DOCSLIB.ORG

THE AMERICAN MUSICAL H+ Block, Tuesday & Thursday 1:30-2:45

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
THE AMERICAN MUSICAL H+ Block, Tuesday & Thursday 1:30-2:45 DR 33: THE AMERICAN MUSICAL H+ Block, Tuesday & Thursday 1:30-2:45, Tisch 316 Sunday Screenings: 7:30-10:30, Tisch 316 Professor Barbara W. Grossman Office: Aidekman 207 (on the second floor of Aidekman, just past the door on the RIGHT side of Cohen balcony) Phone: Email: Office Hours: T & TH 4-5 and by appointment Teaching Assistants: Virginia Anderson, Jenna Kubly, Office hours by appointment. Course Description An introduction to a vibrant art form, this course will explore the American musical in all its variety and vitality. On stage and screen from The Black Crook (1866) to The Producers (2001), Cabaret (1966) to Caroline, or Change (2004), Show Boat (1927) to Spamalot (2005), we will focus on outstanding productions and the composers, lyricists, librettists, directors, designers, choreographers, performers, and producers who created them. Using films, images, and sound recordings (original cast and revivals), we will consider the musical as a reflection of American popular culture: the expression of fantasy and nostalgia, sentimentalism and chauvinism, racism and sexism, social protest and enduring optimism. At a time when roughly three out of every four Broadway musicals ends in economic failure, we will examine the fundamental tension between the art of creating musicals and the business of musical theatre, between artistic achievement and commercial success. We will consider the American musical from at least three different perspectives[1]: 1. As a work of art with unique conventions of aesthetics and form. To this end, we will ask: How do the different elements of the musical – script, blocking (stage movement), casting, acting (characterization, gesture, voice), music, lyrics, choreography, and design – work together to create a performance? What are the conventions of the musical and how did they develop over the course of the 20th century? 2. As an entertainment media that shaped and was shaped by its historical and cultural context. To this end, we will ask: Why have musicals been an important part of U.S. culture? What is their relationship to other entertainment media? st 3. As a viable performance form for the 21 century. To this end, we will ask: Why do musicals continue to be popular? What is significant about their popularity? How do they function as a form of art, culture, and entertainment today? Which musicals should be revived and performed, and why, and how? Goals of the course include: 1. Understanding musicals as texts and as performances, which include music, lyrics, script, staging, design, and dance. 2. Describing the development of the musical as an important element of American culture. 3. Identifying the contributions of significant creators of musicals. 4. Theorizing the significance of a given musical as a form of art and entertainment in its cultural context. 5. Considering the musical as contemporary-historical performance. Required and Recommended Texts The following books are available at the Tufts Bookstore. They are also on reserve for this class in the Music Library, located on the basement level of the Aidekman Arts Center (underneath Cohen Auditorium): Required (in order of use): 1. Raymond Knapp, The American Musical and the Formation of National Identity (Princeton: Princeton University Press, 2005). 2. Stephen Sondheim and John Weidman, Pacific Overtures (New York: TCG, 1991). 3. Arthur Laurents, Leonard Bernstein, and Stephen Sondheim, West Side Story in Romeo and Juliet and West Side Story (New York: Dell Publishing Co., 1965). 4. Arthur Laurents, Stephen Sondheim, Jule Styne, Gypsy (New York: TCG, 1994). 5. Stephen Sondheim and Hugh Wheeler, Sweeney Todd (New York: Applause, 1991). 6. The New American Musical, ed. Wiley Hausam (New York: TCG, 2003). 7. Tony Kushner and Jeanine Tesori, Caroline, or Change (New York: TCG, 2004). 8. Steven Adler, On Broadway: Art and Commerce on the Great White Way (Carbondale: Southern Illinois University Press, 2004). 9. COURSE READER available in the DRAMA OFFICE, which is just off Cohen Lobby on the left and is open M-F from 9-4. 