An Analysis of References in the Producers
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THE PRODUCERS Matt Byrne Media
www.theatreguide.com.au Supporting live theatre in Adelaide PO Box 10278 [email protected] ADELAIDE BC SA 5000 ABN : 93 297 960 525 THE PRODUCERS Matt Byrne Media Arts Theatre Until 4 August 2007 (Shedley Theatre 9-11 August) Review by John Wells I could smell hubris in the air. An Adelaide company doing “The Producers” – the Mel Brooks show that took Broadway by the scruff of its neck and was showered with Tonys? Could an Adelaide amateur company do this show? Attempting a production of this impeccable and brilliantly-credentialed show is remarkably ambitious. With two films and the wildly successful stage musical already seared into the public consciousness, it is impossible to create an original rendering. Add to this the limited budget of amateur theatre and the risks of presenting a spectacular dud are high. But this is no dud. “The Producers” is by no means perfect, but it is an enjoyable, tight and funny show. With disciplined performances, and comical and precise characterisations, Director Glenn Vallen must take the credit for the success of this production. “The Producers” is the story of the failed, bombastic Broadway producer Max Bialystock and his mousy accountant Leo Bloom. They plan to raise millions of dollars to produce a sure-fire flop, and then run off with the investors’ cash when the show closes. When they find “Springtime for Hitler”, a musical honouring the Fuhrer by a local Nazi, they think they’ve found their perfect turkey. “The Producers” depends primarily on Bialystock and Bloom. If they are ineffective, the show cannot succeed. -
Broadway the BROAD Way”
MEDIA CONTACT: Fred Tracey Marketing/PR Director 760.643.5217 [email protected] Bets Malone Makes Cabaret Debut at ClubM at the Moonlight Amphitheatre on Jan. 13 with One-Woman Show “Broadway the BROAD Way” Download Art Here Vista, CA (January 4, 2018) – Moonlight Amphitheatre’s ClubM opens its 2018 series of cabaret concerts at its intimate indoor venue on Sat., Jan. 13 at 7:30 p.m. with Bets Malone: Broadway the BROAD Way. Making her cabaret debut, Malone will salute 14 of her favorite Broadway actresses who have been an influence on her during her musical theatre career. The audience will hear selections made famous by Fanny Brice, Carol Burnett, Betty Buckley, Carol Channing, Judy Holliday, Angela Lansbury, Patti LuPone, Mary Martin, Ethel Merman, Liza Minnelli, Bernadette Peters, Barbra Streisand, Elaine Stritch, and Nancy Walker. On making her cabaret debut: “The idea of putting together an original cabaret act where you’re standing on stage for ninety minutes straight has always sounded daunting to me,” Malone said. “I’ve had the idea for this particular cabaret format for a few years. I felt the time was right to challenge myself, and I couldn’t be more proud to debut this cabaret on the very stage that offered me my first musical theatre experience as a nine-year-old in the Moonlight’s very first musical Oliver! directed by Kathy Brombacher.” Malone can relate to the fact that the leading ladies she has chosen to celebrate are all attached to iconic comedic roles. “I learned at a very young age that getting laughs is golden,” she said. -
2019 Silent Auction List
September 22, 2019 ………………...... 10 am - 10:30 am S-1 2018 Broadway Flea Market & Grand Auction poster, signed by Ariana DeBose, Jay Armstrong Johnson, Chita Rivera and others S-2 True West opening night Playbill, signed by Paul Dano, Ethan Hawk and the company S-3 Jigsaw puzzle completed by Euan Morton backstage at Hamilton during performances, signed by Euan Morton S-4 "So Big/So Small" musical phrase from Dear Evan Hansen , handwritten and signed by Rachel Bay Jones, Benj Pasek and Justin Paul S-5 Mean Girls poster, signed by Erika Henningsen, Taylor Louderman, Ashley Park, Kate Rockwell, Barrett Wilbert Weed and the original company S-6 Williamstown Theatre Festival 1987 season poster, signed by Harry Groener, Christopher Reeve, Ann Reinking and others S-7 Love! Valour! Compassion! poster, signed by Stephen Bogardus, John Glover, John Benjamin Hickey, Nathan