Musical Numbers (Act I)
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Teacher Guide
MILWAUKEE REPERTORY THEATER TEACHER’S GUIDE November 18-December 21, 2014 | The Quadracci Powerhouse CLASSROOM ACTIVITIES Teacher Guide written by Deanie Vallone, Education Intern, with contributions by Lindsey Hoel-Neds, Education Associate, By Mary Chase and Hope Parow, Education Assistant Directed by KJ Sanchez Executive Producer Judy Hansen SUGGESTED TEACHING TOPICS 1.) Family & Relationships This Teacher’s Guide is designed to be used in the classroom along with The Rep’s Play Guide for Harvey. 2.) Reality vs. Fantasy These are some suggested activities for your classroom. The Play Guide is available online at http://www.milwaukeerep.com/Tickets/2014-15-Season/Harvey-Play-Guide/ 3.) Changing Identities & Perspectives FAMILY & RELATIONSHIPS DISCUSS: Pre-Show Questions • Harvey’s plot revolves around the Dowd family and how they interact with each other. Over the course of the play they learn to make sacrifices for each other, and they redefine how they view one another. How do you define family? What kind of exceptions do you make for family? How do you treat your family members differently from other people? DISCUSS: Post-Show Questions • Harvey depicts one type of family from the 1940s. How have family dynamics changed since that time period? How is your family similar to Scenes from the 1949 Broadway or different from the Dowd family inHarvey ? production of Harvey. Photo courtesy of Program Publishing Company. PERFORM: Family Portrait Tableaus Have students create tableaus (frozen images that tell a story) to illustrate family as a central theme. Their tableaus should be candid in the sense that they are not depicting a traditional formal family portrait, but families engaged in daily life. -
KS5 Exploring Performance Styles in Musical Theatre
Exploring performance KS5 styles in Musical Theatre Heidi McEntee Heidi McEntee is a Dance and KS5 – BTEC LEVEL 3, UNIT D10 Performing Arts specialist based in the Midlands. She has worked in education for over fifteen years delivering a variety of Dance and Performing Arts qualifications at Introduction Levels 1, 2 and 3. She is a Senior Unit D10: Exploring Performance Styles is one of the three units which sit within Module D: Assessment Associate working on musical theatre Skills Development from the new BTEC Level 3 in Performing Arts Practice Performing Arts qualifications and (musical theatre) qualification. This scheme of work focuses on the first unit which introduces a contributing author for student and explores different musical theatre styles. revision guides. This unit requires learners to develop their practical skills in dance, acting and singing while furthering their understanding of musical theatre styles. The unit culminates in a performance of two extracts in two different styles of musical theatre as well as a critical review of the stylistic qualities within these extracts. This scheme of work provides a suggested approach to six weeks of introductory classes, as a part of a full timetable, which explores the development of performance styles through the history of musical theatre via practical activities, short projects and research tasks. Learning objectives By the end of this scheme, learners will have: § Investigated the history of musical theatre and the factors which have influenced its development Unit D10: Exploring Performance § Explored the characteristics of different musical theatre styles and how they have developed Styles from BTEC L3 Nationals over time Performing Arts Practice (musical § Applied stylistic conventions to the performance of material theatre) (2019) § Examined professional work through critical analysis. -
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. -
European Journal of American Studies, 11-3 | 2017 Challenging “La Vie Bohème”: Community, Subculture, and Queer Temporality in
European journal of American studies 11-3 | 2017 Special Issue: Re-Queering The Nation: America’s Queer Crisis Challenging “La Vie Bohème”: Community, Subculture, and Queer Temporality in Rent Eleonora Sammartino Electronic version URL: https://journals.openedition.org/ejas/11720 DOI: 10.4000/ejas.11720 ISSN: 1991-9336 Publisher European Association for American Studies Electronic reference Eleonora Sammartino, “Challenging “La Vie Bohème”: Community, Subculture, and Queer Temporality in Rent”, European journal of American studies [Online], 11-3 | 2017, document 4, Online since 04 February 2017, connection on 08 July 2021. URL: http://journals.openedition.org/ejas/11720 ; DOI: https://doi.org/10.4000/ejas.11720 This text was automatically generated on 8 July 2021. Creative Commons License Challenging “La Vie Bohème”: Community, Subculture, and Queer Temporality in ... 