3 Recommended: 10. William A. Everett and Paul R. Laird, eds., The Cambridge Companion to the Musical (Cambridge: Cambridge University Press, 2002). On backorder, due in late September. Required Performance: Torn Ticket II’s production of The Wild Party, December 1-3, Balch Arena Theater. Tickets will be available at the Arena Box Office later in the semester. Other productions of interest this fall in Boston: · Carmen, September 3-October 8, American Repertory Theater, Cambridge, www.amrep.org · Urinetown, September 9-October 15, Lyric Stage, Boston, www.lyricstage.com · Pulp, September 29-October 15, Boston Theatre Works, Boston Center for the Arts, www.bostontheatreworks.com · Hairspray, October 4-16, Opera House, Boston, www.broadwayinboston.com · Joseph and the Amazing Technicolor Dreamcoat, Colonial Theatre, Boston, www.broadwayinboston.com If you know of others, please share the information! COURSE REQUIREMENTS: 1. ATTENDANCE AND PARTICIPATION (10% of course grade) Although this is a large class, your attendance matters. More than 3 absences without a valid excuse will lower your grade for the semester. I welcome your participation in class, whenever possible, and recommend that you attend the Sunday evening film screenings which Ginny Anderson and Jenna Kubly will conduct. If you have to miss a screening, make sure to watch the film on your own, preferably before the class for which it is assigned. I may occasionally ask you to respond on Blackboard to a question that arises in class. 2. MIDTERM PAPER (20% of course grade) Instead of an in-class midterm exam, there will be a paper (5-7 pages) due on Thursday, October 20. A detailed explanation of this assignment and a list of possible topics will follow shortly. 4 3. FINAL PAPER OR PROJECT (30% of course grade) You have three options for this assignment: · a paper (10-12 pages) due on Thursday, December 8 · a design project due on Thursday, December 8 · a performance project to be presented in the Arena on Tuesday or Thursday, December 6 and 8 (and possibly on Sunday, December 4, depending on the number of projects) A detailed explanation of each of these options will follow shortly. All written work for this class should be: · Typed in 12-pt font · Double-spaced · Proofread for grammar, spelling, and coherence · Stapled together. In addition, make sure that you leave 1” margins all around, number your pages and put your name on each one. 4. FINAL EXAMINATION (40% of course grade) There will be an in-class final exam on Wednesday, December 14, from 3:30-5:30pm in the time slot reserved for H+ Block classes in the University exam schedule. ATTENDANCE IS MANDATORY, so please make your travel plans accordingly. Do NOT plan to leave campus for vacation until AFTER this exam. You will get more detailed instructions about this exam, which will cover the entire semester’s work, later on. Additional Information: · There is a site for this course on Blackboard: http://blackboard.tufts.edu · There are MANY books on reserve for this course in the Music Library. Librarian Abigail Al-Doory will be happy to help you. · There are MANY films on reserve in the Tisch Media Center. See either Richard Fleischer or Stacy Howe for assistance if you need it. [Hard copies of both reserve lists will follow shortly.] COURSE CALENDAR “Musicals played a formative role in our collective myth-making for nearly a century, giving us the words and music for the American Dream…But the American Dream has come under rigorous scrutiny in the last forty years…as America’s dream becomes increasingly threadbare, so has the art form that best promoted it. In this, at least, the musical remains the perfect metaphor for the time.” n John Lahr, author and critic “Musical theatre is the ultimate collaboration. In the best of all possible worlds, it starts from the top, when you pick people who can fulfill a creative obligation, using their own particular talent. If you pick the right people, not just on stage but behind the scenes, the boundaries of who does what move and out of each other and wonderful things begin to happen.” n Donna McKechnie, performer “I’m often asked where I think the musical theatre is heading. It’s one question I always try to dodge because I don’t think it’s heading anywhere until it’s already been there. One night a show opens and suddenly there’s a whole new concept. But it isn’t the result of a trend; it’s because one, two, three people sat down and sweated over an idea that somehow clicked and broke loose. It can be about anything and take off in any direction, and when it works, there’s your present and your future.” n Richard Rodgers, composer “You have two kinds of shows on Broadway – revivals and the same kind of musicals over and over again, all spectacles…It has to do with seeing what is familiar. We live in a recycled culture.” n Stephen Sondheim, composer, lyricist “Musicals are just songs and a narrative onstage. And there can be all kinds. The tradition is sturdy enough. I don’t think there’s anything bad about this. The only bad thing is if they’re done badly. Ultimately, it’s taste I’m more worried about.” n John Cameron Mitchell, creator and star of Hedwig and the Angry Inch “No one expects a Broadway musical comedy to be in the vanguard of what is bohemian, raunchy, folkloric, academic or aggressively experimental. That is not its job. Its job is to synthesize musical and social traditions with high-styled vivacity, especially those that dwell on different sides of the tracks in real life.
