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Who Tells Your Story?: Intersections of Power, Domesticity, and Sexuality Relating to Rap and Song in the Musical Hamilton
WHO TELLS YOUR STORY?: INTERSECTIONS OF POWER, DOMESTICITY, AND SEXUALITY RELATING TO RAP AND SONG IN THE MUSICAL HAMILTON By Tia Marie Harvey A THESIS Submitted to Michigan State University in partial fulfillment of the requirement for the degree Musicology—Master of Arts 2019 ABSTRACT WHO TELLS YOUR STORY?: INTERSECTIONS OF POWER, DOMESTICITY, AND SEXUALITY RELATING TO RAP AND SONG IN THE MUSICAL HAMILTON By Tia Marie Harvey In January 2015, Lin-Manuel Miranda’s Hamilton: An American Musical premiered at The Public Theater in New York City. Later that year it moved to Broadway with an engagement at the Richard Rodgers Theater, followed by productions in Chicago and London. Commercially successful and critically acclaimed, Hamilton continues to hold significant cultural relevance in 2019. As a result of this musical’s cultural significance, it has the ability to communicate positive, but also limiting, aspects of our society. In this thesis, I examine the concept of rap as a musical language of power. To do this, I assert that characters in Hamilton who have power, and particularly when expressing that power, do so through rap. In contrast, when characters don’t have power, or are entering realms of the powerless (i.e. spaces gendered female), they do so through lyrical song. In chapter 1, I set up the divide between rap and song as it primarily translates among male characters and class. Chapter 2 is focused on the domestic sphere, and in chapter 3 I discuss sexuality. In the conclusion of this thesis, I revisit the character of Eliza and explore the perceived power of her role as storyteller and the way in which the themes I discuss illuminate many missed opportunities to present an interpretation of America’s founding that is truly revolutionary. -
Rent Glossary of Terms
Rent Glossary of Terms 11th Street and Avenue B CBGB’s – More properly CBGB & OMFUG, a club on Bowery Ave between 1st and 2nd streets. The following is taken from the website http://www.cbgb.com. It is a history written by Hilly Kristal, the founder of CBGB and OMFUG. The question most often asked of me is, "What does CBGB stand for?" I reply, "It stands for the kind of music I intended to have, but not the kind that we became famous for: COUNTRY BLUEGRASS BLUES." The next question is always, "but what does OMFUG stand for?" and I say "That's more of what we do, It means OTHER MUSIC FOR UPLIFTING GORMANDIZERS." And what is a gormandizer? It’s a voracious eater of, in this case, MUSIC. […] The obvious follow up question is often "is this your favorite kind of music?" No!!! I've always liked all kinds but half the radio stations all over the U.S. were playing country music, cool juke boxes were playing blues and bluegrass as well as folk and country. Also, a lot of my artist/writer friends were always going off to some fiddlers convention (bluegrass concert) or blues and folk festivals. So I thought it would be a whole lot of fun to have my own club with all this kind of music playing there. Unfortunately—or perhaps FORTUNATELY—things didn't work out quite the way I 'd expected. That first year was an exercise in persistence and a trial in patience. My determination to book only musicians who played their own music instead of copying others, was indomitable. -
Clarence Brown Theatre Production History
Clarence Brown Theatre Production History 1974-75 1979-80 1984-85 Everyman Oh, What a Lovely War Loof’s Tower The Second Shepherd’s Play Twelfth Night Electra Headhunters A Christmas Carol The Frog Prince Playboy of the Western World Three Men on a Horse Peter Pan Ruling Class Night Must Fall Richard III Aristotle’s Bellows Mother Courage and Her Children The Caretaker Henry IV, part 1 The Physicists She Stoops to Conquer Last of the Red Hot Lovers Arsenic and Old Lace Beauty and the Beast The Music Man Mysterious Arabian Nights The House of Blue Leaves Androcles and the Lion The Elephant Man 1975-76 Brigadoon No, No, Nanette 1985-86 New Majestic Follies 1980-81 The King and I Rosencrantz & Guildenstern Are