The Decemberists 2 Små Grodorna Tarmvred 3 Cell Block Tango
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Song Artist Or Soundtrack Language Tightrope Janelle Monae English
Song Artist or Soundtrack Language Tightrope Janelle Monae English Come Alive [War of the Roses] Janelle Monae English Why this kolaveri di Dhanush Urdu Ghoom tana Janoon Urdu Count your blessings Nas & Damian Jr English America K'naan Somali/ English Mahli Souad Massi Arabic (Tunisian) Helwa ya baladi Dalida Arabic (Egyptian) Stop for a Minute K'naan English Miracle Worker SuperHeavy English Crazy Gnarls Barkley English 1977 Ana Tijoux Spanish (Chilean) Nos Hala Asalah Arabic Don't Let Me Be Misunderstood Santa Esmeralda / Kill Bill Vol. 1 Original Soundtrack Never Can Say Goodbye Jackson Five English My Doorbell The White Stripes English Peepli Live Various Artists, Indian Ocean Hindi or Urdu Forget You Camilla and the Chickens, The Muppets Soundtrack Chicken?? Ring of Fire Johnny Cash English I Was Born on the Day Before Yesterday The Wiz English Y'All Got It The Wiz English Everything Michael Buble English I'm Yours Jason Mraz English Something's Gotta Hold on Me Etta James English Somebody to Love Queen English Al Bosta Fairouz Arabic (Lebanese) Kifak Inta Fairouz Arabic (Lebanese) Etfarag ala najsak Asala Nasri Arabic (Egyptian) Make it bun dem Skrillex, Damian English Statesboro Blues Taj Mahal English Albaniz: Zambra-Capricho, Cordoba, Zor David Russell Spanish classical Volver Estrella Morente from Volver: Musica de la Pelicula Spanish Solo le pido a Dios Leon Gieco Spanish Mambo Italiano Rosemary Clooney English / Italian Botch-A-Me (Baciani Piccina) Rosemary Clooney English / Italian Satyameva Jayathe SuperHeavy English / ? -
A Documentation of the Choreography Process for Chicago
A DOCUMENTATION OF THE CHOREOGRAPHY PROCESS FOR CHICAGO A Thesis Presented to The Faculty of the Caudill College of Humanities Morehead State University In Partial Fulfillment of the Requirements for the Degree Masters of Arts by Summer F. Copley December, 2007 Accepted by the facu lty of the Caudil l College of Humanities, Morehead State University, in partial fulfi llment of the requirements for the Masters of Arts degree. Director of Thesis Master's Committee: a/l.)_#1tJ /IJ~ , Chair ~k;;:_;JIM ~~ Date A DOCUMENTATION OF T HE CHOREOGRAPHY PROCESS FOR CHICAGO Summer F. Copley, M.A. Morehead State University, 2007 Director o f Thesis:_.....a'-"--+-RJrif1........._____...J'-¥-1/A,.<....-..<-.JJllJ...,__~_j).____ _ The choreography process for the Morehead State University's Communication and Theatre's production of Chicago, in the Spring Semester of 2007, posed several chall enges. The first challenge of the choreography was casting the show. The li mited number of actors who could both si ng and dance meant a compromise had to be made between the choreographer and musical director. Faced with only having five trained dancers in the final cast, I not only had to choreograph the dances, but teach the cast how to dance as well. There was also the challenge of stayi ng true to my origi nal concepts of each musical number, while at the same time choreographing to the director's vision and concept. The final challenge was time. I was constantly aware of the fact that I had over ten musical numbers and only fo ur weeks complete the task. -
Chicago: a Movie Musical Mockery of the Media's Razzle Dazzle Image of Murder
