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The Seven Ages of Musical Theatre: the Life Cycle of the Child Performer
UNIVERSITY OF SOUTHAMPTON The Seven Ages of Musical Theatre: The life cycle of the child performer by Lyndsay Barnbrook A thesis submitted in partial fulfillment for the degree of Doctor of Philosophy in the Humanities Faculty School of Music April 2016 \A person's a person, no matter how small." Dr. Seuss UNIVERSITY OF SOUTHAMPTON Abstract Humanities Faculty School of Music Doctor of Philosophy The Seven Ages of Musical Theatre: The life cycle of the child performer by Lyndsay Barnbrook The purpose of the research reported here is to explore the part played by children in musical theatre. It aims to do this on two levels. It presents, for the first time, an historical analysis of involvement of children in theatre from its earliest beginnings to the current date. It is clear from this analysis that the role children played in the evolution of theatre has been both substantial and influential, with evidence of a number of recurring themes. Children have invariably made strong contributions in terms of music, dance and spectacle, and have been especially prominent in musical comedy. Playwrights have exploited precocity for comedic purposes, innocence to deliver difficult political messages in a way that is deemed acceptable by theatre audiences, and youth, recognising the emotional leverage to be obtained by appealing to more primitive instincts, notably sentimentality and, more contentiously, prurience. Every age has had its child prodigies and it is they who tend to make the headlines. However the influence of educators and entrepreneurs, artistically and commercially, is often underestimated. Although figures such as Wescott, Henslowe and Harris have been recognised by historians, some of the more recent architects of musical theatre, like Noreen Bush, are largely unheard of outside the theatre community. -
Ceremony Opens Plaza Art Exhibit Committee to Pick Grad Speaker
Volume 3, Number IS College At Lincoln Center, Fordham University, New York November 16-December 6,1983 CLC Blood Drive Nets SSA IS .«, » i irw" ^;:-:- 100 Pints By Marie Reres More than 100 pints of blood were collected in the CLC Blood Drive, held on November 7, 8 and 9 in the Pope Auditorium, according to Registered Nurse and Unit Manager of the Blood Drive, Alex- •^? : *i. *. ' • Win ander Mamon. The Blood Drive was sponsored by members of The Greater New York Blood Program. Studen! clubs Circle K and Res Ipsa Loquitur organized the event. "I was surprised to see such a good turnout, con- sidering the lack of student involvement in other events," said Bill Finneran, Vice President of Circle K. As donors came into the auditorium, they were greeted by a member of the Greater New York Blood Program who filled out an information sheet for each person. Next, a registered nurse took a Judith Brown's "Steel Images" will remain on exhibit for one year Photo Bv Doris Suen short medical history from each donor which in- cluded questions concerning hepatitis, malaria and general health. A blood sample was taken from the donor's finger to test for iron. Temperature and Ceremony Opens Plaza Art Exhibit blood pressure were taken, as well. Donors each gave one pint of blood and were then led to the can- By Doris Suen teen, where they were able to relax and have Judith Brown's metallic and menacing sculpture exhibition on the CLJC Plaza has been the talk refreshments. ' The official opening of artist Judith Brown's of the school lately. -
Spring Spring
what to do • where to go • what to see May 22–June 4, 2006 The Officficialial GuGuideide to BOSBOSTONTON THE Spring Issue PLUS: Where to see Ben Affleck, Bruce Springsteen and live music under the stars wwwwww.panoramamagazine.com.panoramamagazine.com contents DEPARTMENTS 6 around the hub 6 NEWS & NOTES 10 STYLE COCOVERVER STORY 12 ON EXHIBIT 14 NIGHTLIFE 18 Spring is in the Air 15 DINING 16 KIDS CORNER From riding the Swan Boats to 17 ON STAGE shopping on Newbury Street, Panorama gives its best bets 23 the hub directory for fun springtime activities 26 CURRENT EVENTS in the Hub 36 CLUBS & BARS in the Hub 39 MUSEUMS & GALLERIES 44 MAPS 50 SIGHTSEEING 54 EXCURSIONS 56 FREEDOM TRAIL 58 SHOPPING 64 RESTAURANTS 80 NEIGHBORHOODS 94 5 questions with… Author JODI PICOULT on the cocover:ver: Samantha of Maggie Inc. enjoys some splendor in the grass at Boston’s Public Garden. Photo: Bob Perachio. IN BLOOM: TulipsTulips blossom in Hair and Make-up: the Public Garden, the nation’s Rachael Berkowitz. first public