Load more

Recommended publications
  • Driving Miss Daisy Flame.Indd
    Women’s Health CLINIC FEBRUARY 2014 SEASON | YEAR A NEWSLETTER DEDICATED TO GROUPS, ORGANIZATIONS AND FRIENDS OF THE FIRESIDE THEATRE A Hilarious, Heartwarming Must-See FOR OVER THREE DECADES THE FIRESIDE HAS BEEN KNOWN FOR PRODUCING BIG, BRIGHT MUSICAL COMEDIES AND SPECTACULAR MUSICAL REVUES. MUSICAL THEATRE HAS BEEN MY SPECIALTY AND MY PASSION SINCE I SAW MY FIRST BROADWAY MUSICAL AT AGE 6. I TAKE GREAT PRIDE WHENEVER SOMEONE MARVELS AT HOW WE CAN TAKE A BIG BROADWAY MUSICAL AND PUT IT ON OUR SMALL ARENA STAGE WITHOUT LOSING ANY OF ITS WONDER. MUSICALS HAVE BEEN, WITHOUT A DOUBT, THE MAIN DISH ON THE FIRESIDE’S THEATRICAL MENU SINCE WE FIRST OPENED. Then why is it that one of the most I am very excited about directing our popular shows in Fireside history (as well production of this unforgettable play this as in theatrical history) is a three person spring. I have directed DRIVING MISS play about an elderly white woman, her DAISY twice before – once here and aging African American chauffer, and once in a theatre in Ohio and I can her beleaguered middle aged son told honestly say that of all the wonderful simply without a song or a dance in sight. shows I have directed in my 45+ years Is it because we see ourselves and our as a professional director that no other loved ones in this heart-warming tale? Is play has touched my heart more deeply “ Millions of people rank this it because it is hilariously funny without than DAISY. And I am not alone.
    [Show full text]
  • A Strange Loop
    A Strange Loop / Who we are Our vision We believe in theater as the most human and immediate medium to tell the stories of our time, and affirm the primacy and centrality of the playwright to the form. Our writers We support each playwright’s full creative development and nurture their unique voice, resulting in a heterogeneous mix of as many styles as there are artists. Our productions We share the stories of today by the writers of tomorrow. These intrepid, diverse artists develop plays and musicals that are relevant, intelligent, and boundary-pushing. Our plays reflect the world around us through stories that can only be told on stage. Our audience Much like our work, the 60,000 people who join us each year are curious and adventurous. Playwrights is committed to engaging and developing audiences to sustain the future of American theater. That’s why we offer affordably priced tickets to every performance to young people and others, and provide engaging content — both onsite and online — to delight and inspire new play lovers in NYC, around the country, and throughout the world. Our process We meet the individual needs of each writer in order to develop their work further. Our New Works Lab produces readings and workshops to cultivate our artists’ new projects. Through our robust commissioning program and open script submission policy, we identify and cultivate the most exciting American talent and help bring their unique vision to life. Our downtown programs …reflect and deepen our mission in numerous ways, including the innovative curriculum at our Theater School, mutually beneficial collaborations with our Resident Companies, and welcoming myriad arts and education not-for-profits that operate their programs in our studios.