Salve Regina University Digital Commons @ Salve Regina Pell Scholars and Senior Theses Salve's Dissertations and Theses Summer 8-2012 Chicago: A Movie Musical Mockery of the Media's Razzle Dazzle Image of Murder. Emily Sulock Salve Regina University, [email protected] Follow this and additional works at: https://digitalcommons.salve.edu/pell_theses Part of the American Film Studies Commons, American Popular Culture Commons, and the Film and Media Studies Commons Sulock, Emily, "Chicago: A Movie Musical Mockery of the Media's Razzle Dazzle Image of Murder." (2012). Pell Scholars and Senior Theses. 83. https://digitalcommons.salve.edu/pell_theses/83 This Article is brought to you for free and open access by the Salve's Dissertations and Theses at Digital Commons @ Salve Regina. It has been accepted for inclusion in Pell Scholars and Senior Theses by an authorized administrator of Digital Commons @ Salve Regina. For more information, please contact [email protected]. Chicago : A Movie Musical Mockery of the Media’s Razzle Dazzle Image of Murder Emily Sulock Sulock 2 Introduction Almost a decade has passed since Rob Marshall’s 2002 movie musical, Chicago , took home the Academy Award for Best Picture. For a movie musical this was a huge success considering that a musical had not won this category since 1969. The film dominated the 2003 Academy Awards as it was nominated for twelve categories, overall winning six. No one had expected the film to do so well since it was three decades in the making after Bob Fosse’s original release of the Broadway musical in 1976. -
Law, Justice, and All That Jazz: an Analysis of Law's Reach Into Musical Theater
University of New Hampshire University of New Hampshire Scholars' Repository Master's Theses and Capstones Student Scholarship Fall 2015 Law, Justice, and All that Jazz: An Analysis of Law's Reach into Musical Theater Amy Oldenquist University of New Hampshire, Durham Follow this and additional works at: https://scholars.unh.edu/thesis Recommended Citation Oldenquist, Amy, "Law, Justice, and All that Jazz: An Analysis of Law's Reach into Musical Theater" (2015). Master's Theses and Capstones. 914. https://scholars.unh.edu/thesis/914 This Thesis is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Master's Theses and Capstones by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. LAW, JUSTICE, AND ALL THAT JAZZ: AN ANALYSIS OF LAW’S REACH INTO MUSICAL THEATER BY AMY L. OLDENQUIST BA Psychology & Justice Studies, University of New Hampshire, 2014 THESIS Submitted to the University of New Hampshire in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Justice Studies September, 2015 This thesis has been examined and approved. Thesis Co-Chair, Katherine R. Abbott, Lecturer in Sociology and Justice Studies Thesis Co-Chair, Ellen S. Cohn, Professor of Psychology and Coordinator of the Justice Studies Program John R. Berst, Assistant Professor of Theater and Dance (musical theater) September, 2015 Original approval signatures are on file with the University of New Hampshire Graduate School. DEDICATION I would like to dedicate this thesis to my family, my mother Jean and my brother Billy who have stood by me and encouraged me to keep going through thick and thin. -
A Comparative Analysis of Directing
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2009 A COMPARATIVE ANALYSIS OF DIRECTING & CHOREOGRAPHING MUSICAL PRODUCTIONS FOR PROFESSIONAL, ACADEMIC AND COMMUNITY THEATRES Alison Angelone Virginia Commonwealth University Follow this and additional works at: http://scholarscompass.vcu.edu/etd Part of the Theatre and Performance Studies Commons © The Author Downloaded from http://scholarscompass.vcu.edu/etd/1767 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. School of the Arts Virginia Commonwealth University This is to certify that the thesis prepared by Alison Angelone entitled, A COMPARITIVE ANALYSIS OF DIRECTING & CHOREOGRAPHING MUSICAL PRODUCTIONS FOR PROFESSIONAL, ACADEMIC AND COMMUNITY THEATRES has been approved by her committee as satisfactory completion of the thesis requirement for the degree of Master of Fine Arts Patti D’Beck, Thesis Director, Assistant Professor of Theatre David S. Leong, Chair, Department of Theatre Dr. Aaron D. Anderson, Associate Professor of Theatre Dr. Noreen C. Barnes, Director of Graduate Studies David S. Leong, Chair, Department of Theatre Richard Toscan, Dean, School of the Arts Dr. F. Douglas Boudinot, Dean of the Graduate School May 4, 2009 © Alison Angelone 2009 All Rights Reserved A COMPARITIVE ANALYSIS OF DIRECTING -