Dead The Heiress Extremities Woyzeck Candide Byron in Hell Macbeth Christmas All Over the Place A Christmas Carol Rip Van Winkle The Merchant of Venice Getting Out Tobacco Road The Oldest Living Graduate Macready The Tavern The Male Animal The Lion in Winter Command Performance Dracula: A Musical Nightmare The Vinegar Tree All the King’s Men An Italian Straw Hat True West All the Way Home Bus Stop Rosemarie 1981-82 Evita Ah, Wilderness 1976-77 Carousel 1986-87 Smoke on the Mountain Mr. Roosevelt’s Train The Matchmaker Jesus Christ Superstar The Confounding Christmas The Taming of the Shrew Indians Medea Beyond Therapy The Tax Collector For Colored Girls Who Have A Christmas Carol Cat on a Hot Tin Roof Considered Suicide When the Present Laughter Tom Sawyer Rainbow is Enuf Joe Egg Ghosts Two Gentlemen of Verona The Harmful Effects of Tobacco.. -
Table of Contents
GEVA THEATRE CENTER PRODUCTION HISTORY TH 2012-2013 SEASON – 40 ANNIVERSARY SEASON Mainstage: You Can't Take it With You (Moss Hart and George S. Kaufman) Freud's Last Session (Mark St. Germain) A Christmas Carol (Charles Dickens; Adapted/Directed by Mark Cuddy/Music/Lyrics by Gregg Coffin) Next to Normal (Music by Tom Kitt, Book/Lyrics by Brian Yorkey) The Book Club Play (Karen Zacarias) The Whipping Man (Matthew Lopez) A Midsummer Night's Dream (William Shakespeare) Nextstage: 44 Plays For 44 Presidents (The Neofuturists) Sister’s Christmas Catechism (Entertainment Events) The Agony And The Ecstasy Of Steve Jobs (Mike Daisey) No Child (Nilaja Sun) BOB (Peter Sinn Nachtrieb, an Aurora Theatre Production) Venus in Fur (David Ives, a Southern Repertory Theatre Production) Readings and Festivals: The Hornets’ Nest Festival of New Theatre Plays in Progress Regional Writers Showcase Young Writers Showcase 2011-2012 SEASON Mainstage: On Golden Pond (Ernest Thompson) Dracula (Steven Dietz; Adapted from the novel by Bram Stoker) A Christmas Carol (Charles Dickens; Adapted/Directed by Mark Cuddy/Music/Lyrics by Gregg Coffin) Perfect Wedding (Robin Hawdon) A Raisin in the Sun (Lorraine Hansberry) Superior Donuts (Tracy Letts) Company (Book by George Furth, Music, & Lyrics by Stephen Sondheim) Nextstage: Late Night Catechism (Entertainment Events) I Got Sick Then I Got Better (Written and performed by Jenny Allen) Angels in America, Part One: Millennium Approaches (Tony Kushner, Method Machine, Producer) Voices of the Spirits in my Soul (Written and performed by Nora Cole) Two Jews Walk into a War… (Seth Rozin) Readings and Festivals: The Hornets’ Nest Festival of New Theatre Plays in Progress Regional Writers Showcase Young Writers Showcase 2010-2011 SEASON Mainstage: Amadeus (Peter Schaffer) Carry it On (Phillip Himberg & M. -
South Pacific
THE MUSICO-DRAMATIC EVOLUTION OF RODGERS AND HAMMERSTEIN’S SOUTH PACIFIC DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By James A. Lovensheimer, M.A. ***** The Ohio State University 2003 Dissertation Committee: Approved by Professor Arved Ashby, Adviser Professor Charles M. Atkinson ________________________ Adviser Professor Lois Rosow School of Music Graduate Program ABSTRACT Since its opening in 1949, Rodgers and Hammerstein’s Pulitzer Prize- winning musical South Pacific has been regarded as a masterpiece of the genre. Frequently revived, filmed for commercial release in 1958, and filmed again for television in 2000, it has reached audiences in the millions. It is based on selected stories from James A. Michener’s book, Tales of the South Pacific, also a Pulitzer Prize winner; the plots of these stories, and the musical, explore ethnic and cutural prejudice, a theme whose treatment underwent changes during the musical’s evolution. This study concerns the musico-dramatic evolution of South Pacific, a previously unexplored process revealing the collaborative interaction of two masters at the peak of their creative powers. It also demonstrates the authors’ gradual softening of the show’s social commentary. The structural changes, observable through sketches found in the papers of Rodgers and Hammerstein, show how the team developed their characterizations through musical styles, making changes that often indicate changes in characters’ psychological states; they also reveal changing approaches to the musicalization of the novel. Studying these changes provides intimate and, occasionally, unexpected insights into Rodgers and Hammerstein’s creative methods. -