botanical garden. Refer to story,story, page 18. PrProducedoduced by Heather Burke. PHOTO BY B OB PERACHIO ___ MAY 22–JUNE 4, 2006 3 The Official Guide to BOSTON www.panoramamagazine.com May 22–June 4, 2006 Volume 55 • Number 26 Jerome Rosenfeld • CHAIRMAN Tim Montgomery • PRESIDENT/PUBLISHER Christine Celli • EDITOR Scott Roberto • ART/PRODUCTION DIRECTOR Josh B. Wardrop • ASSOCIATE EDITOR Sharon Hudak Miller • ASSOCIATE ART DIRECTOR Heather S. Burke • PHOTO EDITOR Marketa Hulpachova • EDITORIAL ASSISTANT Della Huff, Matt Kalinowski, Bob Perachio, Juliann Rubijono, John Savone • CONTRIBUTING PHOTOGRAPHERS Alex Harris, Jinnie Lee, LaTanya McQueen, Kamie Richard • EDITORIAL INTERNS Jacolyn Ann Firestone • VICE PRESIDENT, ADVERTISING Rita A. -
Museum Policies in Europe 1990 – 2010: Negotiating Professional and Political Utopia
Museum Policies in Europe 1990 – 2010: Negotiating Professional and Political Utopia Lill Eilertsen & Arne Bugge Amundsen (eds) EuNaMus Report No 3 Museum Policies in Europe 1990–2010: Negotiating Professional and Political Utopia (EuNaMus Report No. 3) Lill Eilertsen & Arne Bugge Amundsen (eds) Copyright The publishers will keep this document online on the Internet – or its possible replacement – from the date of publication barring exceptional circumstances. The online availability of the document implies permanent permission for anyone to read, to download, or to print out single copies for his/her own use and to use it unchanged for noncommercial research and educational purposes. Subsequent transfers of copyright cannot revoke this permission. All other uses of the document are conditional upon the consent of the copyright owner. The publisher has taken technical and administrative measures to assure authenticity, security and accessibility. According to intellectual property law, the author has the right to be mentioned when his/her work is accessed as described above and to be protected against infringement. For additional information about Linköping University Electronic Press and its procedures for publication and for assurance of document integrity, please refer to its www home page: http://www.ep.liu.se/. Linköping University Interdisciplinary Studies, No. 15 ISSN: 1650-9625 Linköping University Electronic Press Linköping, Sweden, 2012 URL: http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-81315 Copyright © The Authors, 2012 This report has been published thanks to the support of the European Union’s Seventh Framework Programme for Research - Socio-economic Sciences and Humanities theme (contract nr 244305 – Project European National Museums: Identity Politics, the Uses of the Past and the European Citizen). -
1/137 Research Report 1997-1999 One of the Vital Activities of Any National Museum Is Research. the Myriad Public Functions of A
Research Report 1997-1999 One of the vital activities of any national museum is research. The myriad public functions of a modern museum are dependent on sound knowledge of the objects in the museum's care. Research allows the Victoria and Albert Museum to play a role with the creative industries; it underpins education programmes that render the collections meaningful to school children, students and distance learners; it enables the giving of pleasure to a mass audience. Scholarship, alongside collections management and conservation, guarantees the continued prosperity of the nation's heritage. This report covers a three-year period in which hundreds of exhibitions, books, journal articles and electronic publications have made available a vast amount of scholarly material. Victoria and Albert Museum specialists on the art and design of the last thousand years, across all continents, have continuously published ground-breaking research in significant quantities. Apart from the individual efforts of the Museum's major scholars, perhaps a particularly impressive aspect of the research effort in this period has been the collaborative projects undertaken with universities and museums in Britain and abroad. They include topics as varied as Gothic art, historic tapestries, Anglo-Indian furniture, the Victorians, modern product design and electronic media. As research becomes more interdisciplinary, and technology becomes more central, so the methods of research progress. This report shows that a powerful and varied research culture remains one of the distinguishing characteristics of the V&A. It reports on the last years of the 20th century. I think we can all be assured that the research effort will continue and will enlighten the new century as much as it did the old one. -