    [Show full text]
  • 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,
    [Show full text]
  • IGOR GOLDIN Director, Sdc Contact: Ronald Gwiazda 718-809-3068 Abrams Artists Agency [email protected] 646-461-9325 [email protected]
    IGOR GOLDIN director, sdc Contact: Ronald Gwiazda 718-809-3068 Abrams Artists Agency [email protected] 646-461-9325 [email protected] OFF-BROADWAY YANK! YORK THEATRE COMPANY book & lyrics by David Zellnik, music by Joseph Zellnik md: John Baxindine choreo: Jeffry Denman *Drama Desk Award nomination - OUTSTANDING DIRECTOR OF A MUSICAL *SDC Joe A. Callaway finalist for DISTINGUISHED DIRECTION WITH GLEE PROSPECT THEATRE COMPANY book, music & lyrics by John Gregor md: Daniel Feyer choreo: Antoinette DiPietropolo *New York Times Critics Pick *BEST STAGING OF A BIG NUMBER IN A PUNY SPACE, New York Times year end list A RITUAL OF FAITH EMERGING ARTISTS by Brad Levinson OTHER NYC & REGIONAL WEST SIDE STORY ENGEMAN THEATRE at NORTHPORT book by Arthur Laurents, music by Leonard Bernstein, lyrics by Stephen Sondheim md: James Olmstead choreo: Jeffry Denman SWEENEY TODD MERRY-GO-ROUND, FINGER LAKES, NY music & lyrics by Stephen Sondheim, book by Hugh Wheeler md: Jeff Theiss BABY INFINITY THEATRE, ANNAPOLIS, MD book by Sybille Pearson, music by David Shire, lyrics by Richard Maltby, Jr. md: Jeffrey Lodin THE PRODUCERS ENGEMAN THEATER at NORTHPORT book by Mel Brooks & Thomas Meehan, music & lyrics by Mel Brooks md: James Olmstead choreo: Antoinette DiPietropolo JANE AUSTEN’S PRIDE AND PREJUDICE a musical McCOY/RIGBY ENTERTAINMENT/ book, music & lyrics by Lindsay Warren Baker and Amanda Jacobs LA MIRADA, CA md: Timothy Splain choreo: Jeffry Denman TICK, TICK…BOOM! AMERICAN THEATRE GROUP, NJ book, music & lyrics by Jonathan Larson, David
    [Show full text]
  • The American Film Musical and the Place(Less)Ness of Entertainment: Cabaret’S “International Sensation” and American Identity in Crisis
    humanities Article The American Film Musical and the Place(less)ness of Entertainment: Cabaret’s “International Sensation” and American Identity in Crisis Florian Zitzelsberger English and American Literary Studies, Universität Passau, 94032 Passau, Germany; fl[email protected] Received: 20 March 2019; Accepted: 14 May 2019; Published: 19 May 2019 Abstract: This article looks at cosmopolitanism in the American film musical through the lens of the genre’s self-reflexivity. By incorporating musical numbers into its narrative, the musical mirrors the entertainment industry mise en abyme, and establishes an intrinsic link to America through the act of (cultural) performance. Drawing on Mikhail Bakhtin’s notion of the chronotope and its recent application to the genre of the musical, I read the implicitly spatial backstage/stage duality overlaying narrative and number—the musical’s dual registers—as a means of challenging representations of Americanness, nationhood, and belonging. The incongruities arising from the segmentation into dual registers, realms complying with their own rules, destabilize the narrative structure of the musical and, as such, put the semantic differences between narrative and number into critical focus. A close reading of the 1972 film Cabaret, whose narrative is set in 1931 Berlin, shows that the cosmopolitanism of the American film musical lies in this juxtaposition of non-American and American (at least connotatively) spaces and the self-reflexive interweaving of their associated registers and narrative levels. If metalepsis designates the transgression of (onto)logically separate syntactic units of film, then it also symbolically constitutes a transgression and rejection of national boundaries. In the case of Cabaret, such incongruities and transgressions eventually undermine the notion of a stable American identity, exposing the American Dream as an illusion produced by the inherent heteronormativity of the entertainment industry.
