by presenting fresh lyrics; and the music is more modest in instrumentation and intensity so as not to steal attention from the chorus. In “Teen Angel,” the tempo is treated flexibly during the verses, which further distinguishes them from the choruses. -
Mark Twain's Huckleberry Finn As Anti Racist Novel
Journal of Literature, Languages and Linguistics www.iiste.org ISSN 2422-8435 An International Peer-reviewed Journal Vol.46, 2018 Mark Twain’s Huckleberry Finn as Anti Racist Novel Ass.Lecturer Fahmi Salim Hameed Imam Kadhim college for Islamic science university, Baghdad , Iraq "Man is the only Slave. And he is the only animal who enslaves. He has always been a slave in one form or another, and has always held other slaves in bondage under him in one way or another.” - Mark Twain Abstract Mark Twain, the American author and satirist well known for his novels Huckleberry Finn and The Adventures of Tom Sawyer , grew up in Missouri, which is a slave state and which later provided the setting for a couple of his novels. Tom Sawyer and Huck Finn are the two most well-known characters among American readers that Mark Twain created. As a matter of fact, they are the most renowned pair in all of American literature. Twain’s father worked as a judge by profession, but he also worked in slave-trade sometimes. His uncle, John Quarles, owned 20 slaves; so from quite an early age, Twain grew up witnessing the practice of slave-trade whenever he spent summer vacations at his uncle's house. Many of his readers and critics have argued on his being a racist. Some call him an “Unexcusebale racist” and some say that Twain is no where even close to being a racist. Growing up in the times of slave trade, Twain had witnessed a lot of brutality and violence towards the African slaves. -
The Inventory of the Alvin Epstein Collection #1717
The Inventory of the Alvin Epstein Collection #1717 Howard Gotlieb Archival Research Center Epstein, Alvin #1717 2/17/06 Preliminary Listing I. Professional Materials. Box 1 A. Files, re: American Repertory Theater, unless noted; may include reviews; scores; scripts; notes; correspondence; printed materials; legal materials; photographs; artwork; audio material. 1. AAlliance for the Development of Theater Arts, Inc.@ [F. 1] 2. AAmerican Repertory Theater.@ [F.1-3] 3. AAspen Musical Festival.@ [F. 4] 4. ABeckett, Samuel.@ [F. 5] 5. AContracts.@ [F. 5-6] 6. AThe Cabinet of Dr. Caligari.@ [F. 7] 7. ACaligula - Yale Repertory Theater.@ [F. 8] 8. ACarnegie Hall.@ 9. ACharlie in the House of Rue,@ includes photographs; slides. 10. AThe Cherry Orchard.@ 11. AClerambard,@ includes printed material; telegram; photographs. [F. 9] 12. AColette,@ includes printed material. [F. 10] 13. AColette Scores.@ [F. 11] 14. ACrossing Niagra,@ includes printed material; telegram. [F. 12] 15. ACrimes and Crimes.@ 16. ADear Liar.@ [F. 13] Box 2 17. ADoctor=s Dilemma.@ [F. 1] 18. ADoing Life,@ includes contract. 19. ADon Juan.@ 20. ADream of the Red Spider.@ [F. 2] 21. ADynamite Tonite,@ includes sub-files: a. AYale Repertory Theater,@ includes 2 contracts, 11/14/06. b. ANew York,@ includes contract, 2/23/67. 22. AHamlet.@ 23. AOn Ne Badine Pas Avec L=Amour (No Trifling With Love),@ includes original sketches. [F. 2-4] 24. AOpera,@ includes printed material. [F. 5] 25. ARevue Material.@ 26. ASolider=s Tale.@ [F. 6] 27. AStory Theater.@ [F. 7] 28. ASalzburg American Seminar.@ 29. ATartuffe,@ includes printed material. [F. 8] 30. ATempest,@ American Repertory Theater and Yale Repertory Epstein, Alvin (2/17/06) Theater, MS, 200 p.; includes score; photograph. -
JOSEPH SCHMIDT Musical Direction By: EMILY BENGELS Choreography By: KRISTIN SARBOUKH
Bernards Township Parks & Recreation and Trilogy Repertory present... 2021 Produced by: JAYE BARRE Directed by: JOSEPH SCHMIDT Musical Direction by: EMILY BENGELS Choreography by: KRISTIN SARBOUKH Book by THOMAS MEEHAN Music by CHARLES STROUSE Lyrics by MARTIN CHARNIN Original Broadway production directed by MARTIN CHARNIN. Based on “Little Orphan Annie.” By permission of Tribune Content Agency, LLC. ANNIE is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are supplied by MTI. www.MTIShows.com This production is dedicated to the memory of beloved Trilogy Repertory member Chris Winans who gave of his time and spirit for many years and in many performances. Chris was a valued member of our Trilogy family and will be greatly missed. Summer, 2021 Dear Residents and Friends of the Community, Good evening and welcome to the Bernards Township Department of Parks and Recreation’s 34th season of Plays in the Park. So many of you enjoy and look forward to the plays year after year. I am excited that the Township brings this tradition free to the public for all to enjoy. Bernards Township proudly sponsors this event and substantially subsidizes the budget because we recognize the importance of keeping performing arts alive. It is truly wonderful that these productions are here, under the stars, in Pleasant Valley Park. Bernards Township offers many opportunities to enjoy family outings such as Plays In The Park. You can stay current on all our special events by visiting our website at www.bernards.org. There you will find information on the wide variety of programs we offer. -
