Nashville Rep Announces Conservatory's Masterclass Series
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Directing and Assisting Credits American Theatre
917-854-2086 American and Canadian citizen Member of SSDC www.joelfroomkin.com [email protected] Directing and Assisting Credits American Theatre Artistic Director The New Huntington Theatre, Huntington Indiana. The Supper Club (upscale cabaret venue housing musical revues) Director/Creator Productions include: Welcome to the Sixties, Hooray For Hollywood, That’s Amore, Sounds of the Seventies, Hoosier Sons, Puttin’ On the Ritz, Jekyll and Hyde, Treasure Island, Good Golly Miss Dolly, A Christmas Carol, Singing’ The King, Fly Me to the Moon, One Hit Wonders, I’m a Believer, Totally Awesome Eighties, Blowing in the Wind and six annual Holiday revues. Director (Page on Stage one-man ‘radio drama’ series): Sleepy Hollow, Treasure Island, A Christmas Carol, Jekyll and Hyde, Dracula, Sherlock Holmes, Different Stages (320 seat MainStage) The Sound of Music (Director/Scenic & Projection Design) Moonlight and Magnolias (Director/Scenic Design) Les Misérables (Director/Co-Scenic and Projection Design) Productions Lord of the Flies (Director) Manchester University The Laramie Project (Director) Manchester University The Foreigner (Director) Manchester University Infliction of Cruelty (Director/Dramaturg) Fringe NYC, 2006 *Winner of Fringe 2006 Outstanding Excellence in Direction Award Thumbs, by Rupert Holmes (Director) Cape Playhouse, MA *Cast including Kathie Lee Gifford, Diana Canova (Broadway’s Company, They’re Playing our Song), Sean McCourt (Bat Boy), and Brad Bellamy The Fastest Woman Alive (Director) Theatre Row, NY *NY premiere of recently published play by Outer Critics Circle nominee, Karen Sunde *published Broadway Musicals of 1928 (Director) Town Hall, NYC *Cast including Tony-winner Bob Martin, Nancy Anderson, Max Von Essen, Lari White. -
Read an Excerpt
Excerpt Terms & Conditions This excerpt is available to assist you in the play selection process. You may view, print and download any of our excerpts for perusal purposes. Excerpts are not intended for performance, classroom or other academic use. In any of these cases you will need to purchase playbooks via our website or by phone, fax or mail. A short excerpt is not always indicative of the entire work, and we strongly suggest reading the whole play before planning a production or ordering a cast quantity of scripts. Family Plays SWEENEY TODD (Demon Barber of the Barbary Coast) Thriller adapted by TIM KELLY © Family Plays SWEENEY TODD Thriller. Adapted by Tim Kelly. Cast: 8m., 12w., extras. This non-musical version of Sweeney Todd, the world’s most heartless villain, is based on the same “penny dreadful” stories as the Sondheim musical (this script predates the musical). Sweeney Todd lures rich victims into his barber shop, puts them in a “special chair,” and ... where do they go? Ask Mrs. Lovett, owner of a nearby pastry shop which specializes in meat pies. Tim Kelly’s version is a delicious spoof of the Gay Nineties (1890s) melodrama, full of fun and suspense. Replete with the excitement, suspense and laughter that everybody hopes for in a melodrama—this play is of much higher quality than the burlesque, trite “mellerdrammers” that are found on second-rate stages. Directors will be proud to present this play—whether it’s for an annual fun-melodrama or a major production.Sweeney Todd is fast-moving and side-splitting .. -
Colonial Concert Series Featuring Broadway Favorites
Amy Moorby Press Manager (413) 448-8084 x15 [email protected] Becky Brighenti Director of Marketing & Public Relations (413) 448-8084 x11 [email protected] For Immediate Release, Please: Berkshire Theatre Group Presents Colonial Concert Series: Featuring Broadway Favorites Kelli O’Hara In-Person in the Berkshires Tony Award-Winner for The King and I Norm Lewis: In Concert Tony Award Nominee for The Gershwins’ Porgy & Bess Carolee Carmello: My Outside Voice Three-Time Tony Award Nominee for Scandalous, Lestat, Parade Krysta Rodriguez: In Concert Broadway Actor and Star of Netflix’s Halston Stephanie J. Block: Returning Home Tony Award-Winner for The Cher Show Kate Baldwin & Graham Rowat: Dressed Up Again Two-Time Tony Award Nominee for Finian’s Rainbow, Hello, Dolly! & Broadway and Television Actor An Evening