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CLARION of BREVARD COLLEGE CAMPUS Tw O BREVARD COLLEGE, F Rid Ay,November 7, 1975 Volume 43 Phi Them Kappa Sponsors Brevard, N.C
THE VOICE THE CLARION Of BREVARD COLLEGE CAMPUS Tw o BREVARD COLLEGE, F rid ay,November 7, 1975 Volume 43 Phi Them Kappa Sponsors Brevard, N.C. — Dr. Jam es C. Richard Wordsworth Peters, Sr., Associate Director of the Council on Ministries of the The tours began in 1970 with “The On Sunday, November 9th, Western North Carolina Con Bliss of Solitude” , a one-man Brevard’s Resident chapter of ference of the United Methodist entertainment about William Phi Theta Kappa and the Church, was guest speaker at Wordsworth. Humanities Department will convocation at 10:00 a.m., sponsor a community wide Wednesday morning, October Now, though, Wordsworth’s symposium featuring Richard 15 in Dunham Auditorium at scope has been broadened to Wordsworth, great great grand Brevard College. Taking as his include a selection of eight talks. son of English poet William text, Matthew 14: 22-23, Dr. Wordsworth. The symposium These talks range from Shakespeare, Dickens, and the Peters presented a message of which is made possible through personal challenge. Our Wordsworth Circle, to American the efforts of the Lyceum com Miraculous Best. An open in Bicentennial programs, one of mittee and Fine Arts Dept, also, vitation was extended to mem which Mr. Wordsworth will is part of Wordsworth’s 1975-76 bers of the community. Lecture Tour to American present to the Brevard Com Colleges and Universities. There munity. After taking his A.D. Degree at will be two performances, an Rust College in Mississippi, in This particular program is “An afternoon performance at 2:30 1950 Reverend Peters served as Interview with Thomas Jef and an evening performance at pastor and taught English in the ferson”, with Wordsworth high school at Winona, 8:15. -
COSTUME PLOT "A Grand Night for Singing" Various Productions Of
. - .. ~... ., , COSTUME PLOT "A GrandNight For Singing" Various productionsof this musicalrevue have used either eveningclothes or costumes for the actors. This particular plot sufficesfor a stagingthat supportsthe use of costumes andprops in telling the story of a fantasyabout the seasonsof love. Setin post World War II, a time of rebirth andhope for the U.S., Act I represents Springtimewith five youths experiencingthe dawningof new love and the awakeningsof infatuationand romance. Summeris aboutmaking commitmentsand backing away from them. Autumn representsmaturing love, relationshipsand responsibilities. Winter is a time of reposeand remembrance,five soliloquiesof what was or what might havebeen. To that end,this plot includesthe breakdownof songsby "season". Spring The CarouselWaltz Carousel Company So Far Allegro Leading Lady It's A GrandNight For Singing StateFair Company The SurreyWith The Fringe On Top Oklahoma! Comicjuvenile Stepsisters'Lament Cinderella Comic ingenue & leading lady We Kiss In A Shadow The King and I Leadingman ! Hello, Young Lovers The King and I Company A Wonderful Guy SouthPacific Comic ingenue I Cain't SayNo Oklahoma! Soubrette Maria The Soundof Music Comicjuvenile Do I Love You BecauseYou're Beautiful? Cinderella Leading lady Summer Honey Bun SouthPacific Leading man, company The GentlemanIs A Dope Allegro Soubrette Don't Marry Me Flower Drum Song Leading man,comic juvenile, comic ingenue& leading lady Many A New Day/I'm GonnaWash SouthPacific Soubrette,leading lady, That Man Right Out-a My Hair comic ingenue If I Loved You Carousel Comic ingenue - . J- - That's The Way It Happens Me & Juliet Soubrette,comic juvenile "A GrandNight For Singing" Page2 Summer (cont'd) All At OnceYou Love Her Pipe Dream Leading man, comic juvenile SomeEnchanted Evening SouthPacific Company Autumn Oh, What A Beautiful Morning Oklahoma! Leadingman It Might As Well Be Spring StateFair Leading lady To Have And To Hold/Wish Them Well Allegro Company KansasCity Oklahoma! Comic ingenue, soubrette, . -