1 Challenging “La Vie Bohème”: Community, Subculture, and Queer Temporality in Rent Eleonora Sammartino 1 At the beginning of 2016, the first BroadwayCon, held from 22-24 January in the heart of New York’s Theatreland, marked a very special occasion for every theatre enthusiast. As demonstrated by the flurry of articles in specialized columns and websites like “Playbill” (“Original Rent Cast”) and “Entertainment Weekly” (Derschowitz), blogs such as “Broadway Musical Blog” (Rigsbee), and tweets (“#BroadwayCon”), the convention had a meaningful significance for fans of the musical Rent, which celebrated 20 years from its opening off-Broadway during that weekend. More somberly, the festivities were also a chance to remember its creator, Jonathan Larson, who died the night before the first off-Broadway preview. However, the film adaptation of Rent (Chris Columbus, 2005) has not enjoyed the same enduring popularity of the stage musical. -
My Tried and True Repertoire Keith Hancock, Tesoro HS, [email protected]
My Tried and True Repertoire Keith Hancock, Tesoro HS, [email protected] Adv. SATB General A Boy and a Girl-Whitacre Adv. SATB Graduation Bogoroditse Devo-Rachmaninov For Good-Huff Daemon Irrepit Callidus-Orban 100 Years-James Daniel, Daniel, Servant of the Lord-Moore Finale B-Emerson David’s Lamentation-Shank In My Life-Zegree Der Gang Zum Liebchen-Brahms Dirait-on-Lauridsen Adv. SSAA General El Guayaboso-Lopez-Gavilan Ah si mon moine voulait danser-Patriquin Esto les Digo-Lange Ain’t No Grave-Caldwell/Ivory Lamentations of Jeremiah-Stroope Away from the Roll of the Sea-Loomer Lord, I Know I Been Changed-More Benedictus-Haydn/Cleveland O Magnum Mysterium-Childs Chi la Gagliarda-Donato O Magnum Mysterium-Victoria Deus Noster Refugium-Knecht O Sifuni Mungu-Maddux Dirait-on-Lauridsen Praise His Holy Name-Hampton Dome Epais-Delibes Si, Ch’io Vorrei Morire-Monteverdi Exaudi! Laudate!-Patton Sing Me to Heaven-Gawthrop Hey, Nonny No!-Kowalski Sure on this Shining Night-Lauridsen Hoj! Hura Hoj!-Macha That Ever I Saw-Meader Hotaru Koi-Ogura The Last Words of David-Thompson I Am Not Yours-Childs The Pasture-Stroope Jubilate Deo-Roman Twa Tanbou-Guilaume Koowu-Khoury Wipip-Guillaume Koudjay-Guillaume Zigeunerleben-Schumann Kungala-Leek Las Amarillas-Hatfield Adv. SATB Holiday Laudate Dominum-Hovland Betelehemu-Brooks Mainacht-Brahms/Stroope Bashana Haba’ah-Leavitt Music Down in my Soul-Hogan Blow, Blow Thou Winter Wind-Rutter Nigra Sum-Casals Carol of the Bells-Wilhousky Ouvre Ton Coeur-Bizet The First Noel-Meader Hymns to the Waters from Rig Veda-Holst Christmastime is Here-Snyder Still I Rise-Powell Go Where I Send Thee-Caldwell/Ivory The Lake Isle of Innisfree-Daley Holly, Jolly Christmas-Shaw The Seal Lullabye-Whitacre It’s Beginning to Look a Lot Like Christmas- Tota Pulchra Es-Durufle Huff Tundra-Gjeilo La Virgen lava Panales-Nin-Culmell Will There Really Be a Morning-Johnson Let it Snow/Winter Wonderland-Billingsley Lo, How a Rose E’er Blooming-Maddux Adv. -
February 7 - 8, 2020
February 7 - 8, 2020 As a courtesy to the artists and for the uninterrupted enjoyment of your fellow patrons, please turn off all electronic devices. No portion of this performance may be photographed, recorded, filmed, taped, broadcast or mechanically reproduced without the written consent of the Artist and/ or the Presenter. Mayo Performing Arts Center is not responsible for lost or stolen items. Program subject to change. 2 WORK LIGHT PRODUCTIONS presents Book, Music and Lyrics by Jonathan Larson Set Design Costume Design Lighting Design Sound Design Paul Clay Angela Wendt Jonathan Spencer Keith Caggiano Original Concept & Musical Arrangements Additional Lyrics Dramaturg Steve Skinner Billy Aronson Lynn M. Thompson Musical Direction Set Design Adaptation Production Stage Manager Mark Binns Matthew E. Maraffi Gabrielle Norris Tour Marketing Associate Associate Casting & Press Director Choreographer Wojcik | Seay Casting Allied Touring Trey Ellett MiRi Park Production Management General Management Company Manager Port City Technical Work Light Productions Kerrick Dougherty Music Supervision and Additional Arrangements Tim Weil Choreography Marlies Yearby Directed by Evan Ensign Based on Original Direction by Michael Greif Originally produced on Broadway by Jeffrey Seller Kevin McCollum Allan S. Gordon and New York Theatre Workshop EXCLUSIVE TOUR DIRECTION by THE BOOKING GROUP www.thebookinggroup.com 3 CAST (in order of appearance) Roger Davis ...................................................................................... COLEMAN -
The Essentialism of Music in Human Life and Its Roots in Nature