With Rachel Bay Jones Tony, Grammy and Emmy Award-Winner for Dear Evan Hansen Click Here To Download Press Photos Pittsfield, MA - The Colonial Concert Series: Featuring Broadway Favorites will captivate audiences throughout the summer with evenings of unforgettable performances by a blockbuster lineup of Broadway talent. Concerts by Tony Award-winner Kelli O’Hara; Tony Award nominee Norm Lewis; three-time Tony Award nominee Carolee Carmello; stage and screen actor Krysta Rodriguez; Tony Award-winner Stephanie J. Block; two-time Tony Award nominee Kate Baldwin and Broadway and television actor Graham Rowat; and Tony Award-winner Rachel Bay Jones will be presented under The Big Tent outside at The Colonial Theatre in Pittsfield, MA. Kate Maguire says, “These intimate evenings of song will be enchanting under the Big Tent at the Colonial in Pittsfield. -
December, 2009 CAST & CREW
Issue No. 111 Single Copy $3.00 December, 2009 CAST & CREW “The Source For Theater Happenings” PORTLAND PLAYBACK WANTS TO TELL YOUR STORY by Muriel Kenderdine “When I read the first paragraph in a pamphlet about playback world! I think I was 34 years old before I ever set foot on a stage. theater, I knew immediately that’s what I wanted to do,” said David My first play was DAMES AT SEA with Portland Players in 1979. La Graffe when we talked in mid-November. “I wanted to do It was so much fun! Later I was in JESUS CHRIST SUPERSTAR improvisation with a purpose to it, some kind of higher aim than there and that’s where I met Claudia (Hughes). A few years later just to simply entertain.” we were married on the stage at Portland Players. “While teaching at the Center for Performance Studies, I learned to like the improvisational aspect of theater most of all. So I went for some improv training with Keith Johnstone, who has taught at the Celebration Barn and is pretty famous around the world as an improv teacher. Meanwhile I was also acting in plays, got some really good roles: Tevye in FIDDLER ON THE ROOF at Players, Willie Loman in DEATH OF A SALESMAN at The Theater Project; THE TEMPEST (Prospero), AMERICAN BUFFALO, and TRUE WEST with the Maine Theatre Company; and Sweeney Todd at Players in 1990, the last show Joe Thomas directed there before his death. (Ed. Note: David reprised the title role in SWEENEY TODD at Players in May 2009, taking over the role after another actor withdrew.) Oh, yes, in 1989 Claudia and I were asked by Joe Thomas to do WHO’S AFRAID OF VIRGINIA WOLFF? about 3 weeks before the opening performance because he couldn’t cast the scheduled show the way he wanted. -
Ann Hampton Callaway
ANN HAMPTON CALLAWAY Ann Hampton Callaway is one of the leading champions of the great American Songbook, having made her mark as a singer, pianist, composer, lyricist, arranger, actress, educator, TV host and producer. A born entertainer, her unique singing style blends jazz and traditional pop, making her a mainstay in concert halls, theaters and jazz clubs as well as in the recording studio, on television, and in film. She is best known for Tony-nominated performance in the hit Broadway musical Swing! and for writing and singing the theme song to the hit TV series The Nanny. Callaway is a Platinum award-winning writer whose songs are featured on seven of Barbra Streisand's recent CD's. The only composer to have collaborated with Cole Porter, she has also written songs with Carole King, Rolf Lovland and Barbara Carroll to name a few. Callaway's live performances showcase her warmth, spontaneous wit and passionate delivery of standards, jazz classics and originals. She is one of America's most gifted improvisers, taking words and phrases from her audiences and creating songs on the spot, whether alone at a piano or with a symphony orchestra. Ann has been a special guest performer with Wynton Marsalis and the Lincoln Center Jazz Orchestra, with Keith Lockhart and the Boston Pops at Symphony Hall and Tanglewood and is featured at many of the Carnegie Hall tributes. She has sung with more than thirty of the world's top orchestras and big bands, and has performed for President Clinton in Washington, D.C. and at President Gorbachev's Youth Peace Summit in Moscow. -
Cast Biographies Chris Mann