Rodgers & Hammerstein's
2015/16 Season Rodgers & Hammerstein’s Rodgers & Hammerstein’s THE KING AND I Music by RICHARD RODGERSBook and Lyrics by OSCAR HAMMERSTEIN II Based on “Anna and the King of Siam” by Margaret LandonOriginal Orchestrations by Robert Russell Bennett Original Dance Arrangements by Trude RittmannOriginal Choreography by Jerome Robbins LYRIC OPERA OF CHICAGO Table of Contents MARIE-NOËLLE ROBERT / THÉÂTRE DU CHÂTELET IN THIS ISSUE The King and I – pp. 25-41 6 From the President 14 Voyage Of Discovery: : 45 Lyric Unlimited/Education Corps and the General Director Lyric’s 2016-17 Season 46 Aria Society 8 Board of Directors 23 Tonight’s Performance 55 Breaking New Ground/ 25 Cast 10 Women’s Board/Guild Board/ Look to the Future Chapters’ Executive Board/ 26 Musical Numbers/Orchestra 57 Major Contributors – Special Ryan Opera Center Board 27 Artist Profiles Events and Project Support 12 Administration/Administrative 37 A Glorious Partnership 58 Ryan Opera Center Staff/Production and 40 A Talk with the Director Technical Staff 42 Just for Kids 59 Ryan Opera Center Contributors 60 Lyric Unlimited Contributors LYRIC 2016-17 SEASON PREVIEW pp. 16-22 61 Planned Giving: The Overture Society 63 Annual Corporate Support 64 Matching Gifts, Special Thanks and Acknowledgements 65 Annual Individual and MARIE-NOËLLE ROBERT/THÉÂTRE DU CHÂTELET Foundation Support 71 Commemorative Gifts 72 Facilities and Services/Theater Staff On the cover: Paolo Montalban as the King and Kate Baldwin as Anna, photographed by Todd Rosenberg. 2 LYRIC OPERA OF CHICAGO Since 1991 www.performancemedia.us | 847-770-4620 3453 Commercial Avenue, Northbrook, IL 60062 Gail McGrath Publisher & President Sheldon Levin Publisher & Director of Finance A. -
The Enduring Power of Musical Theatre Curated by Thom Allison
THE ENDURING POWER OF MUSICAL THEATRE CURATED BY THOM ALLISON PRODUCTION SUPPORT IS GENEROUSLY PROVIDED BY NONA MACDONALD HEASLIP PRODUCTION CO-SPONSOR LAND ACKNOWLEDGEMENT Welcome to the Stratford Festival. It is a great privilege to gather and share stories on this beautiful territory, which has been the site of human activity — and therefore storytelling — for many thousands of years. We wish to honour the ancestral guardians of this land and its waterways: the Anishinaabe, the Haudenosaunee Confederacy, the Wendat, and the Attiwonderonk. Today many Indigenous peoples continue to call this land home and act as its stewards, and this responsibility extends to all peoples, to share and care for this land for generations to come. CURATED AND DIRECTED BY THOM ALLISON THE SINGERS ALANA HIBBERT GABRIELLE JONES EVANGELIA KAMBITES MARK UHRE THE BAND CONDUCTOR, KEYBOARD ACOUSTIC BASS, ELECTRIC BASS, LAURA BURTON ORCHESTRA SUPERVISOR MICHAEL McCLENNAN CELLO, ACOUSTIC GUITAR, ELECTRIC GUITAR DRUM KIT GEORGE MEANWELL DAVID CAMPION The videotaping or other video or audio recording of this production is strictly prohibited. A MESSAGE FROM OUR ARTISTIC DIRECTOR WORLDS WITHOUT WALLS Two young people are in love. They’re next- cocoon, and now it’s time to emerge in a door neighbours, but their families don’t get blaze of new colour, with lively, searching on. So they’re not allowed to meet: all they work that deals with profound questions and can do is whisper sweet nothings to each prompts us to think and see in new ways. other through a small gap in the garden wall between them. Eventually, they plan to While I do intend to program in future run off together – but on the night of their seasons all the plays we’d planned to elopement, a terrible accident of fate impels present in 2020, I also know we can’t just them both to take their own lives. -
Producing Tennessee Williams' a Streetcar Named Desire, a Process
THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE SCHOOL OF THEATRE PRODUCING TENNESSEE WILLIAMS’ A STREETCAR NAMED DESIRE, A PROCESS FOR DIRECTING A PLAY WITH NO REFUND THEATRE J. SAMUEL HORVATH Spring, 2010 A thesis submitted in partial fulfillment of the requirements for a baccalaureate degree in Finance with honors in Theatre Reviewed and approved* by the following: Matthew Toronto Assistant Professor of Theatre Thesis Supervisor Annette McGregor Professor of Theatre Honors Adviser * Signatures are on file in the Schreyer Honors College. ABSTRACT This document chronicles the No Refund Theatre production of Tennessee Williams’ A Streetcar Named Desire. A non-profit, student organization, No Refund Theatre produces a show nearly every weekend of the academic year. Streetcar was performed February 25th, 26th, and 27th, 2010 and met with positive feedback. This thesis is both a study of Streetcar as a play, and a guide for directing a play with No Refund. It is divided into three sections. First, there is an analysis Tennessee Williams’ play, including a performance history, textual analysis, and character analyses. Second, there is a detailed description of the process by which I created the show. And finally, the appendices include documentation and notes from all stages of the production, and are essentially my directorial promptbook for Streetcar. Most importantly, embedded in this document is a video recording of our production of Streetcar, divided into three “acts.” I hope that this document will serve as a road-map for -
Rodgers & Hammerstein
Connect the Devon Energy Presents Dots to Find Lyric Theatre’s the Castle! CinderellaA Literary Tale Interactive Rodgers & Hammerstein The music of Cinderella was composed by Richard Rodgers. The lyrics to the songs and book (script) were written by Oscar Hammerstein II. Originally presented on television in 1957 starring Julie Andrews (pictured below), Rodgers and Hammerstein’s Cinderella was the most widely viewed program in the history of the medium. Andrews starred in many musicals and movies, such as The Sound of Music, Camelot, and The Princess Diaries. Music by Richard Rodgers Book & Lyrics by Oscar Hammerstein II After long and highly distinguished careers with Study Guide Recommended for Children of All Ages other writing partners, Richard Rodgers (composer, Lyric’s Cinderella - A Literary Tale Interactive is a thrilling program 1902-1979) and Oscar Hammerstein II (librettist/ offering an original take on a familiar story. You will visit with favorite lyricist, 1895-1960), also known as R&H, joined characters: the gracious Cinderella, the charming Prince, and the forces in 1943 to create the most consistently fruitful evil Stepsisters. Through the music and dialogue of Rodgers and and successful partnership in the American musical Hammerstein, you will learn fun and important literary terms and theatre. Oklahoma!, the first Rodgers & Hammerstein concepts. musical, was also the first of a new genre, the musical play! Other R&H Musicals You May Know: Carousel, South Pacific, The King and I,and The Sound of Music Carolyn Watson THE Wilshire Rural Oklahoma McGee Charitable Source: www.rnh.com Community Foundation FOUNDATION Foundation LYRIC IS OKLAHOMA’S LEADING PROFESSIONAL THEATRE COMPANY and Seek & has been producing classic and contemporary musicals featuring both nationally Literature Plot Diagram known Broadway stars and local favorites for over 50 years. -
A Career Overview 2019