Hollywood Pantages Theatre Los Angeles, California
® HOLLYWOOD PANTAGES THEATRE LOS ANGELES, CALIFORNIA 3.12.20 - 3.31.20 Hamilton @ Pantages LA.indd 1 2/27/20 4:29 PM HOLLYWOOD PANTAGES THEATRE March 12-March 31, 2020 Jeffrey Seller Sander Jacobs Jill Furman AND The Public Theater PRESENT BOOK, MUSIC AND LYRICS BY Lin-Manuel Miranda INSPIRED BY THE BOOK ALEXANDER HAMILTON BY Ron Chernow WITH Rubén J. Carbajal Nicholas Christopher Joanna A. Jones Taylor Iman Jones Carvens Lissaint Simon Longnight Rory O’Malley Sabrina Sloan Wallace Smith Jamael Westman AND Sam Aberman Gerald Avery Amanda Braun Cameron Burke Yossi Chaikin Trey Curtis Jeffery Duffy Karlee Ferreira Tré Frazier Aaron Alexander Gordon Sean Green, Jr. Jared Howelton Sabrina Imamura Jennifer Locke Yvette Lu Taeko McCarroll Mallory Michaellann Antuan Magic Raimone Julian Ramos Jen Sese Willie Smith III Terrance Spencer Raven Thomas Tommar Wilson Mikey Winslow Morgan Anita Wood SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN SOUND DESIGN David Korins Paul Tazewell Howell Binkley Nevin Steinberg HAIR AND WIG DESIGN ARRANGEMENTS MUSIC COORDINATORS ASSOCIATE MUSIC SUPERVISOR Charles G. LaPointe Alex Lacamoire Michael Keller Matt Gallagher Lin-Manuel Miranda Michael Aarons EXECUTIVE PRODUCER PRODUCTION SUPERVISOR PRODUCTION STAGE MANAGER MUSIC DIRECTOR Maggie Brohn J. Philip Bassett Scott Rowen Andre Cerullo MARKETING & COMMUNICATIONS TECHNICAL SUPERVISION CASTING Laura Matalon Hudson Theatrical Associates Telsey + Company John Gilmour Bethany Knox, CSA ASSOCIATE & SUPERVISING DIRECTOR ASSOCIATE & SUPERVISING CHOREOGRAPHER Patrick Vassel -
From Superiority to Equality?: Men's Voices in Wendy Wasserstein's Plays
Hacettepe University Graduate School of Social Sciences Department of American Culture and Literature FROM SUPERIORITY TO EQUALITY?: MEN’S VOICES IN WENDY WASSERSTEIN’S PLAYS Duygu Beste Başer Master’s Thesis Ankara, 2016 FROM SUPERIORITY TO EQUALITY?: MEN’S VOICES IN WENDY WASSERSTEIN’S PLAYS Duygu Beste Başer Hacettepe University Graduate School of Social Sciences Department of American Culture and Literature Master’s Thesis Ankara, 2016 iii To my parents... iv ACKNOWLEDGEMENTS I would like to express my sincere gratitude to my thesis supervisor Assoc. Prof. Dr. Tanfer Emin TUNÇ for her invaluable guidance throughout my thesis writing process. I am deeply grateful for her constructive feedback and inspirational suggestions. I would also like to express my respect to the members of the Department of American Culture and Literature. They all helped me broaden my horizons, see things from a different perspective, and taught me how to be a better person. Thank you Prof. Dr. Meldan TANRISAL, Prof. Dr. Ufuk ÖZDAĞ, Assoc. Prof. Dr. Bilge MUTLUAY ÇETİNTAŞ, Assist. Prof. Dr. Barış GÜMÜŞBAŞ, Assist. Prof. Dr. Ayça GERMEN, Assist. Prof. Dr. Cem KILIÇARSLAN, Assist. Prof. Dr. Özge ÖZBEK AKIMAN, Dr. Ceylan ÖZCAN, Dr. Gözde ERDOĞAN and Assoc. Prof. Dr. Nur GÖKALP AKKERMAN whose retirement saddened all her students. I want to thank my family for always being there. They were always supportive and encouraging with every decision I made in my life. I am grateful to them for always allowing me to experience life by myself. I sincerely thank my supportive best friend and lifelong companion, Batuhan Baybars ÖZCAN for his patience during this process. -
"Harvey" to Be Spring Play Staged Monday, Tuesday