Master Class Faculty
VIRTUAL MASTER CLASS FACULTY Sunday, January 24th VOICE | THEATER | BUSINESS SKILLS NANCY ANDERSON “Advice From a Pro” *please come with a song prepared and a recorded track. Students may have the opportunity to coach their song. Nancy Anderson is a 20-year veteran singer, actor and dancer of Broadway, Off-Broadway and regional stages. Last year Anderson understudied Glenn Close in the Broadway revival of “Sunset Boulevard” followed by a Helen Hayes nominated performance as Gladys in “The Pajama Game” at Arena Stage in Washington, D.C. She made her Broadway debut as Mona in “A Class Act,” played the roles of Helen and Eileen in the Broadway revival of “Wonderful Town” and starred as Lois/Bianca in the national tour and West End premiere of Michael Blakemore’s and Kathleen Marshall’s Broadway revival of “Kiss Me Kate,” for which she received Helen Hayes and Olivier Award nominations. Great Performances audiences are familiar with her London debut as Lois/Bianca, which was filmed for PBS in 2002 as well as her featured performance in the Carnegie Hall concert of “South Pacific” starring Reba McIntyre and Brian Stokes Mitchell. Other television appearances include Madame Secretary (The Middle Way, “Alice”) and PBS’s Broadway: The American Musical as the voice of Billie Burke. Anderson is a three-time Drama Desk Award Nominee; in 2000 for best supporting actress as eight female roles in Jolson & Co., in 2006 for best leading actress in Fanny Hill and in 2017 for Best Solo Performance in the one-woman musical “The Pen.” She has thrice been nominated for the Helen Hayes Award: in addition to last year’s “The Pajama Game,” she was also nominated for her role in “Side by Side by” Sondheim at Signature Theatre in 2011. -
<I>Spring Awakening</I>
The Journal of American Drama and Theatre (JADT) https://jadtjournal.org Silence, Gesture, and Deaf Identity in Deaf West Theatre's Spring Awakening by Stephanie Lim The Journal of American Drama and Theatre Volume 33, Number 1 (Fall 2020) ISNN 2376-4236 ©2020 by Martin E. Segal Theatre Center For a woman to bear a child, she must . in her own personal way, she must . love her husband. Love him, as she can love only him. Only him . she must love—with her whole . heart. There. Now, you know everything.[1] Frau Bergman, Spring Awakening In the opening scene of Spring Awakening, Wendla begs her mother to explain where babies come from, to which her mother bemoans, “Wendla, child, you cannot imagine—.” In Deaf West Theatre’s version of the show, Frau Bergman speaks this line while bringing her pinky finger up to her head, palm outward, but Wendla quickly corrects the gesture, indicating that her mother has actually inverted the American Sign Language (ASL) for “imagine,” a word signed with palm facing inward.[2] As part of a larger dialogue that closes with the epigraph above, Bergman’s struggle to communicate about sexual intercourse in both ASL and English is one of many exchanges in which adults find themselves unable to communicate effectively with teenagers. The theme of (mis)communication is also evoked through characters’ refusal to communicate with each other at all, as in the musical number “Totally Fucked.” When Melchior’s teachers demand he confess to having authored the obscene 10-page document, “The Art of Sleeping With” (which they claim hastened the suicide of his best friend Moritz), they reject his attempts to explain. -
New Yorker May 20 1985
GOINGJ ON ABOUT TOWN A C0N5CIENT10U5 CALENDAR OF EVENT5 OF INTEREST "Smiles of a Summer Night," is the last m THE THEATRE s 'M* T • J • P • S this season's series of productions. (103rd St. PLAYS AND MUSICALS and Riverside Dr. Nightly, except Mondays, at 8. Matinees Saturdays and Sundays at Aren't We All?—A revival of a smart Mayfair 15 16 17 18 comedy of 1923, written by Frederick Lons- 2:30. Closes Sunday, June 2. For information dale. Claudette Colbert, Rex Harrison, Lynn 19 20 21 22 23 24 25 about tickets, for which contributions are Redgrave, Brenda Forbes, and George Rose requested, call 663-2028.) find no difficulty bringing it back to life. The Foreigner—A very funny play by (and with) (Reviewed in our issue of S/13/8S.) (Brooks sive Behavior," by Stuart Spencer; and Larry Shue, with good performances by every Atkinson, 256 W. 47th St. 719-4099. Tues "Between Cars," by Alan Zweibel: Wednes single member of the company, most notably days through Saturdays at 8. Matinfies day and Thursday, May 15-16, at 7:30, and by Kevin Geer as a lovable half-wit. Jerry Wednesdays and Saturdays at 2, and Sun Saturday, May 18, at 7 and 10 (previews); Zaks was the admirable director. (11/19/84) days at 3.) Monday, May 20, at 7:30 (opening); and (Astor Place Theatre. 434 Lafayette St., near As Is—^This touching play by William M. Thursday, May 23, at 7:30. ... <51 "Life Astor PI. 254-4370. Tuesdays through Fri Hoffman concerns a personable young homo- Under Water," by Richard Greenberg; "Mar- days at 8; Saturdays at 7 and 10; and Sun se.xual who is afflicted with AIDS, and is also iens Kammer," by Roger Hedden; "The Frog days at 7. -
Musical! Theatre!