David Hockney
875 North Michigan Ave, Chicago, IL 60611 Tel. 312/642/8877 Fax 312/642/8488 1018 Madison Avenue, New York, NY 10075 Tel. 212/472/8787 Fax 212/472/2552 DAVID HOCKNEY Born in Bradford, England, 1937. Lives and works in Los Angeles, California. EDUCATION 1953-57 Attended Bradford College of Art 1959-62 Attended Royal College of Art 1964 Teaching Position at University of Iowa 1965 Teaching Position at University of Colorado 1966-67 Teaching Position at University of California, Los Angeles & Berkeley SELECTED SOLO EXHIBITIONS 2016 David Hockney: I Draw, I Do, The MAC, Belfast, Ireland (forthcoming) The Yosemite Suite, L.A. Louver, Venice, California The Yosemite Suite, Annely Juda Fine Art, London David Hockney: 77 Portraits, 2 Still Lifes, Royal Academy of Arts, London, United Kingdom David Hockney: The Yosemite Suite, Pace, 537 West 24th Street, New York, New York. David Hockney: Six Tales from the Brothers Grimm, Gallagher & Turner, Newcastle, United Kingdom David Hockney: From the Beginning, River and Rowing Museum, Henley on Thames, United Kingdom 2015 – 2016 Hockney’s Double Portraits, Tate Britain, London, United Kingdom The Arrival of Spring, Fondation Vincent van Gogh Arles, Arles, France 2015 David Hockney, Works on Paper, Paul Kasmin Gallery, New York, New York David Hockney: Early Drawings, Offer Waterman, London, United Kingdom The Arrival of Spring in Woldgate, Galerie Lelong, Paris, France David Hockney: Painting and Photography, Annely Juda Fine Art, London, United Kingdom; traveled to L.A. Louver, Venice, California [cat.] -
Palgrave Studies in Theatre and Performance History Is a Series
Palgrave Studies in Theatre and Performance History is a series devoted to the best of theatre/performance scholarship currently available, accessible, and free of jargon. It strives to include a wide range of topics, from the more traditional to those performance forms that in recent years have helped broaden the understanding of what theatre as a category might include (from variety forms as diverse as the circus and burlesque to street buskers, stage magic, and musical theatre, among many others). Although historical, critical, or analytical studies are of special interest, more theoreti- cal projects, if not the dominant thrust of a study, but utilized as important underpin- ning or as a historiographical or analytical method of exploration, are also of interest. Textual studies of drama or other types of less traditional performance texts are also germane to the series if placed in their cultural, historical, social, or political and eco- nomic context. There is no geographical focus for this series and works of excellence of a diverse and international nature, including comparative studies, are sought. The editor of the series is Don B. Wilmeth (EMERITUS, Brown University), PhD, University of Illinois, who brings to the series over a dozen years as editor of a book series on American theatre and drama, in addition to his own extensive experience as an editor of books and journals. He is the author of several award-winning books and has received numerous career achievement awards, including one for sustained excel- lence in editing -
800-769-5912 Ext. 3 Or Email Kate: [email protected]
Day 1 - Grand Central Terminal, Gulliver’s Gate, and Skyscape living. Enjoy lunch on own while at the museum. Check in for your Depart from Arlington with ESCORT, then enjoy lunch at Limani, Inside Out tour at the Visitor Center. Depart on Inside Out tour at located around the corner from Radio City Music Hall and walking the Visitor (pending availability). Discover New York City hidden distance from the Theatre District. Each dish has an element of secrets - The tour includes underground artwork, lesser-known simplicity and freshness to go along with being a traditional Greek cultural monuments, hidden artifacts, unique architecture, decoded recipe and the dramatic décor reminds customers of the crystal historic messages, and all the fascinating stories behind them. clear, blue waters of the Greek islands. Enjoy a self-guided audio Follow the clues to explore the city’s best secrets and uncover tour of Grand Central Terminal. Get your audio device, headphones mysteries that even native New Yorkers don’t know! Return to hotel and maps then depart on your tour! All key accessible areas of the for free evening. Dinner on own. Terminal are visited included the astronomical ceiling, the whispering gallery and more. Visit Gulliver’s Gate, A technologically Day 3 - Bartow-Pell Mansion and Depart advanced, interactive and immersive world of miniatures covering Enjoy breakfast included at the hotel before checking out. Visit the 50,000 square feet that will ignite your imagination and challenge Bartow-Pell Mansion Museum. Chose to take either the Mansion your perspective. Visit Spyscape, channel your inner James Bond in and Carriage House or the Gardens and Grounds tour then enjoy this immersive museum where you’ll learn about encryption, some conversation and light refreshments (tea, scones, and bis- deception, special ops and so much more! Enjoy dinner included at cuits) in the conservatory. -