CAST BIOGRAPHIES CHRIS MANN (The Phantom) rose to fame as Christina Aguilera’s finalist on NBC’s The Voice. Since then, his debut album, Roads, hit #1 on Billboard's Heatseekers Chart and he starred in his own PBS television special: A Mann For All Seasons. Chris has performed with the National Symphony for President Obama, at Christmas in Rockefeller Center and headlined his own symphony tour across the country. From Wichita, KS, Mann holds a Vocal Performance degree from Vanderbilt University and is honored to join this cast in his dream role. Love to the fam, friends and Laura. TV: Ellen, Today, Conan, Jay Leno, Glee. ChrisMannMusic.com. Twitter: @iamchrismann Facebook.com/ChrisMannMusic KATIE TRAVIS (Christine Daaé) is honored to be a member of this company in a role she has always dreamed of playing. Previous theater credits: The Most Happy Fella (Rosabella), Titanic (Kate McGowan), The Mikado (Yum- Yum), Jekyll and Hyde (Emma Carew), Wonderful Town (Eileen Sherwood). She recently performed the role of Cosette in Les Misérables at the St. Louis MUNY alongside Norm Lewis and Hugh Panero. Katie is a recent winner of the Lys Symonette award for her performance at the 2014 Lotte Lenya Competition. Thanks to her family, friends, The Mine and Tara Rubin Casting. katietravis.com STORM LINEBERGER (Raoul, Vicomte de Chagny) is honored to be joining this new spectacular production of The Phantom of the Opera. His favorite credits include: Lyric Theatre of Oklahoma: Disney’s The Little Mermaid (Prince Eric), Les Misérables (Feuilly). New London Barn Playhouse: Les Misérables (Enjolras), Singin’ in the Rain (Roscoe Dexter), The Music Man (Jacey Squires, Quartet), The Student Prince (Karl Franz u/s). -
For Calendar Editors
FOR IMMEDIATE RELEASE CONTACT: Kevin Kopjak | Charles Zukow Associates 415.296.0677 | [email protected] FEINSTEIN’S AT THE NIKKO WELCOMES TONY AND GRAMMY AWARD-WINNER, BILLY PORTER, FOR THREE PERFORMANCES ONLY! JANUARY 30 – FEBRUARY 1, 2015 SAN FRANCISCO (January 7, 2015) – Hotel Nikko San Francisco and Michael Feinstein are honored to welcome Tony® and Grammy® Award-winning singer, composer, actor, playwright and director Billy Porter to Feinstein’s at the Nikko for three performances only – Friday, January 30 (8 p.m.); Saturday, January 31 (7 p.m.) and Sunday, February 1 (7 p.m.). Porter will perform songs from his new critically acclaimed album, “Billy’s Back on Broadway,” as well some of his other favorites! Tickets for Billy Porter range in price from $45–$60 and are available now by calling 866.663.1063 or visiting www.ticketweb.com. Located within Hotel Nikko (222 Mason Street, San Francisco), Feinstein’s at the Nikko presents a wide range of entertainers from stage and screen all within an intimate 140-seat cabaret setting. There is a $20 food and beverage minimum per person inside the showroom which guests can use towards cocktails as well as a variety of small plates crafted exclusively for Feinstein’s at the Nikko by Executive Chef Philippe Striffeler, through Restaurant Anzu. Cheese and dessert platters will also be available in the showroom. Porter currently stars as “Lola” in the smash hit Broadway musical Kinky Boots, for which he won the 2013 Drama Desk and Tony Awards for Best Actor in a Musical. Other Broadway acting credits include Miss Saigon, Five Guys Named Moe, Grease (all original cast), Smokey Joe’s Café and Dreamgirls (20th Anniversary Broadway Concert and LA Ovation Award). -
Cannibal and Transcendence Narratives in Les Misérables, Sweeney Todd, and Interview with the Vampire
Cannibal and Transcendence Narratives in Les Misérables, Sweeney Todd, and Interview with the Vampire Judith Wilt (Boston College, Massachusetts, USA) Abstract: This essay studies the interlocking cannibal and transcendence plotlines supplied by three Victorian texts to three neo-Victorian works, two of them musicals, and one of them a key twentieth-century reworking of perhaps the original nineteenth-century cannibal narrative, the vampire legend. Alain Boublil and Claude-Michel Schönberg’s Les Misérables (1985) and Stephen Sondheim and Hugh Wheeler’s Sweeney Todd (1979) theatricalise this interlocking of narratives in surprisingly similar ways: Anne Rice’s Interview with the Vampire (1976) stages the cannibal and the transcendent impulses in a series of climaxes in and around the Théâtre des Vampires in Paris. Both the musicals and the novel break their deliberately theatrical frames in challenges to their audiences, raising