Top of the Line Karaoke Broadway Musicals
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Valentine Concert Program Playbill Cover
From Broadway With Love From Broadway With Love ACT 1 ACT 2 Some Enchanted Evening (South Pacific) …….…...……………… Trey Shinault Wedding March (A Midsummer’s Night Dream) Six - Hand Piano … Nancy Burstein, Annie McGrath & Rosanne Reddin Adelaide’s Lament (Guys & Dolls) ……………….……………...…. Marsha Allen Aba Daba Honeymoon (Two Weeks With Love) ….. Katherine & Sarah Lenahan I Think That He Likes Me (Homemade Fusion) …….…………….. Kaitlin Bowles Gimme That Thing Called Love (Thoroughly Modern Millie) . Courtney Cummings Your Feet’s Too Big (Ain’t Misbehaven) ……….……………………. Mark Bzdick The Music That Makes Me Dance (Funny Girl) …….…………...… Mark Bzdick Part of Your World (Little Mermaid) ……………….....……………… Tiffany Bray Someone to Watch Over Me (Oh, Kay!) ……....…………….…… Gail Timmons I Know It’s Today (Shrek) ………………………………….....…. Brigit Davidson Say the Word (The Unauthorized Biography of Samantha Brown) ………... Randi Berg Johanna (Sweeney Todd) …………………………………….….….. Neil Hollands Let It Go (Frozen) …………………………………..…………..… Kelsey Helmick Not For the Life of Me (Thoroughly Modern Millie) ………… Carrie Grace Morgan I Am Aldolpho (The Drowsy Chaperone) …………………………..… Neil Hollands Once in A Lifetime (Stop the World, I Want to Get Off ) Piano Duet . Annie McGrath & Rosanne Reddin Happily Ever After (Once Upon a Mattress) ……………….. Carrie Grace Morgan All I Ask of You (Phantom of the Opera) …….……….… Adin Pace & Mike Godsil I Am Playing Me ( [title of show] ) ……...……………………….. Dorothy Douglas My Man (Funny Girl) …………………...…………..…….…. Deborah Soderholm I Have Found (The Royal Family of Broadway) ……………………….... Sue Mellon If the World Should End (Spider Man: Turn Off the Dark) ……………… Randi Berg Different (Honk!) …………………...……………….……………. Matthew Rivera I’ve Grown Accustomed to Her Face (My Fair Lady) ……..…… Matthew Rivera Ten Minutes Ago (Cinderella) …………………………………... Katherine Ruble I Never Has Seen Snow (House of Flowers) …......……………….... -
Hair for Rent: How the Idioms of Rock 'N' Roll Are Spoken Through the Melodic Language of Two Rock Musicals
HAIR FOR RENT: HOW THE IDIOMS OF ROCK 'N' ROLL ARE SPOKEN THROUGH THE MELODIC LANGUAGE OF TWO ROCK MUSICALS A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Music Eryn Stark August, 2015 HAIR FOR RENT: HOW THE IDIOMS OF ROCK 'N' ROLL ARE SPOKEN THROUGH THE MELODIC LANGUAGE OF TWO ROCK MUSICALS Eryn Stark Thesis Approved: Accepted: _____________________________ _________________________________ Advisor Dean of the College Dr. Nikola Resanovic Dr. Chand Midha _______________________________ _______________________________ Faculty Reader Interim Dean of the Graduate School Dr. Brooks Toliver Dr. Rex Ramsier _______________________________ _______________________________ Department Chair or School Director Date Dr. Ann Usher ii TABLE OF CONTENTS Page LIST OF TABLES ............................................................................................................. iv CHAPTER I. INTRODUCTION ............................................................................................................1 II. BACKGROUND OF THE STUDY ...............................................................................3 A History of the Rock Musical: Defining A Generation .........................................3 Hair-brained ...............................................................................................12 IndiffeRent .................................................................................................16 III. EDITORIAL METHOD ..............................................................................................20 -
Audition Repertoire Choices: More Than Just Voice