ELAINE PAIGE A CAREER OVERVIEW 2019 Official Website: www.elainepaige.com Twitter: @elaine_paige THEATRE: Date Production Role Theatre 1968–1970 Hair Member of the Tribe Shaftesbury Theatre (London) 1973–1974 Grease Sandy New London Theatre (London) 1974–1975 Billy Rita Theatre Royal, Drury Lane (London) 1976–1977 The Boyfriend Maisie Haymarket Theatre (Leicester) 1978–1980 Evita Eva Perón Prince Edward Theatre (London) 1981–1982 Cats Grizabella New London Theatre (London) 1983–1984 Abbacadabra Miss Lyric Theatre, Hammersmith Williams/Carabosse (London) 1986–1987 Chess Florence Vassy Prince Edward Theatre (London) 1989–1990 Anything Goes Reno Sweeney Prince Edward Theatre (London) 1993–1994 Piaf Édith Piaf Piccadilly Theatre (London) 1994, 1995- Sunset Boulevard Norma Desmond Adelphi Theatre (London) & then 1996, 1996– Minskoff Theatre (New York) 19981997 The Misanthrope Célimène Peter Hall Company, Piccadilly Theatre (London) 2000–2001 The King And I Anna Leonowens London Palladium (London) 2003 Where There's A Will Angèle Yvonne Arnaud Theatre (Guildford) & then the Theatre Royal 2004 Sweeney Todd – The Demon Mrs Lovett New York City Opera (New York)(Brighton) Barber Of Fleet Street 2007 The Drowsy Chaperone The Drowsy Novello Theatre (London) Chaperone/Beatrice 2011-12 Follies Carlotta CampionStockwell Kennedy Centre (Washington DC) Marquis Theatre, (New York) 2017-18 Dick Whttington Queen Rat LondoAhmansen Theatre (Los Angeles)n Palladium Theatre OTHER EARLY THEATRE ROLES: The Roar Of The Greasepaint - The Smell Of The Crowd (UK Tour) -
American Music Research Center Journal
AMERICAN MUSIC RESEARCH CENTER JOURNAL Volume 19 2010 Paul Laird, Guest Co-editor Graham Wood, Guest Co-editor Thomas L. Riis, Editor-in-Chief American Music Research Center College of Music University of Colorado Boulder THE AMERICAN MUSIC RESEARCH CENTER Thomas L. Riis, Director Laurie J. Sampsel, Curator Eric J. Harbeson, Archivist Sister Mary Dominic Ray, O.P. (1913–1994), Founder Karl Kroeger, Archivist Emeritus William Kearns, Senior Fellow Daniel Sher, Dean, College of Music William S. Farley, Research Assistant, 2009–2010 K. Dawn Grapes, Research Assistant, 2009–2011 EDITORIAL BOARD C. F. Alan Cass Kip Lornell Susan Cook Portia Maultsby Robert R. Fink Tom C. Owens William Kearns Katherine Preston Karl Kroeger Jessica Sternfeld Paul Laird Joanne Swenson-Eldridge Victoria Lindsay Levine Graham Wood The American Music Research Center Journal is published annually. Subscription rate is $25.00 per issue ($28.00 outside the U.S. and Canada). Please address all inquiries to Lisa Bailey, American Music Research Center, 288 UCB, University of Colorado, Boulder, CO 80309-0288. E-mail: [email protected] The American Music Research Center website address is www.amrccolorado.org ISSN 1058-3572 © 2010 by the Board of Regents of the University of Colorado INFORMATION FOR AUTHORS The American Music Research Center Journal is dedicated to publishing articles of general interest about American music, particularly in subject areas relevant to its collections. We welcome submission of articles and pro- posals from the scholarly community, ranging from 3,000 to 10,000 words (excluding notes). All articles should be addressed to Thomas L. Riis, College of Music, University of Colorado Boulder, 301 UCB, Boulder, CO 80309-0301. -
SMTA Catalog Complete
The Integrated Broadway Library Index including the complete works from 34 collections: sorted by musical HL The Singer's Musical Theatre Anthology (22 vols) A The Singer's Library of Musical Theatre (8 vols) TMTC The Teen's Musical Theatre Collection (2 vols) MTAT The Musical Theatre Anthology for Teens (2 vols) Publishers: HL = Hal Leonard; A = Alfred *denotes a song absent in the revised edition Pub Voice Vol Page Song Title Musical Title HL S 4 161 He Plays the Violin 1776 HL T 4 198 Mama, Look Sharp 1776 HL B 4 180 Molasses to Rum 1776 HL S 5 246 The Girl in 14G (not from a musical) HL Duet 1 96 A Man and A Woman 110 In The Shade HL B 5 146 Gonna Be Another Hot Day 110 in the Shade HL S 2 156 Is It Really Me? 110 in the Shade A S 1 32 Is It Really Me? 110 in the Shade HL S 4 117 Love, Don't Turn Away 110 in the Shade A S 1 22 Love, Don't Turn Away 110 in the Shade HL S 1 177 Old Maid 110 in the Shade HL S 2 150 Raunchy 110 in the Shade HL S 2 159 Simple Little Things 110 in the Shade A S 1 27 Simple Little Things 110 in the Shade HL S 5 194 Take Care of This House 1600 Pennsylvania Avenue A T 2 41 Dames 42nd Street HL B 5 98 Lullaby of Broadway 42nd Street A B 1 23 Lullaby of Broadway 42nd Street HL T 3 200 Coffee (In a Cardboard Cup) 70, Girls, 70 HL Mezz 1 78 Dance: Ten, Looks: Three A Chorus Line HL T 4 30 I Can Do That A Chorus Line HL YW MTAT 120 Nothing A Chorus Line HL Mezz 3 68 Nothing A Chorus Line HL Mezz 4 70 The Music and the Mirror A Chorus Line HL Mezz 2 64 What I Did for Love A Chorus Line HL T 4 42 One More Beautiful -