Home Chat Feb 2004 A3
WHAT’S ON? Is your production or event shown here...? If you want an item to be included here or on our website then please send details to: The Noël Coward Society, 29, Waldemar Avenue, Hellesdon, Norwich, NR6 6TB or email: [email protected] Tel: +44 (0)1603 486188 Fax: +44 (0)1603 400683 Professional companies are shown in blue * denotes Premiere, TBC = To be confirmed In North America Hay Fever Blithe Spirit: 12 to 17 Jan Nottingham Arts Theatre, Nottingham, 3 to 5 Mar Crofton House School, Vancouver, BC 27 to 28 May St. Mark’s Church Hall, Reigate, Surrey Mar to Apr Denver Center, Denver, CO 31 Jan to 7 Feb @ 7.45 Sunday Teddington Theatre Club @ Page 1: Hands Across 26 to 30 Apr Mississauga, Ontario Hampton Hill Playhouse, Teddington also 1st Feb @6.00pm ‘HANDS ACROSS THE SEA’ The Sea 22 Apr to 1 May Windmill Theatre Players, High River, Alberta Matinee 7th Feb @2.30 Box Office: 020 8979 9499 (from In what was in essence an encore for a very successful year for the Society, we remembered The Page 2: NCS Auction 19th Jan) Tickets £6 & £8 Master in style - 30 years after he left us at Firefly - with an opportunity to celebrate the continuing Page 3: Barbara Design For Living 2004 (TBC) West Yorkshire Playhouse, The Quarry success of his work, remember his birth and release some of the most interesting volumes from the old Longford writes ... Page 4: Hampton Hill 5 to 13 Feb Amicus Productions Toronto, Ontario 30 Apr to 15 May Haymarket Theatre, Basingstoke London Office of the Coward Estate at our Annual Luncheon and Auction at The Savoy. -
University Microfilms International
INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting througli an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again-beginning below the first row and continuing on until complete. -
The Women of the Ten, Twent', Thirt': Popular Melodrama Theatre in Turn-Of-The-Century New York
City University of New York (CUNY) CUNY Academic Works Dissertations, Theses, and Capstone Projects CUNY Graduate Center 1999 The Women of the Ten, Twent', Thirt': Popular Melodrama Theatre in Turn-of-the-Century New York Barbara Meredith Waldinger The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/4327 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. -
The Museum of Television & Radio
The Museum of Television & Radio The Museum of Television & Radio Page 15 LL32 Ia. The Museum of Television & RadioIStatement of Purpose and Procedures The Museum of Television & Radio is a national, nonprofit, educational organization founded by William S. Paley in 1975 to collect, preserve, and interpret television and radio programming and advertisements, and to make them available to the public. The Museum opened its doors on November 9, 1976, as Theon three floors of a converted office building at 1 East 53 Street in New York City. In 1991, the Museum's Board of Trustees renamed the institution The Museum of Television & Radio to reflect more accurately the addition of programs beyond those that are broadcast, to those transmitted by other methods such as cable and satellite. On September 12, 1991, the Museum moved into the William S. Paley Building (located at 25 West 52 Street in New York), named after its founder and designed by Philip Johnson. On March 18, 1996, The Museum of Television & Radio in Los Angeles opened to the public. Named the Leonard H. Goldenson Building, the Museum is located at 465 North Beverly Drive, Beverly Hills, California. The Los Angeles facility was designed by Richard Meier. The Museum is, therefore, one museum with two locations. The Museum's Collection now includes more than 80,000 television and radio programs and advertisements chosen by an experienced curatorial staff for their artistic, cultural, and historical significance. The Collection covers more than seventy-five years of television and radio history and includes news, public affairs, documentary, performing arts, children's, drama, sports, and comedy programs and advertising.