Popular Song and Music Theater ASSOCIATE EDITOR: Robert Edwin Audition Repertoire Choices: More Than Just Voice cautioned that "no one can (Jo every- or her strengths. To personalize this thing well." They now must make process, allow me to track for you my some hard decisions about what they 2005-06 high school senior class, want to sing and act. To make these shed some light on the students' rep- choices effectively, my students must ertoire choices, and offer some in- take an honest and highly critical per- sight as to why and how they made sonal inventory of how they look, how their selections. they sound, and how they act. Let's start with Michaela, a beau- A glance in the studio mirror will tiful and very talented young woman remind them that they are a certain who came to my studio in her soph- physical "type." Are they tall or short, omore year as a classically trained thin or heavy, athletic or soft, beauti- singer. Although she had worked pro- ful or unattractive, handsome or fessionally in her late child years and homely, or somewhere in between? wanted a music theater career, she Robert Edwin A vocal warm up will reaffirm their was discouraged from using her belt Each and working range. Do they have voice and, as a result, had no techni- a high voice or a low voice, a big voice cal foundation for that style of singing. When asked to describe what I do or a small voice, a pretty voice or a Since the typical music theater col- as a teacher of singing, my short an- character voice, a flexible voice or a lege audition for women -
South-Pacific-Script.Pdf
RODGERS AND HAMMERSTEIN'S SOUTH PACIFIC First Perfol'mance at the 1vlajestic Theatre, New York, A pril 7th, 1949 First Performance in London, Theatre Royal, Drury Lane, November 1st, 1951 THE CHARACTERS (in order of appearance) NGANA JEROME HENRY ENSIGN NELLIE FORBUSH EMILE de BECQUE BLOODY MARY BLOODY MARY'S ASSISTANT ABNER STEWPOT LUTHER BILLIS PROFESSOR LT. JOSEPH CABLE, U.S.M.C. CAPT. GEORGE BRACKETT, U.S.N. COMMDR. WILLIAM HARBISON, U.S.N. YEOMAN HERBERT QUALE SGT. KENNETH JOHNSON SEABEE RICHARD WEST SEABEE MORTON WISE SEAMAN TOM O'BRIEN RADIO OPERATOR, BOB McCAFFREY MARINE CPL. HAMILTON STEEVES STAFF-SGT. THOMAS HASSINGER PTE. VICTOR JEROME PTE. SVEN LARSEN SGT. JACK WATERS LT. GENEVIEVE MARSHALL ENSIGN LISA MANELLI ENSIGN CONNIE WALEWSKA ENSIGN JANET McGREGOR ENSIGN BESSIE NOONAN ENSIGN PAMELA WHITMORE ENSIGN RITA ADAMS ENSIGN SUE YAEGER ENSIGN BETTY PITT ENSIGN CORA MacRAE ENSIGN DINAH MURPHY LIAT MARCEL (Henry's Assistant) LT. BUZZ ADAMS Islanders, Sailors, Marines, Officers The action of the play takes place on two islands in the South Pacific durin~ the recent war. There is a week's lapse of time between the two Acts. " SCENE I SOUTH PACIFIC ACT I To op~n.o House Tabs down. No.1 Tabs closed. Blackout Cloth down. Ring 1st Bar Bell, and ring orchestra in five minutes before rise. B~ll Ring 2nd Bar three minutes before rise. HENRY. A Ring 3rd Bar Bell and MUSICAL DIRECTOR to go down om minute before rise. NGANA. N Cue (A) Verbal: At start of overt14re, Music No.1: House Lights check to half. -
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. -
RENT Study Guide.Pdf
A tool for using the theater across the curriculum to meet National Standards for Education • Production Overview RENT • Lesson Guides • Student Activities • At-Home Projects • Reproducibles Copyright 2008, Camp Broadway, LLC All rights reserved This publication is based on Rent with book, music and lyrics by Jonathan Larson. The content of the Rent edition of StageNOTES™: A Field Guide for Teachers is fully protected under the copyright laws of the United states of America and all other countries with which the United States has reciprocal copyright relations. All rights regarding publishing, reprint