    [Show full text]
  • 2018 Annual Report
    Annual Report 2018 Dear Friends, welcome anyone, whether they have worked in performing arts and In 2018, The Actors Fund entertainment or not, who may need our world-class short-stay helped 17,352 people Thanks to your generous support, The Actors Fund is here for rehabilitation therapies (physical, occupational and speech)—all with everyone in performing arts and entertainment throughout their the goal of a safe return home after a hospital stay (p. 14). nationally. lives and careers, and especially at times of great distress. Thanks to your generous support, The Actors Fund continues, Our programs and services Last year overall we provided $1,970,360 in emergency financial stronger than ever and is here for those who need us most. Our offer social and health services, work would not be possible without an engaged Board as well as ANNUAL REPORT assistance for crucial needs such as preventing evictions and employment and training the efforts of our top notch staff and volunteers. paying for essential medications. We were devastated to see programs, emergency financial the destruction and loss of life caused by last year’s wildfires in assistance, affordable housing, 2018 California—the most deadly in history, and nearly $134,000 went In addition, Broadway Cares/Equity Fights AIDS continues to be our and more. to those in our community affected by the fires and other natural steadfast partner, assuring help is there in these uncertain times. disasters (p. 7). Your support is part of a grand tradition of caring for our entertainment and performing arts community. Thank you Mission As a national organization, we’re building awareness of how our CENTS OF for helping to assure that the show will go on, and on.
    [Show full text]
  • At Play Fall-Winter 03.Qxd
    representing the american theatre by publishing and licensing the works of new and established playwrights JacquesBrelisAliveandWell Polly Pen on Writing Musicals Cowgirls’ Mary Murfitt Issue 9, Fall/Winter 2003 MUSICALS INTERVIEW WITH A BAT BOY Director of Professional Rights Robert Vaughan and Director of Publications Michael Fellmeth met with Bat Boy in the Palm Court of the Plaza Hotel in Manhattan to talk about growing up in a cave in Hope Falls, West Virginia, Bat Boy: The Musical, and his rise to global celebrity as the lead in a hit show about his own life. The pointy- eared, fanged star arrived with an entourage of bodyguards, personal assistants, agent, lawyer and publi- cist. Bat Boy, immaculately clad in Savile Row, seemed only vaguely aware of their presence. He greeted us warmly, sat down, lit a miniature cigar and ordered a bloody mary. continued on next page FELLMETH. Let me begin by saying how taken I EDGAR. Ahhh, Jenna. Jenna the Menace, that lips” motion.) Perhaps we’d best not discuss Dr. am with your voice, Bat Boy. Did you have any was my pet name for her. She was such a terror. Parker. That is a difficult subject for me. formal training? The media had it all wrong, though. It was she FELLMETH. Understandably so. A father who BAT BOY. Please don’t call me Bat Boy. My name who took to following me. After I finally got a abandoned you in infancy to be raised by bats is Edgar. restraining order she went on that binge in Texas and then — as if that weren’t enough — tried to FELLMETH.
    [Show full text]
  • View the Playbill
    GEORGE STREET PLAYHOUSE The Second Mrs.Wilson Board of Trustees Chairman: James N. Heston* President: Dr. Penelope Lattimer* First Vice President: Lucy Hughes* Second Vice President: Janice Stolar* Treasurer: David Fasanella* Secretary: Sharon Karmazin* Ronald Bleich David Saint* David Capodanno Jocelyn Schwartzman Kenneth M. Fisher Lora Tremayne William R. Hagaman, Jr. Stephen M. Vajtay Norman Politziner Alan W. Voorhees Kelly Ryman* *Denotes Members of the Executive Committee Trustees Emeritus Robert L. Bramson Cody P. Eckert Clarence E. Lockett Al D’Augusta Peter Goldberg Anthony L. Marchetta George Wolansky, Jr. Honorary Board of Trustees Thomas H. Kean Eric Krebs Honorary Memoriam Maurice Aaron∆ Arthur Laurents∆ Dr. Edward Bloustein∆ Richard Sellars∆ Dora Center∆∆ Barbara Voorhees∆∆ Douglas Fairbanks, Jr.∆ Edward K. Zuckerman∆ Milton Goldman∆ Adelaide M. Zagoren John Hila ∆∆ – Denotes Trustee Emeritus ∆ – Denotes Honorary Trustee From the Artistic Director It is a pleasure to welcome back playwright Joe DiPietro for his fifth premiere here at George Street Playhouse! I am truly astonished at the breadth of his talent! From the wild farce of The Toxic Photo by: Frank Wojciechowski Avenger to the drama of Creating Claire and the comic/drama of Clever Little Lies, David Saint Artistic Director now running at the West Side Theatre in Manhattan, he explores all genres. And now the sensational historical romance of The Second Mrs.Wilson. The extremely gifted Artistic Director of Long Wharf Theatre, Gordon Edelstein, brings a remarkable company of Tony Award-winning actors, the top rank of actors working in American theatre today, to breathe astonishing life into these characters from a little known chapter of American history.