Lane, Joe Mantello, Terrence McNally and the company S-8 One-of-a-kind The Phantom of the Opera mask from the 30th anniversary celebration with the Council of Fashion Designers of America, designed by Christian Roth S-9 The Waverly Gallery Playbill, signed by Joan Allen, Michael Cera, Lucas Hedges, Elaine May and the company S-10 Pretty Woman poster, signed by Samantha Barks, Jason Danieley, Andy Karl, Orfeh and the company S-11 Rug used in the set of Aladdin , 103"x72" (1 of 3) Disney Theatricals requires the winner sign a release at checkout S-12 "Copacabana" musical phrase, handwritten and signed by Barry Manilow 10:30 am - 11 am S-13 2018 Red Bucket Follies poster and DVD, -
Now That She's Gone
The Carl Cherry Center for the Arts presents... Layne Littlepage in BROADWAY LEADING LADIES: Viva the Divas! With Rick Yramtegui at the piano July 27th – August 19th, 2012 Fridays and Saturdays at 7:30 pm, Sundays at 3 pm Layne Littlepage returns to the Carl Cherry Center with a new and delightful show about the leg- endary female stars of Broadway’s greatest musicals: Julie Andrews, Ethel Merman, Mary Mar- tin, Barbra Streisand, Fanny Brice, Beatrice Lillie, Carol Channing, Elaine Stritch and more! Un- forgettable songs and stories. What makes a legend a legend? And what happens when legends collide, or fight for the same role? Find out! Tickets: $25 Information and Reservations: (831)238-0092, or ticketguys.com Now That She’s Gone Written & Performed by Ellen Snortland Friday, August 24th at 7:30 pm Saturday, August 25th at 7:30 pm Sunday, August 26th at 2:00 pm & 7:30 pm “Now That She’s Gone” is a play that explores Ellen Snortland’s often hilarious, irreverent and sometimes torturous relationship with her Norwegian-American mother. “Now That She’s Gone” has been described as a Lily Tomlin / Garrison Keillor hybrid… passionate, poignant and funny in turns. A memoir piece with Eleanor Roosevelt, sex, drugs and lutefisk, the play and performance has received rave reviews and standing ovations in California, Minnesota, New York, and Washington, D.C., as well as France, Holland, Scotland… and Norway. Tickets are $20, and will be available at the door (if space is available), or can be purchased online at carlcherrycenter.org For more info, email [email protected] or call 626-798-8421, or visit Ellen’s website at http://www.snortland.com “An Evening with William Blake” with Norma and Richard Mayer, and Bill Minor Friday, August 31st, at 7:30pm Soprano Norma Mayer and flutist Richard Mayer will perform poems of William Blake set to music by Ralph Vaughan Williams and other composers. -
Critical Perspectives on American Musical Theatre Thea
Critical Perspectives on American Musical Theatre Thea. 80200, Spring 2002 David Savran, CUNY Feb 4—Introduction: One Singular Sensation To be read early in the semester: DiMaggio, “Cultural Boundaries and Structural Change: The Extension of the High Culture Model to Theater, Opera, and the Dance, 1900-1940;” Block, “The Broadway Canon from Show Boat to West Side Story and the European Operatic Ideal;” Savran, “Middlebrow Anxiety” 11—Kern, Hammerstein, Ferber, Show Boat Mast, “The Tin-Pan-Tithesis of Melody: American Song, American Sound,” “When E’er a Cloud Appears in the Blue,” Can’t Help Singin’; Berlant, “Pax Americana: The Case of Show Boat;” 18—No class 20—G. and I. Gershwin, Bolton, McGowan, Girl Crazy; Rodgers, Hart, Babes in Arms ***Andrea Most class visit*** Most, Chapters 1, 2, and 3 of her manuscript, “We Know We Belong to the Land”: Jews and the American Musical Theatre; Rogin, Chapter 1, “Uncle Sammy and My Mammy” and Chapter 2, “Two Declarations of Independence: The Contaminated Origins of American National Culture,” in Blackface, White Noise: Jewish Immigrants in the Hollywood Melting Pot; Melnick, “Blackface Jews,” from A Right to Sing the Blues: African Americans, Jews, and American Popular Song 25— G. and I. Gershwin, Kaufman, Ryskind, Of Thee I Sing, Shall We Dance Furia, “‘S’Wonderful: Ira Gershwin,” in his Poets of Tin Pan Alley, Mast, “Pounding on Tin: George and Ira Gershwin;” Roost, “Of Thee I Sing” Mar 4—Porter, Anything Goes, Kiss Me, Kate Furia, “The Tinpantithesis of Poetry: Cole Porter;” Mast, “Do Do That Voodoo That You Do So Well: Cole Porter;” Lawson-Peebles, “Brush Up Your Shakespeare: The Case of Kiss Me Kate,” 11—Rodgers, Hart, Abbott, On Your Toes; Duke, Gershwin, Ziegfeld Follies of 1936 Furia, “Funny Valentine: Lorenz Hart;” Mast, “It Feels Like Neuritis But Nevertheless It’s Love: Richard Rodgers and Lorenz Hart;” Furia, Ira Gershwin: The Art of the Lyricist, pages 125-33 18—Berkeley, Gold Diggers of 1933; Minnelli, The Band Wagon Altman, The American Film Musical, Chaps. -