permissions, public readings, and mechanical or electronic reproduction, including but not limited to, CD-ROM, information storage and retrieval systems and photocopying, and the rights of translation into foreign languages are strictly prohibited. Printed in the United States of America First Digital Edition: July 2008 For more information on StageNOTES™ and other theatre arts related programs, contact: Camp Broadway, LLC 336 West 37th Street, Suite 460 New York, New York 10018 Telephone: (212) 575-2929 Facsimile: (212) 575-3125 Email: [email protected] www.campbroadway.com 2 CONTENTS Using the Field Guide and Lessons...............................................................4 OF List of Characters and Synopsis................................................................5 LANGUAGE ARTS......................................................................................8 Language Arts Writing Lesson....................................................11 -
Wedding Ceremony Jazz and Blues
Wedding Ceremony The Prayer Ave Maria Erik Satie -Gymnopedie Canon in D- Pachabel Jesu Joy of Mans Desire- Bach Bridal Chorus from Lohengrin= (Here Mendelssohn Wedding March Comes the Bride) Bach- Prelude in C “Spring”-Vivaldi Four Seasons Chopin- Prelude in e minor Debussy- Reverie The Look of Love Can’t Help Falling in Love-Elvis At Last-Etta James Unforgettable Sunrise Sunset How Sweet It Is to Be Loved by You Longer Than-Dan Fogelberg The First Time Ever I Saw Your Face Wonderful World When You Say Nothing at All-Allison Krauss You Raise Me Up- Josh Groban Kiss From a Rose- Seal Secret Garden- Springsteen With or Without You- U2 Jazz and Blues Alice in Wonderland Waltz for Debbie God Bless the Child After Midnight Ain’t Misbehaving Beginning to See the Light Ellington Black and Blue Blue Monk Blue Skies I. Berlin Birth of the Blues Blue and Sentimental Body and Soul But beautiful Breezin Brubeck Medley Blue Rondo- Take Five-The Duke- Strange Meadowlark- Raggy Waltz Cherokee Deed I do Deep Purple Don't Get Around Much Anymore Emily Everything Happens to Me Fly Me to the Moon Georgia Getting Sentimental Over You Green Dolphin Street Green in Blue Greenhouse Blues Harlem Nocturne Here Comes That Rainy Day Honeysuckle Rose I Can't Get Started I Got it Bad I Remember You I Thought About You In My Solitude Jersey Bounce Lullaby of Bird land Lush Life Mercy Mercy Mood Indigo Moonlight Serenade Glen Miller Midnight Sun My Funny Valentine My Foolish Heart My Romance Nature Boy Nearness of You Our Love is Here to Stay On a Clear Day Poinciana Prelude to a Kiss Satin Doll Serenade in Blue Since I Fell for You Skylark So Rare Sophisticated Lady Stardust St. -
The Creation and Development of Rent by Jonathan Larson
ABSTRACT Title of Document: “OVER THE MOON”: THE CREATION AND DEVELOPMENT OF RENT BY JONATHAN LARSON Elizabeth Titrington, Master of Arts, 2007 Directed By: Professor Richard King Chair, Department of Musicology Despite its critical acclaim and commercial success , the hit musical Rent by Jonathan Larson has received scant attention in academic literature. The story of Rent has been told and retold in the popular media, but a look at Larson’s own drafts, notes, and other personal wri tings adds another important and largely missing voice – Larson’s own. In this study, I use the Jonathan Larson Collection, donated to the Library of Congress in 2004 , to examine this seminal work and composer by tracing Rent ’s development and documenting L arson’s creative process. My analysis of material from the Larson Collection and the interviews of others involved in Rent ’s development reveal s the story of how this unconventional rock musical made it to the stage, highlighting the importance of visio n, but also of revision and collaboration. “OVER THE MOON”: THE