Grand Champ Border . .. No. 23 Vol. XXXXII THURSDAY, MAY 24, 1951 Spring Play "Harvey" To Be Staged Monday, Tuesday Wally Norley Pays Lovable Elwood Mary Chase Is Jerry Border, winner of the Little International, is shown w ith Dowd; Harvey's Counterpart Unknown Author of "Harvey" his Hampshire ram. •rake one invisible pooka (spirit bang up as Cleo in the Winter Mary Chase, author of the 1944- 1 in animal form, to you) add one quarter production E Equals MC'. 45 Pulitzer Prize comedy, Harvey, delightful inebriate, a ilutter Ernestine Neuhardt, a freshman is a playwright with Celtic pookas Jerry Border Named Champ brained sister and a man-seeking home ec student, from Miles City. and banshees in her pen. Though niece, sprinkle with an assortmeqt makes her initial stage appearance born far from Ireland in Denver, Showman at Little Internat'I t of characters like, one very-much as the man-chasing Myrtle Mae. Colorado on February 25, l 907, she in-love nurse, a blind-to-love psy Greta Gay, a Home Ee senior from is descended from Irish ancestry, chiatrist, a wise cab driver and a Bozeman, appears in this, her first her mother coming from Ulster Reserve Champ Is NOTICE big wheel of psychiatrist; give play, as the nurse, Ruth Kelly, county. 1t was Timothy, her un Barbara McNiven All students who are plan them a Mary Chase script and top who wears he heart on her sleeve cle, who captured her imagination ning to return for the A utwru, off the concoction with a generous for the young psychiatrist, Dr. -
The Gin Game at Village Theatre Encore Arts Seattle
JANUARY 2018 Encore Gin Game Cover 3.indd 1 12/11/17 4:22 PM November 2017 Volume 17, No. 2 Paul Heppner Publisher Susan Peterson Design & Production Director Ana Alvira, Robin Kessler, Stevie VanBronkhorst Production Artists and Graphic Design Mike Hathaway Sales Director Brieanna Bright, Joey Chapman, Ann Manning Seattle Area Account Executives Amelia Heppner, Marilyn Kallins, Terri Reed San Francisco/Bay Area Account Executives Carol Yip Sales Coordinator • Assisted Living Leah Baltus Apartments Editor-in-Chief Andy Fife • Memory Care Unit Publisher Dan Paulus • Skilled Nursing Center Art Director Medicare Certified Gemma Wilson, Jonathan Zwickel • Outpatient Therapy Senior Editors Amanda Manitach Live abundantly and Visual Arts Editor be secure, with care and services that affirm your dignity. Paul Heppner President 9107 Fortuna Drive Mike Hathaway Mercer Island, WA 98040 Vice President CRC does not discriminate pursuant 206-268-3052 Genay Genereux to the Fair Housing Act subject to Accounting & Office Manager any exemptions that may apply. covenantretirement.org Sara Keats Marketing Manager Shaun Swick CS 080117 medicare 1_3s.pdf Senior Designer & Digital Lead Barry Johnson Digital Engagement Specialist Ciara Caya Customer Service Representative & Administrative Assistant RECEIVINGBR STANDING OVATIONS AVO! & RAVE REVIEWS FROM PATIENTS Corporate Office · Sports Medicine · Foot & Ankle · Spine Surgery 425 North 85th Street Seattle, WA 98103 · Joint Replacement · Hand & Wrist · Surgery Center p 206.443.0445 f 206.443.1246 [email protected] Board Certified Orthopedic Surgeons 800.308.2898 x105 www.encoremediagroup.com Encore Arts Programs is published monthly by Encore Media Group to serve musical and theatrical events in the Puget (425) 339-2433 Sound and San Francisco Bay Areas. -
Digital Playbill
Book and lyrics by GEORGE REINBLATT Music by FRANK CIPOLLA, CHRISTOPHER BOND, MELISSA MORRIS, and GEORGE REINBLATT All Music performed, programmed, and arranged by Frank Cipolla Electric and acoustic guitars by Dean Drouillard Mixed and mastered by Kevin Lacy produced by special arrangement with DRAMATIC PUBLISHING, Woodstock, Illinois Director MATTHEW SWINDELL Choreographer Stage Manager Musical Director CHRIS DE’ANGELO REBECCA GOSSETT DEBBIE ANDERSON Costume Designer Scenic/Lighting Designer/Technical Director Props Designer SANDY DAWSON MATTHEW SWINDELL PATTI FENZEL Sound Designer/Audio Engineer Lead Assistant Stage Manager Assistant Stage Manager JULIANNE SLATON MH HARRISON SHANIYA HORTON The Cast Andy Harvey Kelsey Brodeur Courtlyn Holt Courtney Locke Morgan Ash Cheryl Linda Annie Jake Watford Taylor Chevalier Tate LeClair Jay Glover Scott Shelly Jake Ed Chelle Leary Ronnie Walker Griffin Hutchins Ensemble Ensemble Ensemble Isabella Minter Tyler Morris Ensemble Ensemble PATRON SAFETY MEASURES Thank you for joining us for today’s performance. The Springer is dedicated to providing the best and safest experience possible for every patron. Below are just a few of the safety measures we will employ this season. We hope you enjoy the show! • Staff and patron temperatures will be taken before entry. • All patrons, volunteers, and staff will wear face masks. In our outdoor space, face masks may be removed once seated inside one of our socially distanced circles. • We have reduced audience capacity for all shows. • Multiple hand-sanitizer stations are available in every public area. • Inside Emily Woodruff Hall and the Dorothy McClure Theatre, gap seats will be placed between each party to provide social distancing. • A rigerous cleaning schedule has been employed throughout the building and outdoor spaces. -