Hitler's Doubles
Hitler’s Doubles By Peter Fotis Kapnistos Fully-Illustrated Hitler’s Doubles Hitler’s Doubles: Fully-Illustrated By Peter Fotis Kapnistos [email protected] FOT K KAPNISTOS, ICARIAN SEA, GR, 83300 Copyright © April, 2015 – Cold War II Revision (Trump–Putin Summit) © August, 2018 Athens, Greece ISBN: 1496071468 ISBN-13: 978-1496071460 ii Hitler’s Doubles Hitler’s Doubles By Peter Fotis Kapnistos © 2015 - 2018 This is dedicated to the remote exploration initiatives of the Stargate Project from the 1970s up until now, and to my family and friends who endured hard times to help make this book available. All images and items are copyright by their respective copyright owners and are displayed only for historical, analytical, scholarship, or review purposes. Any use by this report is done so in good faith and with respect to the “Fair Use” doctrine of U.S. Copyright law. The research, opinions, and views expressed herein are the personal viewpoints of the original writers. Portions and brief quotes of this book may be reproduced in connection with reviews and for personal, educational and public non-commercial use, but you must attribute the work to the source. You are not allowed to put self-printed copies of this document up for sale. Copyright © 2015 - 2018 ALL RIGHTS RESERVED iii Hitler’s Doubles The Cold War II Revision : Trump–Putin Summit [2018] is a reworked and updated account of the original 2015 “Hitler’s Doubles” with an improved Index. Ascertaining that Hitler made use of political decoys, the chronological order of this book shows how a Shadow Government of crisis actors and fake outcomes operated through the years following Hitler’s death –– until our time, together with pop culture memes such as “Wunderwaffe” climate change weapons, Brexit Britain, and Trump’s America. -
The Producers,'' Understands That to Create a Musical -- Good Or Otherwise -- the Appropriate Creative Team Must Be Employed
THEATER/THE TONY AWARDS; A Crash Course in the Worl... http://www.nytimes.com/2001/05/20/arts/theater-the-tony-awar... This copy is for your personal, noncommercial use only. You can order presentation-ready copies for distribution to your colleagues, clients or customers, please click here or use the "Reprints" tool that appears next to any article. Visit www.nytreprints.com for samples and additional information. Order a reprint of this article now. » May 20, 2001 THEATER/THE TONY AWARDS THEATER/THE TONY AWARDS; A Crash Course in the World of Mel By BARRY SINGER EVEN Broadway's most maladroit impresario, Max Bialystock of ''The Producers,'' understands that to create a musical -- good or otherwise -- the appropriate creative team must be employed. For Bialystock, in Mel Brooks's current hit musical, the assured failure of his show, ''Springtime for Hitler,'' is dependent on securing the services of a director named Roger De Bris. ''Is he good?'' inquires Bialystock's ingenuous partner, Leo Bloom, as they head for a rendezvous with De Bris. ''I mean, is he bad?'' ''He stinks,'' Bialystock replies. Shortly thereafter, Bialystock imploringly informs De Bris: ''Roger, I speak for Mr. Bloom and myself when I say that you are the only man in the world who can do justice to 'Springtime for Hitler.' '' For Mr. Brooks, assuring the successful transformation of his 1968 film ''The Producers'' into a Broadway musical required at least one similarly baldfaced overture. ''Two and a half years ago, my husband, Mike Ockrent, and I got a call saying Mel Brooks wanted to meet us,'' Susan Stroman said recently. -
February 23, 2016 (XXXII:5) Mel Brooks, the PRODUCERS (1967, 88 Min)