    [Show full text]
  • Large-Print-Mag-Nov-19.Pdf
    CHAPTER 11.19 ART Garth Evans But, Hands Have Eyes: Six decades of sculpture Until 26.01.20 ‘But, Hands Have Eyes’ is a solo exhibition featuring six decades of sculpture. Alongside works produced in the UK in the 1960s and 70s, Evans also presents a body of work for their UK premiere, that he has produced in the United States since his move there in 1981. The work of Garth Evans is integral to the history of British sculpture. Experimenting with the potential of scale, weight, medium and form, Evans’ work comprises both a formal and conceptual approach. He is always interested in interrogating established boundaries and, as a result, his sculptures are made from a diverse range of materials including ceramics, steel, leather and fibreglass. Evans states that many of his works, even when most abstract, are “triggers for, and containers of, particular identifiable memories”. Ultimately, Garth Evans’ works are ambiguous, multi-faceted and completely original. Talks at 4 16.11.19 FREE Are you interested in finding out a little bit more about our latest exhibition? Then why not join us for a free and informal guided tour! Our ‘Talks at 4’ are led by our wonderful gallery assistants and are a great way to delve a little deeper into our current exhibition by Garth Evans and his approach to his work. No two talks are the same so come along and be a part of the conversation. Art in the Bar Jon Pountney Waiting For The Light Until 14.02.20 ‘Waiting for the Light’ is a body of photographic works that capture a particular type of light; a harsh, acutely angled low sunlight that gives the scenes in Jon Pountney’s images a somewhat surreal and melancholy feel.
    [Show full text]
  • The Golden Age Exposed: the Reality Behind This Romantic Era
    Illinois Wesleyan University Digital Commons @ IWU Honors Projects Theatre Arts, School of 4-28-2017 The Golden Age Exposed: The Reality Behind This Romantic Era Danny Adams Follow this and additional works at: https://digitalcommons.iwu.edu/theatre_honproj Part of the Theatre and Performance Studies Commons Recommended Citation Adams, Danny, "The Golden Age Exposed: The Reality Behind This Romantic Era" (2017). Honors Projects. 22. https://digitalcommons.iwu.edu/theatre_honproj/22 This Article is protected by copyright and/or related rights. It has been brought to you by Digital Commons @ IWU with permission from the rights-holder(s). You are free to use this material in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This material has been accepted for inclusion by faculty at Illinois Wesleyan University. For more information, please contact [email protected]. ©Copyright is owned by the author of this document. Illinois Wesleyan University The Golden Age Exposed: The Reality Behind This Romantic Era Danny Adams Honors Research April 28th, 2017 1 In the spring of 2016, I took a class called "Music Theatre History and Literature" which is about exactly what it sounds like: a course on the history of music theatre and how it evolved into what it is today. From The Black Crook, the first known "integrated musical" in 1866, to In the Heights and shows today, the class covered it all.