CREATION AND DEVELOPMENT OF RENT BY JONATHAN LARSON By Elizabeth Corbin Titrington Thesis submitted to the Faculty of the Graduate School of the University of Maryl and, College Park, in partial fulfillment of the requirements for the degree of Master of Arts 2007 Advisory Committee: Professor Richard King , Chair Professor Jonathan Dueck Professor Robert Provine © Copyright by Elizabeth Titrington 2007 Preface Although I cannot claim the status of Rent head – I do not know every word to “La Vie Bohème” by heart or have a website dedicated to the show – I admit to approach ing this project as a fan as well as scho lar. -
112 It's Over Now 112 Only You 311 All Mixed up 311 Down
112 It's Over Now 112 Only You 311 All Mixed Up 311 Down 702 Where My Girls At 911 How Do You Want Me To Love You 911 Little Bit More, A 911 More Than A Woman 911 Party People (Friday Night) 911 Private Number 10,000 Maniacs More Than This 10,000 Maniacs These Are The Days 10CC Donna 10CC Dreadlock Holiday 10CC I'm Mandy 10CC I'm Not In Love 10CC Rubber Bullets 10CC Things We Do For Love, The 10CC Wall Street Shuffle 112 & Ludacris Hot & Wet 1910 Fruitgum Co. Simon Says 2 Evisa Oh La La La 2 Pac California Love 2 Pac Thugz Mansion 2 Unlimited No Limits 20 Fingers Short Dick Man 21st Century Girls 21st Century Girls 3 Doors Down Duck & Run 3 Doors Down Here Without You 3 Doors Down Its not my time 3 Doors Down Kryptonite 3 Doors Down Loser 3 Doors Down Road I'm On, The 3 Doors Down When I'm Gone 38 Special If I'd Been The One 38 Special Second Chance 3LW I Do (Wanna Get Close To You) 3LW No More 3LW No More (Baby I'm A Do Right) 3LW Playas Gon' Play 3rd Strike Redemption 3SL Take It Easy 3T Anything 3T Tease Me 3T & Michael Jackson Why 4 Non Blondes What's Up 5 Stairsteps Ooh Child 50 Cent Disco Inferno 50 Cent If I Can't 50 Cent In Da Club 50 Cent In Da Club 50 Cent P.I.M.P. (Radio Version) 50 Cent Wanksta 50 Cent & Eminem Patiently Waiting 50 Cent & Nate Dogg 21 Questions 5th Dimension Aquarius_Let the sunshine inB 5th Dimension One less Bell to answer 5th Dimension Stoned Soul Picnic 5th Dimension Up Up & Away 5th Dimension Wedding Blue Bells 5th Dimension, The Last Night I Didn't Get To Sleep At All 69 Boys Tootsie Roll 8 Stops 7 Question -
An Evening of Song: From Schubert to Verdi
An Evening of Song: From Schubert to Verdi Logan Campbell, bass-baritone Deb Watts Elliott, piano UIS Faculty Series Illinois Symphony Orchestra Guild Event February 20, 2021 7:00 pm University of Illinois - Springfield Performing Arts Center Program Order “La Vendetta” from Le Nozze di Figaro M ozart (1756-1791) “Bois épais” from Amadis L ully (1632-1687) “Quia fecit mihi magna” from Magnificat Bach (1785-1750) “Der Doppelgänger” from Schwanengesang S chubert (1797-1828) “Romans” from 3 Songs for Bass Voice Sjögren (1853-1918) INTERMISSION “Some Enchanted Evening” from South Pacific R odgers and Hammerstein (1902-1979) (1895-1960) “Il lacerato spirito” from Simon Boccanegra V erdi (1813-1901) Old American Song Set #1 C opland The Dodger (1900-1990) Long Time Ago Simple Gifts I Bought Me A Cat Performer Biographies Logan Campbell, bass-baritone, is a recent addition to the faculty at The University of Illinois - Springfield as Music Director and Conductor of the UIS Orchestra. Campbell enjoys a budding career as a conductor, equally at home with Symphonic repertoire, Pops, Opera, and Musical Theatre. He is presently in his first season as Assistant Conductor of the Illinois Symphony Orchestra and Conductor of the Illinois Symphony Youth Orchestras.Logan has worked as a guest conductor, rehearsal conductor, or cover conductor with area orchestras like the Knoxville Symphony Orchestra, Scruffy City Orchestra, Morristown Community Orchestra, and Brevard Philharmonic. As a student at UT, he worked with the UT Symphony Orchestra, UT Opera Orchestra, UT Chamber Orchestra, VolOpera, and UT Opera Theatre. Logan performed with the UT Opera Theatre from 2018-2020 in productions of La Finta Giardiniera and Carmen, with the Knoxville Opera in Lucia di Lammermoor, the Furman Lyric Opera in Die Zauberflöte, and the Franco-American Vocal Academy in Le Nozze di Figaro and Bastien und Bastienne in. -