February 23, 2016 (XXXII:5) Mel Brooks, THE PRODUCERS (1967, 88 min) Directed by Mel Brooks Written by Mel Brooks Produced by Sidney Glazier Music John Morris Cinematography Joseph F. Coffey Film Editing Ralph Rosenblum Zero Mostel…Max Bialystock Gene Wilder…Leo Bloom Dick Shawn…L.S.D. - Lorenzo St. DuBois Kenneth Mars…Franz Liebkind Lee Meredith…Ulla Christopher Hewett…Roger De Bris Andréas Voutsinas…Carmen Ghia Estelle Winwood…'Hold Me Touch Me' Renée Taylor…Eva Braun David Patch…Goebbels William Hickey…The Drunk Martin…Göring Musical, Original Music Score and Book (musical); and 3 Shimen Ruskin…The Landlord Grammys- Best Spoken Comedy Album for "The 2000 Year Old Frank Campanella…The Bartender Man In The Year 2000" (1998, with Carl Reiner) and two for Josip Elic…Violinist The Producers (2001): Best Musical Show Album (as Madelyn Cates…Concierge (as Madlyn Cates) composer/lyricist) and Best Long Form Music Video (as artist). John Zoller…Drama Critic Brooks has many funny trademarks in his films, for instance his Brutus Peck…Hot Dog Vendor films often contain references to the film's sequel, which never Mel Brooks…Singer in 'Springtime for Hitler' (voice) come to pass. Good examples of this are History of the World: (uncredited) Part I (1981), Spaceballs (1987) and Robin Hood: Men in Tights Bill Macy…Jury Foreman (uncredited) (1993). Additionally, Brooks always features one scene in his movies in which the main character is seated and staring blankly, MEL BROOKS (b. Melvin James Kaminsky on June 28, 1926 wondering what went wrong, while friends console him. In fun in Brooklyn, New York) served in WWII, and afterwards got a trivia, The Producers (1967) was the inspiration for the title of job playing the drums at nightclubs in the Catskills. -
The Great American Songbook Through the Lens of Judy Garland
The Great American Songbook Through the Lens of Judy Garland An Honors Thesis (MUSP 401) By Lindsey Stamper Thesis Advisor Dr. Jon Truitt Ball State University Muncie, Indiana December 2017 Expected Date of Graduation May 2018 0JpCo)} U ndc r.::J r c, a I he c 1 d. i'("; . ._ tJ c ( JP, Abstract r} ,..J... This thesis paper, as well as·the accompanying recital, delves into the topic of The Great American Songbook Through the Lens of Judy Garland. The Great American Songbook is a collection of American standard repertoire from the late nineteenth century to the middle of the twentieth. Judy Garland in particular is an exemplary performer of this period; her life parallels the troubles and careers of many other performers in this era. By exploring and performing songs that Garland performed during her career, this paper relates the history of American music to the life of the acclaimed Judy Garland. Acknowledgments I would like to thank Dr. Jon Truitt for the guidance, insight, advice, and training he has provided me with throughout this project and these past four years. His help with the many performance endeavors of my collegiate career has been invaluable. I would also like to thank my mom and dad for inspiring a curiosity and interest in music at a young age. Lastly, thank you to Julian for always listening with kind and encouraging ears. Process Analysis Statement Recitals, concerts, and cabarets are important events in a music educator's profession. These are the culmination of unseen efforts rehearsing music, planning logistics, and organizing personnel. -
10000 General Knowledge Questions and Answers 10000 General Knowledge Questions and Answers No Questions Quiz 1 Answers
10000 quiz questions and answers www.cartiaz.ro 10000 general knowledge questions and answers 10000 general knowledge questions and answers www.cartiaz.ro No Questions Quiz 1 Answers 1 Carl and the Passions changed band name to what Beach Boys 2 How many rings on the Olympic flag Five 3 What colour is vermilion a shade of Red 4 King Zog ruled which country Albania 5 What colour is Spock's blood Green 6 Where in your body is your patella Knee ( it's the kneecap ) 7 Where can you find London bridge today USA ( Arizona ) 8 What spirit is mixed with ginger beer in a Moscow mule Vodka 9 Who was the first man in space Yuri Gagarin 10 What would you do with a Yashmak Wear it - it's an Arab veil 