in their similar ways the nineteenth-century question whether one can be Victorian without being a Romantic, and the twentieth-century question how one can be ‘neo’ as well as ‘Victorian’. Keywords: cannibal, The French Lieutenant’s Woman, Interview with the Vampire, Les Misérables, musicals, punishment, revolution, Sweeney Todd, theatre, transcendence. ***** When I went to graduate school in the 1960s I decided to be a Victorianist, because I felt like a Victorian. When John Fowles’s The French Lieutenant’s Woman (1969) came out shortly thereafter, I saw I could be a neo-Victorianist too. I fell in love with the musicals Les Misérables (1985), by Alain Boublil and Claude-Michel Schönberg, and Sweeney Todd (1979), by Stephen Sondheim and Hugh Wheeler, in the 1980s, both of them, despite the fact that reviewers and later scholars seemed to fear and loathe the first and admire the second. -
ANN HAMPTON CALLAWAY - Biography
ANN HAMPTON CALLAWAY - Biography ANN HAMPTON CALLAWAY is one of the finest singer/songwriters of our generation. The statuesque performer dazzles music lovers as a singer, pianist, composer, lyricist, arranger, actress, and educator. Her talents have made her equally at home in jazz and pop as well as on stage, in the recording studio, on TV and in film. She is best known for starring in the hit Broadway musical "SWING!" and for writing and singing the theme to the internationally successful TV series,” THE NANNY". Ann is a devoted keeper-of-the-flame of the great American songbook. She brings fresh and original interpretations to these timeless classics and works to uphold the canon by writing songs with Cole Porter, Carole King, Barbara Carroll and others. Her spontaneity, intelligence, and soulful charisma have won her a diverse fan-base including notables as Barbra Streisand, Clive Davis, Carly Simon and Wynton Marsalis. The New York Times writes, “For sheer vocal beauty, no contemporary singer matches Ms. Callaway.” Ann attributes her voice and love of music to her mother, Shirley, who throughout her childhood sang and played torch songs, Gershwin and German lieder at the piano. Of the uniquely musical household she says, “I didn’t know it at the time, but we were sort of the Von Trapp family of Chicago.” After a music teacher discovered her unusually mature soprano voice, Ann was encouraged to study classically, honing the pitch-perfect control and expressive three octave range she is known for. While her voice teachers suggested she could have a career in opera, Ann eventually realized that she would be happier singing the music she most loved. -
The Gershwins' Porgy and Bess
The Gershwins’ Porgy and Bess - Entertainment News, Legit Re... http://www.variety.com/review/VE1117945938?refcatid=33&pr... http://www.variety.com/review/VE1117945938?refcatid=33 To print this page, select "PRINT" from the File Menu of your browser. Posted: Thu., Sep. 1, 2011, 6:57pm PT The Gershwins' Porgy and Bess Operatic aspirations are replaced with the accessibility, theatricality and showbiz savvy of a Broadway musical in Diane Paulus' bright, beautiful and tuner-centric re-envisioning of "Porgy and Bess." The show makes its world preem at the American Repertory Theater in Cambridge, Mass., before opening Jan. 12 on the Rialto. By FRANK RIZZO Operatic aspirations are replaced with the accessibility, theatricality and showbiz savvy of a Broadway musical in Diane Paulus' bright, beautiful and tuner-centric re-envisioning of "Porgy and Bess." The show makes its world preem at the American Repertory Theater in Cambridge, Mass., before opening Jan. 12 on the Rialto. After the brouhaha over statements from the creative team -- with a slap from Stephen Sondheim in a letter to the New York Times and subsequent back-and-forths in social media -- the show itself can now be judged on its own merits. While entertaining, engaging and exceptionally well-acted, something is lost, too, in the scope of the score. The work's new passions -- while musical-theater "real" -- are now earth-bound, making it more "folk" than "opera." Still, the handsome and in many ways appealing show, with its stars -- not the least of which is Audra McDonald giving another multi-layered and gorgeously sung perf -- and the familiarity of the Gershwin-Heyward score should prove to be a big box office draw. -
Norm Lewis, and More!