Chicago Full Script 2019 FINAL
A Musical Vaudeville Book by Fred Ebb and Bob Fosse Music by John Kander Lyrics by Fred Ebb ACT ONE SCENE 1 Chicago, Illinois Nightclub Cabaret, 1926 Master of Ceremonies: Ladies and Gentlemen, you are about to see a story of greed, corruption, violence, exploitation, adultery, and treachery…all those things we hold near and dear to our hearts. Thank you…and welcome. Song #1 Overture (trumpet intro) MC: 5, 6, 7, 8… (Lights up on the action! Dance sequences.) Song #2 All That Jazz Velma: COME ON BABE WHY DON’T WE PAINT THE TOWN AND ALL THAT JAZZ! I’M GONNA ROUGE MY KNEES AND ROLL MY STOCKINGS DOWN. AND ALL THAT JAZZ! START THE CAR, I KNOW A WHOOPEE SPOT WHERE THE GIN IS COLD AND THE PIANO HOT, IT’S JUST A NOISY HALL WHERE THERE’S A NIGHTLY BRAWL, AND ALL THAT JAZZ. SLICK YOUR HAIR AND WEAR YOUR BUCKLE SHOES, AND ALL THAT JAZZ! I HEAR THAT FATHER DIP IS GONNA BLOW THE BLUES… AND ALL THAT JAZZ! HOLD ON HON, WE’RE GONNA BUNNY HUG, I BOUGHT SOME ASPIRIN DOWN AT UNITED DRUG, IN CASE WE SHAKE APART AND WANT A BRAND NEW START TO DO THAT… All: Jazz! Bernie, Wilbur, Alvin, Ezekial: Skiddoo… Velma, Veronica: And all that jazz! Lulu: Hotcha! Liz, Annie, June, Mona, Katalin: Whoopee! Velma: And all that jazz. All: Hah! Hah! Hah! Velma, Veronica: It’s just a noisy hall where there’s a nightly brawl, And all that jazz. During the song, Fred and Roxie leave the club. -
VCE Dance – Sample Written Examination
Victorian Certificate of Education SUPERVISOR TO ATTACH PROCESSING LABEL HERE Year Letter STUDENT NUMBER DANCE Written examination Day Date Reading time: *.** to *.** (15 minutes) Writing time: *.** to *.** (1 hour 30 minutes) QUESTION AND ANSWER BOOK Structure of book Number of Number of questions Number of questions to be answered marks SAMPLE6 6 80 • Students are permitted to bring into the examination room: pens, pencils, highlighters, erasers, sharpeners and rulers. • Students are NOT permitted to bring into the examination room: blank sheets of paper and/or correction fluid/tape. • No calculator is allowed in this examination. Materials supplied • Question and answer book of 16 pages • Additional space is available at the end of the book if you need extra paper to complete an answer. Instructions • Write your student number in the space provided above on this page. • All written responses must be in English. Students are NOT permitted to bring mobile phones and/or any other unauthorised electronic devices into the examination room. © VICTORIAN CURRICULUM AND ASSESSMENT AUTHORITY 2019 Version 2 – July 2019 DANCE (SAMPLE) 2 Version 2 – July 2019 THIS PAGE IS BLANK Version 2 – July 2019 3 DANCE (SAMPLE) Instructions Answer all questions in the spaces provided. Diagrams may be used where appropriate. Question 1 (6 marks) Pre-performance practices can assist a dancer to perform a solo dance work with artistry. Describe two pre-performance practices and explain how each can be used to build artistry. TURN OVER DANCE (SAMPLE) 4 Version 2 – July 2019 Question 2 (5 marks) There are five choreographic processes used to create movement when choreographing movement vocabulary. -
Songs by Artist
Andromeda II DJ Entertainment Songs by Artist www.adj2.com Title Title Title 10,000 Maniacs 50 Cent AC DC Because The Night Disco Inferno Stiff Upper Lip Trouble Me Just A Lil Bit You Shook Me All Night Long 10Cc P.I.M.P. Ace Of Base I'm Not In Love Straight To The Bank All That She Wants 112 50 Cent & Eminen Beautiful Life Dance With Me Patiently Waiting Cruel Summer 112 & Ludacris 50 Cent & The Game Don't Turn Around Hot & Wet Hate It Or Love It Living In Danger 112 & Supercat 50 Cent Feat. Eminem And Adam Levine Sign, The Na Na Na My Life (Clean) Adam Gregory 1975 50 Cent Feat. Snoop Dogg And Young Crazy Days City Jeezy Adam Lambert Love Me Major Distribution (Clean) Never Close Our Eyes Robbers 69 