Premier Sponsors: Sound Designer Video Producer Costume Coordinator Lance Perl Chrissy Guest Megan Rutherford Production Stage Manager Assistant Stage Manager Stage Management Apprentice Mackenzie Trowbridge* Kat Taylor Lyndsey Connolly Production Manager Dramaturg Assistant Director Adam Zonder Hollyann Bucci Jacob Ettkin Musical Director Daniel M. Lincoln Directors Gerry McIntyre+ & Michael Barakiva+ We wish to express our gratitude to the Performers’ Unions: ACTORS’ EQUITY ASSOCIATION AMERICAN GUILD OF MUSICAL ARTISTS AMERICAN GUILD OF VARIETY ARTISTS SAG-AFTRA through Theatre Authority, Inc. for their cooperation in permitting the Artists to appear on this program. * Member of the Actor's Equity Association, the Union of Professional Actors and Stage Managers in the United States. + ALEXA CEPEDA is delighted to be back at The KRIS COLEMAN* is thrilled to return to the Hangar. Hangar! Select credits: Mamma Mia (CFRT), A Broadway Credit: Jersey Boys (Barry Belson) Chorus Line (RTP), In The Heights (The Hangar Regional Credit: Passing Strange (Narrator), Jersey Theatre), The Fantasticks (Skinner Boys - Las Vegas (Barry Belson), Chicago (Hangar Barn), Cabaret (The Long Center), Anna in the Theatre, Billy Flynn), Dreamgirls (Jimmy Early), Sister Tropics (Richard M Clark Theatre). She is the Act (TJ), Once on This Island (Agwe), A Midsummer founder & host of Broadway Treats, an annual Nights Dream (Oberon) and Big River (Jim). benefit concert organized to raise funds for Television and film credits include: The Big House Animal Lighthouse Rescue (coming up! 9/20/20), and is (ABC), Dumbbomb Affair, and The Clone. "As we find ourselves currently working on her two-person musical Room 123. working through a global pandemic and race for equality, work Proud Ithaca College BFA alum! "Gracias a mamacita y papi." like this shows the value and appreciation for all. -
Student Guide Table of Contents
GOODSPEED MUSICALS STUDENT GUIDE TABLE OF CONTENTS APRIL 13 - JUNE 21, 2018 THE GOODSPEED Production History.................................................................................................................................................................................3 Synopsis.......................................................................................................................................................................................................4 Characters......................................................................................................................................................................................................5 Meet the Writers.....................................................................................................................................................................................6 Meet the Creative Team........................................................................................................................................................................8 Presents for Mrs. Rogers......................................................................................................................................................................9 Will Rogers..............................................................................................................................................................................................11 Wiley Post, Aviation Marvel..............................................................................................................................................................16 -
American Spiritual Program Fall 2009
Saturday, September 26, 2009 • 7:30 p.m. Asbury United Methodist Church • 1401 Camden Avenue, Salisbury Comprised of some of the finest voices in the world, the internationally acclaimed ensemble offers stirring renditions of Negro spirituals, Broadway songs and other music influenced by the spiritual. This concert is sponsored by The Peter and Judy Jackson Music Performance Fund;SU President Janet Dudley-Eshbach; Provost and Senior Vice President of Academic Affairs Diane Allen; Dean Maarten Pereboom, Charles R. and Martha N. Fulton School of Liberal Arts; Dean Dennis Pataniczek, Samuel W. and Marilyn C. Seidel School of Education and Professional Studies; the SU Foundation, Inc.; and the Salisbury Wicomico Arts Council. THE AMERICAN SPIRITUAL ENSEMBLE EVERETT MCCORVEY , F OUNDER AND MUSIC DIRECTOR www.americanspiritualensemble.com PROGRAM THE SPIRITUAL Walk Together, Children ..........................................................................................arr. William Henry Smith Jacob’s Ladder ..........................................................................................................arr. Harry Robert Wilson Angelique Clay, Soprano Soloist Plenty Good Room ..................................................................................................arr. William Henry Smith Go Down, Moses ............................................................................................................arr. Harry T. Burleigh Frederick Jackson, Bass-Baritone Is There Anybody Here? ....................................................................................................arr.