    [Show full text]
  • Artswest Playhouse and Gallery Announces UNCHARTED the 2016-2017 Season
    FOR IMMEDIATE RELEASE Date: May 12, 2016 Contact: Laura Lee Email: [email protected] Phone: (206) 938-0963, ext. 114 ArtsWest Playhouse and Gallery announces UNCHARTED the 2016-2017 Season SEATTLE, WA (May 12, 2016) – ArtsWest Artistic Director Mathew Wright has announced his second season, running September 2016 through July 2017. Opening with acclaimed dramatist Terrence McNally’s MOTHERS AND SONS, the six production season will include the magical story telling of PETER AND THE STARCATCHER based on the novel by Dave Barry & Ridley Pearson; an Olivier Award winning new adaptation of Henrik Ibsen’s GHOSTS; a piercing glimpse into the teen-age world in Kirsten Greenidge’s MILK LIKE SUGAR; Byrony Lavery’s unflinching drama FROZEN; and the Stephen Sondheim musical thriller SWEENEY TODD. “Through a variety of lenses, periods and styles, we are looking at the ways in which parents and children navigate the seemingly uncharted path out of childhood and into adulthood.” shares Artistic Director Mathew Wright. In addition to the six show season, ArtsWest is pleased to announce a co-production with ACT and Circle X Theatre Co. in the presentation of an incendiary new rock musical BAD APPLES, directed by ACT Artistic Director John Langs at ACT’s Falls Theatre in the fall of 2016. MOTHERS AND SONS By Terrence McNally September 22 – October 23, 2016 2014 Tony Award Nominated Best Play 2014 Drama League Nominated Outstanding Play By turns smartly funny and powerfully resonant, this latest play from acclaimed dramatist Terrence McNally (Love! Valour! Compassion! Corpus Christi, Master Class) portrays a woman who pays an unexpected visit to the New York apartment of her late son’s partner, who is now married to another man and has a young son.
    [Show full text]
  • Uncut! First Time In
    45833_AFI_AGS 3/30/04 11:38 AM Page 1 THE AMERICAN FILM INSTITUTE GUIDE April 23 - June 13, 2004 ★ TO THEATRE AND MEMBER EVENTS VOLUME 1 • ISSUE 10 AFIPREVIEW UNCUT! FIRST TIME IN DC! GODZILLA!GODZILLA! Plus: Great World War II Films, Filmfest DC, Val Lewton Centennial, Three by Alfred Hitchcock, Natalie Wood Tribute MC5*A TRUE TESTIMONIAL POINT OF ORDER A STREETCAR NAMED DESIRE CITY LIGHTS GODSEND SYLVIA BLOWUP DARK VICTORY SEPARATE BUT EQUAL STORMY WEATHER CAT ON A HOT TIN ROOF WAR AND PEACE PHOTO NEEDED WORD WARS 45833_AFI_AGS 3/30/04 11:39 AM Page 2 Features 2, 3, 4, 7, 13 2 POINT OF ORDER MEMBERS ONLY SPECIAL EVENT! 3 MC5 *A TRUE TESTIMONIAL, GODZILLA GODSEND MEMBERS ONLY 4WORD WARS, CITY LIGHTS ●M ADVANCE SCREENING! 7 KIRIKOU AND THE SORCERESS Wednesday, April 28, 7:30 13 WAR AND PEACE, BLOWUP When an only child, Adam (Cameron Bright), is tragically killed 13 Two by Tennessee Williams—CAT ON A HOT on his eighth birthday, bereaved parents Rebecca Romijn-Stamos TIN ROOF and A STREETCAR NAMED DESIRE and Greg Kinnear are befriended by Robert De Niro—one of Romijn-Stamos’s former teachers and a doctor on the forefront of Filmfest DC 4 genetic research. He offers a unique solution: reverse the laws of nature by cloning their son. The desperate couple agrees to the The Greatest Generation 6-7 experiment, and, for a while, all goes well under 6Featured Showcase—America Celebrates the the doctor’s watchful eye. Greatest Generation, including THE BRIDGE ON The “new” Adam grows THE RIVER KWAI, CASABLANCA, and SAVING into a healthy and happy PRIVATE RYAN young boy—until his Film Series 5, 11, 12, 14 eighth birthday, when things start to go horri- 5 Three by Alfred Hitchcock: NORTH BY bly wrong.
    [Show full text]