Linfield University DigitalCommons@Linfield Senior Theses Student Scholarship & Creative Works 12-2014 The Essentialism of Music in Human Life and Its Roots in Nature Katricia D. F. Stewart Linfield College Follow this and additional works at: https://digitalcommons.linfield.edu/muscstud_theses Part of the Music Commons Recommended Citation Stewart, Katricia D. F., "The Essentialism of Music in Human Life and Its Roots in Nature" (2014). Senior Theses. 6. https://digitalcommons.linfield.edu/muscstud_theses/6 This Thesis (Open Access) is protected by copyright and/or related rights. It is brought to you for free via open access, courtesy of DigitalCommons@Linfield, with permission from the rights-holder(s). Your use of this Thesis (Open Access) must comply with the Terms of Use for material posted in DigitalCommons@Linfield, or with other stated terms (such as a Creative Commons license) indicated in the record and/or on the work itself. For more information, or if you have questions about permitted uses, please contact [email protected]. 1 LINFIELD COLLEGE McMinnville, Oregon The Essentialism of Music in Human Life and its Ties to Nature A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Bachelor of Arts in Music Katricia Darlene Frances Stewart Presented to the Department of Music December 2014 Signature redacted Signature redacted 2 Table of Contents Prologue ....... ..................................................................................................................... 3 Introduction -
Press Release: Clear Space Presents INTO the WOODS May 3
P R E S S R E L E A S E From: Clear Space Theatre Company Contact: Wesley Paulson Phone: 302.227.2270 Email: [email protected] April 17, 2019: FOR IMMEDIATE RELEASE David Button steps out of his director’s chair and INTO THE WOODS at Clear Space On Friday, May 3, David Button, Artistic Director for Clear Space Theatre, steps back onto the Clear Space stage for INTO THE WOODS. The show, which first opened on Broadway in 1987, was nominated for 10 Tony Awards and won three, including those for Best Book (James Lapine) and Best Score (Stephen Sondheim). Asked what it was about this show which lured him onto the stage (for the first time since 2016), Button replied, “I became familiar with INTO THE WOODS when I was in high school, and immediately fell in love with both the artistry of the interweaving stories and its musicality. This show demonstrates that musical theatre – no matter how frivolous at times – can have a heart and substantial meaning. How could I resist being in such a show?!” Those interweaving stories feature many characters familiar to audiences: Cinderella, Jack (of beanstalk fame), and Little Red Riding Hood are among them. Each has a familiar wish s/he is seeking to fulfill, be it to attend a ball, get milk from a cow, or provide bread to a grandmother. But our fairy tale friends are not the only wishful folk going INTO THE WOODS: On their own quest are a Baker (Button) and his wife (Erin Bobby), who seek the ingredients for a spell to break the Witch’s (Lorraine Steinhoff) curse which has left them childless. -
Cal Poly Arts Brings Tony Award-Winning Musical 'Contact' to PAC April 26
Cal Poly Arts Brings Award Winning Musical 'Contact' to PAC April 26 http://www.calpolynews.calpoly.edu/news_releases/2005/april_05/contac... Skip to Content Search Cal Poly News News Cal i fo r nia Pol yt e c hni c St a t e Unive r s i ty April 8, 2005 FOR IMMEDIATE RELEASE CONTACT: LISA WOSKE (805) 756-7110 Cal Poly Arts Brings Tony Award-Winning Musical 'contact' to PAC April 26 SAN LUIS OBISPO -- The winner of four Tony Awards, including Best Musical and Best Choreography, “contact” is the musical Time Magazine called “exhilarating, magical! Something really fresh.” Cal Poly Arts presents “contact” on Tuesday, April 26, 2005 at 8 p.m. at the Christopher Cohan Center. The show is directed and choreographed by Susan Stroman (recreated by Fergus Logan), written by John Weidman, and boasts a striking cast of 24 dancers/actors. “’contact’…is one of the rare absolutely perfect things I have ever seen in a theater,” reports famed entertainment columnist Liz Smith. “Not since Bob Fosse and Michael Bennett has a choreographer-director made such an intelligent creative impact on the American musical scene. “Everything about this evening is delightful,” Smith continues. “The first part is erotic and playful, the second is Lucille Ball-type funny and the third is a tour de force of contemporary dance. You’ll be sitting on the edge of your seat, electrified.” Ben Brantley of the New York Times agrees: “’contact’ is a sustained endorphin rush of an evening. Throbbing with wit, sex appeal and a perfectionist’s polish, ’contact’ restores the pleasure principle to the American musical.