Boyz Adam Levine The Sound Tootsee Roll Lost Stars UGH 702 Adam Sandler 2 Pac Where My Girls At What The Hell Happened To Me California Love 8 Ball & MJG Adams Family 2 Unlimited You Don't Want Drama The Addams Family Theme Song No Limits 98 Degrees Addams Family 20 Fingers Because Of You The Addams Family Theme Short Dick Man Give Me Just One Night Adele 21 Savage Hardest Thing Chasing Pavements Bank Account I Do Cherish You Cold Shoulder 3 Degrees, The My Everything Hello Woman In Love A Chorus Line Make You Feel My Love 3 Doors Down What I Did For Love One And Only Here Without You a ha Promise This Its Not My Time Take On Me Rolling In The Deep Kryptonite A Taste Of Honey Rumour Has It Loser Boogie Oogie Oogie Set Fire To The Rain 30 Seconds To Mars Sukiyaki Skyfall Kill, The (Bury Me) Aah Someone Like You Kings & Queens Kho Meh Terri -
CELL BLOCK TANGO Page 1 of 3
CELL BLOCK TANGO Page 1 of 3 BY: Curt & Tammy Worlock, 3613 Citrus Tree Court, Plant City, FL 33566 (813)-759-8313 MUSIC: “Cell Block Tango” CD: Dancehouse Dance Charts Step III Track #16 From the movie “Chicago” SEQUENCE: Intro, A, B, Br 1, C, D, Br 1, C, B, Br 2, E, F, E, B, End SPEED: As on CD or Mini-Disc E-MAIL: [email protected] WEB SITE: stardustdancecenter.com RELEASED: March 2009 RHYTHM: Mixed Tango (mostly Int) PHASE: VI FOOTWORK: Described for M - W opp (or as noted) INTRO 1 - 4 WAIT 2 BEATS,, SLOW CIRCLE 4 TO CP COH;; -- Wait 2 beats about one foot apart looking at ptr w/R arms folded in front palm up & L arms folded behind palm up M FACING COH closest to RLOD & on the outside track W FCING WALL closest to LOD on inside track feet together w/lead foot free for both,, {Slow Walk 4 to CP COH S--S--S--S--} On heavy down beat comm slow CW circle walk maintain shape & arms curving fwd L toe pointing DLC; fwd R toe pointing DLW; fwd L toe pointing DRW; trng RF on L small fwd twd ptr & COH (using sultry arms fwd R toe pointing DRW; fwd L toe pointing DRC; fwd R toe pointing DLC; trng RF on R small fwd twd ptr & WALL) blend to CP COH Argentine Style w/W’s head to R close to M; PART A 1 - 4 SLOW LEFT FOOT BASIC;;,-, SLOW TANGO CLOSE (FC REV) w/SYNC SIDE CLOSE;; {Slow Left Foot Basic --S SS S} Point L sd & slightly fwd, tch L to R, sd & slightly fwd L toe pting DRC,-; Fwd R outsd ptr ,-, Fwd L,-; trn body slightly LF cl R to L (point R sd & slightly bk, tch R to L, sd & slightly bk R,-; bk L,-, bk R,-; tight XLIF of R) to CBJO almost RLOD,-, {Slow Tango Close & Sd Close S S&QQ} Fwd L trng slightly LF,-; Sd R,-, cl L to R/sd R, cl L to R to CP RLOD; 5 - 8 QUICK OPEN FINISH OVERTURNED TO GANCHO; 2 OUTSIDE SWIVELS; BACK ZIG ZAG 4; OUTSIDE SWIVEL,-, THRU TAP,-; {Qk Open Finish to Gancho QQQ-} Bk R comm LF trn, cont LF trn sd & fwd L, cont LF trn sd & fwd R outsd ptr twd DLW (fwd L comm. -
“Isn't It Swell... Nowadays?”: the Reception History of Chicago On
“Isn’t It Swell . Nowadays?”: The Reception History of Chicago on Stage and Screen A thesis submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Master of Music in the Division of Composition, Musicology, and Theory of the College-Conservatory of Music by Michael M. Kennedy BM, Butler University, 2004 MM, University of Hartford, 2008 Committee Chair: bruce d. mcclung, PhD Abstract The musical Chicago represents an anomaly in Broadway history: its 1996 revival far surpassed the modest success of the original 1975 production. Despite the original production’s box-office accomplishments, it received disparaging reviews regarding the cynicism of the work’s content. The musical celebrates the crimes and acquittals of two murderesses, and is based on Maurine Dallas Watkins’s coverage as a Chicago Tribune reporter of two 1924 murder cases, from which she generated a 1926 Broadway play. The 1975 Broadway production of Chicago: A Musical Vaudeville utilized this historical source material to comment on contemporary American society, highlighting parallels between the U.S. justice system