11 Who betrayed Jesus to the Romans Judas Escariot 12 Which animal lays eggs Duck billed platypus 13 On television what was Flipper Dolphin 14 Who's band was The Quarrymen John Lenon 15 Which was the most successful Grand National horse Red Rum 16 Who starred as the Six Million Dollar Man Lee Majors 17 In the song Waltzing Matilda - What is a Jumbuck Sheep 18 Who was Dan Dare's greatest enemy in the Eagle Mekon 19 What is Dick Grayson better known as Robin (Batman and Robin) 20 What was given on the fourth day of Christmas Calling birds 21 What was Skippy ( on TV ) The bush kangaroo 22 What does a funambulist do Tightrope walker 23 What is the name of Dennis the Menace's dog Gnasher 24 What are bactrians and dromedaries Camels (one hump or two) 25 Who played The Fugitive David Jason 26 Who was the King of Swing Benny Goodman 27 Who was the first man to -
THE PRODUCERS Book by Mel Brooks and Thomas Meehan Music and Lyrics by Mel Brooks
THE PRODUCERS Book by Mel Brooks and Thomas Meehan Music and Lyrics by Mel Brooks Garland Summer Musicals Production Crew: Producer – Patty Granville Reviewed Performance 6/16/2017 Reviewed by Joel Gerard, Associate Critic for John Garcia's THE COLUMN If you’ve ever seen a Mel Brooks movie, then you should know what to expect from anything he writes. The Producers has raunchy humor with slightly offensive jokes about every race, sex, and religion. But above all else it’s also hilarious and fun. It won a record twelve Tony awards on Broadway, and Garland Summer Musicals is doing an award-worthy production right here in North Texas. The Producers is a musical Mel Brooks wrote based on his own movie “The Producers” from 1967 which starred the late Gene Wilder. Max Bialystock used to be the king of Broadway, but most of his shows are now flops that close as soon as they open. Max gets a visit from his accountant Leo Bloom who discovers that Max could potentially make more money from producing show that flops if he raises more money than he needs to produce the show. To ensure the show closes quickly, they collaborate to find an awful musical called “Springtime For Hitler”, hire a terrible director, and wait to pocket the money once the show fails. Of course things don’t go exactly as planned after opening night. Randy Pearlman plays Max Bialystock the down-on-his-luck Broadway producer looking to make some money. This is a fun role for any actor. Max is a zany character with questionable morals. -
HELLO DOLLY Program Notes.Pdf
` PROGRAM NOTES By Joshua S. Ritter Goodspeed Education & Library Director When Hello, Dolly! opened on Broadway in January of 1964, the nation was still reeling from the shock of President Kennedy’s assassination and apprehensive about the worsening situation in Vietnam. The Beatles invasion had just begun; a youthful fervor for change and rock ‘n’ roll was palpable. David Merrick, a preternaturally gifted producer, could sense the longing of another American generation. He undoubtedly knew the time was right to provide the comfort and nostalgia of a good old-fashioned Broadway musical. After all, he was in possession of a successful theatrical property that was screaming to be set to music. It could also serve as a star vehicle for Ethel Merman, and it contained a 1890’s period flavor that would offer much-needed diversion from current events. Merrick began assembling a team of future Broadway legends to give music and new life to Thorton Wilder’s highly-successful play The Matchmaker. The title would quickly change to Dolly! A Damned Exasperating Woman; Call on Dolly; and finally to Hello, Dolly!. Merrick hired Gower Champion and Michael Stewart, with whom he had previously worked on Carnival!, to stage and adapt the book for what would later be called Hello, Dolly!. Merrick hired the young Jerry Herman to compose the music soon after his success penning the score for his first Broadway musical, Milk and Honey. Champion, Stewart, and Herman worked together to anchor the show to the title song and “Put on your Sunday Clothes.” These became massive production numbers, the former involving whirling waiters, trays of food, and Dolly Levi’s grand descent down a flight of stairs.