Winter 2012 Folded Program Updated 1.27.12
BROADWAY WORLDWIDE PROGRAM TESTIMONIALS “Nothing will do more to open doors for our young people and prepare them for unimagined new careers.” -Former President Bill Clinton on the StudentsLive Broadway Education Programs PRESENTS “Programs like these enable a new generation of audiences to make the arts a permanent part of their lives.” -Secretary Of State Hillary Clinton on the StudentsLive Broadway Education Programs BR - BROADWAY “This was the most well-prepared and well-executed education program I have ever attended…here’s a program that makes students live and breathe in a way they never did before.” DREAM CAMP -Peter Filichia, Theatre Critic, Newark Star Ledger and TheaterMania.com “Wow! I cried though the first 5 numbers and three more times throughout the course of the show. What you put together is incredible. It reminded me of the magic of Broadway WINTER 2012 and how lucky we all are to be a part of this. More importantly what it can do for these children, how it can bring them out of their shells. You did a wonderful job. I was honored to be a guest.” - Stephanie Klemons, Broadway Cast Member, In The Heights “I want to say thank you for giving me the opportunity to attend the Broadway Dream Camp. What an incredible amount of song and dance the kids learned in English! The quality of their performance was evidence of the strong teachers that they had. It was inspiring to see their passionate faces having a great time on stage and fearlessly nailing each number. I felt privileged to share in the experience. -
Rodney Earl Clarke Christopher Gould
HITS FROM THE GOLDEN AGE OF BROADWAY MUSICALS Rodney Earl Clarke Christopher Gould HITS FROM THE GOLDEN AGE OF BROADWAY MUSICALS Rodney Earl Clarke Christopher Gould 1 Oh, What a Beautiful Mornin’ 3’05 from Oklahoma! music by Richard Rodgers, words by Oscar Hammerstein II 2 If I loved you 2’25 from Carousel music by Richard Rodgers, words by Oscar Hammerstein II 3 Soliloquy 7’25 from Carousel music by Richard Rodgers, words by Oscar Hammerstein II 4 You’ll never walk alone 2’00 from Carousel music by Richard Rodgers, words by Oscar Hammerstein II 5 Love Walked In 3’18 from The Goldwyn Follies music by George Gershwin, words by Ira Gershwin 6 Just Another Rhumba 3’16 from The Goldwyn Follies music by George Gershwin, words by Ira Gershwin 7 Younger Than Springtime 3’17 from South Pacific music by Richard Rodgers, words by Oscar Hammerstein II 8 Some Enchanted Evening 3’27 from South Pacific music by Richard Rodgers, words by Oscar Hammerstein II 9 This Nearly Was Mine 3’28 from South Pacific music by Richard Rodgers, words by Oscar Hammerstein II 10 Joey, Joey, Joey 3’38 from The Most Happy Fella music and words by Frank Loesser 11 Come Home 2’49 from Allegro music by Richard Rodgers, words by Oscar Hammerstein II 12 Ol’ Man River 2’51 from Showboat music by Jerome Kern, words by Oscar Hammerstein II 13 Lonely Town 3’59 from On the Town music by Leonard Bernstein, words by Betty Comden and Adolph Green 14 The Impossible Dream (The Quest) 2’44 from Man of La Mancha music by Mitch Leigh, words by Joe Darion 47’42 Rodney Earl Clarke baritone Christopher Gould piano Rodney Earl Clarke takes us to the golden age of the American musical theatre song focussing on the composers that solidified the modern, story-driven, integrated art genre that we now enjoy.