1 JOIN US AS A CHAMPION OF THE ARTS For more than 50 years, the Marcus Center has offered premier arts & cultural and community programming in Wisconsin. Through a wide variety of programming, MPAC serves as an anchor for arts and culture in our region, bringing celebrated performing artists from around the world to Milwaukee. 600K+ 2.3K annual visitors annual events 20K+ 200K+ Marcus Center arts subscribers* children served annually surpassing the NBA & MLB in Milwaukee 350 $59M active facility days 2019-20 economic impact despite shortened season 66% 50+ of attendees are 50+ years of events as we have served our community since 1969 *Includes Milwaukee Ballet, Florentine Opera, First Stage & Touring Broadway EVENT OVERVIEW Join us at the Marcus Center’s 16th Annual Bash for a one-of-a-kind arts and culture fundraising event, featuring great food, an exclusive performance from Broadway favorite and Tony Award® Nominee Norm Lewis, and more! With your support, MPAC can fulfill its mission to act as an energizing force that connects our community to the world through collaboration, innovation, social engagement, and the transformative power of live performing arts. MPAC is a non-profit 501(c)3 organization that serves as a world-class gathering place for all. Funds raised from The Bash will ensure that MPAC continues to serve as an anchor for arts and culture in our region. EVENT OVERVIEW This annual gala is a signature fundraising event benefiting MPAC’s performing arts experiences that serve hundreds of thousands in Southeastern Wisconsin each year. As the hub for high-quality arts experiences, MPAC is enriched in its mission through the dedication of individuals and businesses that advance the arts and culture of our region. -
Determining Stephen Sondheim's
“I’VE A VOICE, I’VE A VOICE”: DETERMINING STEPHEN SONDHEIM’S COMPOSITIONAL STYLE THROUGH A MUSIC-THEORETIC ANALYSIS OF HIS THEATER WORKS BY ©2011 PETER CHARLES LANDIS PURIN Submitted to the graduate degree program in Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ___________________________ Chairperson Dr. Scott Murphy ___________________________ Dr. Deron McGee ___________________________ Dr. Paul Laird ___________________________ Dr. John Staniunas ___________________________ Dr. William Everett Date Defended: August 29, 2011 ii The Dissertation Committee for PETER PURIN Certifies that this is the approved version of the following dissertation: “I’VE A VOICE, I’VE A VOICE”: DETERMINING STEPHEN SONDHEIM’S COMPOSITIONAL STYLE THROUGH A MUSIC-THEORETIC ANALYSIS OF HIS THEATER WORKS ___________________________ Chairperson Dr. Scott Murphy Date approved: August 29, 2011 iii Abstract This dissertation offers a music-theoretic analysis of the musical style of Stephen Sondheim, as surveyed through his fourteen musicals that have appeared on Broadway. The analysis begins with dramatic concerns, where musico-dramatic intensity analysis graphs show the relationship between music and drama, and how one may affect the interpretation of events in the other. These graphs also show hierarchical recursion in both music and drama. The focus of the analysis then switches to how Sondheim uses traditional accompaniment schemata, but also stretches the schemata into patterns that are distinctly of his voice; particularly in the use of the waltz in four, developing accompaniment, and emerging meter. Sondheim shows his harmonic voice in how he juxtaposes treble and bass lines, creating diagonal dissonances.