and the entertainment industry, which critics and audiences of the post-Watergate era deemed as too cynical. Although Chicago initially achieved a mixed reception, the revival’s producers made few changes to John Kander’s music, Fred Ebb’s lyrics, and Ebb and Bob Fosse’s book, aside from simplifying the title to Chicago: The Musical. This suggests that the musical’s newfound success can be attributed to a societal shift in the perception of its subject matter. With further success from Chicago’s 2002 film adaptation, the originally dark and sardonic material became a smash hit and found itself as mainstream entertainment at the turn of the millennium. -
219-Presse-En-Chicago.Pdf
Approved copy: “Murder, greed, corruption, exploitation, adultery and treachery…all those things we hold near and dear to our hearts”…so begins the international award winning musical, CHICAGO. Based on real life events back in the roaring 1920s, nightclub singer Roxie Hart shoots her lover and along with Cell Block rival, double-murderess Velma Kelly, they fight to keep from death row with the help of smooth talking lawyer, Billy Flynn. Created by the musical theatre talents of John Kander, Fred Ebb and legendary choreographer Bob Fosse, CHICAGO’s sexy, sassy score includes “All That Jazz” and “Razzle Dazzle”. With 6 Tony, 2 Olivier, 1 Grammy, 2 Bafta and 6 Academy Awards, CHICAGO truly is “The sharpest, slickest show on the block” The Times A nightclub singer, a double-murderess, a smooth-talking lawyer and a cell block of sin: it would be a crime to miss it. www.chicagothemusical.com CHICAGO’S KEY SELLING POINTS : • CHICAGO is by the writers of Cabaret and New York, New York • It’s a musical comedy that will appeal to all • This is an exact replica of the current hit Broadway and West End productions • CHICAGO has the most amazing and innovative choreography by Bob Fosse • There’s a fantastic musical score of over 20 numbers • The production is ultra stylish and very beautiful to look at • If you love dance shows or good musicals, you’ll just love CHICAGO What’s CHICAGO about? It’s a musical comedy. The kiss-n-tell tale of Roxie Hart, a nightclub dancer who kills her lover and goes to prison: Billy Flynn, a sharp lawyer who turns Roxie into a celebrity; and Velma Kelly, a dancing jailbird with an ear for the headlines and an eye for talent. -
Chicago Production Leaves Audiences In
Alyssa Sheffy ’19, Drew Landaiche ’19: Chicago, performed at EA in April, left audiences in awe. Helena Bryant ‘17 and Brynn Doyle ‘18 starred in the musical as the leading female roles while Greg Smith ‘17 and Ryan Schiller ‘17 played the musical’s leading male roles. The musical, which is set in 1920s Chicago, follows the story of Velma Kelly (Helena Bryant ‘17) and Roxie Hart (Brynn Doyle ‘18), two murderers locked up with dreams of making it big on stage. Their only hopes of being set free depend on the help of prison warden “Mama” Morton (Anaya Cherry ‘18) and lawyer Billy Flynn (Greg Smith ‘17). The show opens up to Roxie killing a man she is having an affair with (Jeff Coote ‘17) and landing herself her in prison after her failed attempt at framing her husband, Amos Hart (Ryan Schiller ‘17). In prison, Roxie meets many other dangerous women whoare also locked up for murder. These interactions are shown in “Cell Block Tango,” in which Grace Hennigan ‘19, Mackenzie Lee ‘19, Bryce Nabulsi ‘19, Theresa Lemke ’17 and Kelly Flynn ‘17 displayed their musical talent as they revealed the intriguing ways they committed murder to the audience, landing them all in prison. However, some would say that they are “Not Guilty!” Billy Flynn, Roxie’s only hope of leaving prison and becoming famous on stage, tells her that in order to get him as her lawyer, she has to pay him $5,000. Desperate for money, Roxie goes to her husband Amos and declares her love for him, presenting the ultimatum that he must pay the $5,000 if he ever wants to see her again.