The Piano Duet Play-Along Series Gives You the • I Dreamed a Dream • in My Life • on My Own • Stars
1. Piano Favorites 13. Movie Hits 9 great duets: Candle in the Wind • Chopsticks • Don’t 8 film favorites: Theme from E.T. (The Extra-Terrestrial) Know Why • Edelweiss • Goodbye Yellow Brick Road • • Forrest Gump – Main Title (Feather Theme) • The Heart and Soul • Let It Be • Linus and Lucy • Your Song. Godfather (Love Theme) • The John Dunbar Theme • Moon 00290546 Book/CD Pack ............................$14.95 River • Romeo and Juliet (Love Theme) • Theme from Schindler’s List • Somewhere, My Love. 2. Movie Favorites 00290560 Book/CD Pack ...........................$14.95 8 classics: Chariots of Fire • The Entertainer • Theme from Jurassic Park • My Father’s Favorite • My Heart Will Go 14. Les Misérables On (Love Theme from Titanic) • Somewhere in Time • 8 great songs from the musical: Bring Him Home • Castle on Somewhere, My Love • Star Trek® the Motion Picture. a Cloud • Do You Hear the People Sing? • A Heart Full of Love The Piano Duet Play-Along series gives you the • I Dreamed a Dream • In My Life • On My Own • Stars. flexibility to rehearse or perform piano duets 00290547 Book/CD Pack ............................$14.95 00290561 Book/CD Pack ...........................$16.95 anytime, anywhere! Play these delightful tunes 3. Broadway for Two 10 songs from the stage: Any Dream Will Do • Blue Skies 15. God Bless America® & Other with a partner, or use the accompanying CDs • Cabaret • Climb Ev’ry Mountain • If I Loved You • Okla- to play along with either the Secondo or Primo Songs for a Better Nation homa • Ol’ Man River • On My Own • There’s No Business 8 patriotic duets: America, the Beautiful • Anchors part on your own. -
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. -
A Look at Rodgers and Hammerstein's Asian Musicals and Racial
THE SOUND OF PREJUDICE: A LOOK AT RODGERS AND HAMMERSTEIN' S ASIAN MUSICALS AND RACIAL STEREOTYPES by Loretta M. Pippin A thesis submitted in partial fulfilhnent of the requirements of the University Honors Program St. Petersburg Campus University of South Florida December, 2000 Thesis Director: Raymond 0. Arsenault, Ph.D. University Honors Program University of South Florida St. Petersburg, Florida CERTIFICATE OF APPROVAL Honors Thesis This is to certify that the Honors Thesis of Loretta M. Pippin Has been approved by the Examining Committee on December 14, 2000 as satisfactory for the thesis requirement for the University Honors Program Examining Committee: Member: Gerald A Notaro, M.L.S. Member: Lisa S. Starks, Ph.D. - . '----.. Dedicated to Lee Pippin This is for my loving husband Lee. He had faith in my abilities and never doubted my capabilities when I was unsure of them myself. This project would not have been possible without his love, support, and encouragement. Lee was always by my side. He kept me going when I was down and ready to quit. My husband made tremendous personal sacrifices to help me complete my thesis. I thank him with all my heart for never losing faith in my work and me. - TABLE OF CONTENTS PREFACE ............ .... .... ... .. .................................. .. ............... ...... .. ......... .......... ..... .. ....... i ACKNOWLEDGMENTS ........ ..... ............ ........................ ... ................... .......... ............ .iii INTRODUCTION ................ .... .. ...........................................