The 40Th Annual Zilker Summer Musical, South Pacific
Zilker Theatre Productions presents TheThe 40th40th AnnualAnnual ZilkerZilker SummerSummer MusicalMusical Rodgers & Hammerstein’s July 11 - August 22, 1998 Beverly S. Sheffield Zilker Hillside Theater Music by Richard Rodgers • Lyrics by Oscar Hammerstein II Book by Oscar Hammerstein II and Joshua Logan Adapted from the Pulitzer Prize-winning novel “Tales of the South Pacific” by James A. Michener Sponsors: The City of Austin, under the auspices of the Austin Arts Commission. South Pacific is presented through special arrangement with The Rodgers & Hammerstein Theatre Library, 229 West 28th Street, 11th Floor, New York, NY 10001 Design: Special Audience Marketing, Inc. • Illustration: Yvonne Davin, Campbell Industries Zilker Theatre Productions presents Rodgers and Hammerstein’s SOUTH PACIFIC Music by Richard Rodgers Lyrics by Oscar Hammerstein II Book by Oscar Hammerstein II and Joshua Logan Adapted from the Pulitzer Prize Winning Novel “Tales of the South Pacific” by James A. Michener featuring Jennifer Bryan Dick Westerburg with Corliss Overton Priscilla Joyce Quinal Matthew Scrivens Douglas Taylor Directed by JERRY POLLOCK Choreographed by ACIA GRAY and DEIRDRE STRAND Musical Direction by LYN ATKINS KOENNING Scenic Design by CHRISTOPHER MCCOLLUM Costume Design by SYLVIA TATE Lighting Design by ROBERT T. WHYBURN Sound Design by BILL MESTER Properties Design by GARY VAN DER WEGE Hair/Make-Up Design by TAYNESHIA JEFFERSON Executive Producer WILLIAM SHEFFIELD This production is funded in part by the City of Austin, under the auspices of the Austin Arts Commission. South Pacific is presented through special arrangement with The Rodgers and Hammerstein Theatre Library, 229 West 28th Street, 11th Floor, New York, NY 10001. -
History of American Theater and Drama Indicate If Seminar And/Or Writing II Course
Theater 106 General Education Course Information Sheet Please submit this sheet for each proposed course Department & Course Number Theater 106 Course Title History of American Theater and Drama Indicate if Seminar and/or Writing II course 1 Check the recommended GE foundation area(s) and subgroups(s) for this course Foundations of the Arts and Humanities • Literary and Cultural Analysis X • Philosophic and Linguistic Analysis • Visual and Performance Arts Analysis and Practice X Foundations of Society and Culture • Historical Analysis • Social Analysis Foundations of Scientific Inquiry • Physical Science With Laboratory or Demonstration Component must be 5 units (or more) • Life Science With Laboratory or Demonstration Component must be 5 units (or more) 2. Briefly describe the rationale for assignment to foundation area(s) and subgroup(s) chosen. Theater 106 is a survey of the great American plays of the 20th century. Plays are examined both as great contributions to 20th century canonical literature, as well as seminal theatrical pieces that explore significant ideas and historical changes in American society while exemplifying acting and production practices of their respective eras. In so doing, the course becomes a cultural and social analysis of America in the last century – from the American dream of owning a home, to the societal implications of wars such as World Wars I and II and the Vietnam conflict. The course integrates social analysis as we investigate shifting perspectives of the nuclear family, the fragmentation of society, as well as the inclusion of female, African-American, gay, and other minority voices. By tracing the evolution of dramatic genres and the impact of technology on production techniques as depicted in footage of many different live performances, the course also shows how American drama owes much to cultures and literary forms from around the world.