Educational Guide Finiansonbroadway.Com Music by Burton Lane Book & Lyrics by Yip Harburg Book by Fred Saidy Educational Guide

Total Page:16

File Type:pdf, Size:1020Kb

Educational Guide Finiansonbroadway.Com Music by Burton Lane Book & Lyrics by Yip Harburg Book by Fred Saidy Educational Guide educational guide FiniansonBroadway.com music By Burton lane Book & lyrics By yiP harBurg Book By Fred saidy educational guide written By Scott Lupi contriButing editors Susan Fuller, Marty Johnson, Lindsay Weiner Project manager Susan Fuller Production Photos © Joan Marcus layout & design: Danielle Johnson and Kevin M. Johnson created By iTheatrics.com www.FiniansonBroadway.com © iTheatrics 2009 INTRODUCTION HOW TO USE ThIS GUIDE ................................................................................2 BeFORE THE SHOW .......................................................................... 3–10 ABOUT THE SHOW Basic Plot Synopsis .................................................................................... 4–5 Character Descriptions ...................................................................................6 About the Writers ..........................................................................................7 Production History of the Show.......................................................................8 Vocabulary from Finian’s Rainbow ...................................................................8 IMPORTANT IDEAS IN THE SHOW Sharecroppers of the South ............................................................................9 Rainbows .....................................................................................................10 Leprechauns ................................................................................................10 aFTER THE SHOW ........................................................................... 11–18 IDEAS FOR CLASSROOM EXPLORATION How Are Things In Glocca Morra? – Community and Cultural Connections ........ 14–15 A. Beyond the Bounds of Bigotry ................................................................14 B. I Am From… Poems ..............................................................................15 The Begat – Making Sense of Satire .................................................................. 16–17 A. What Are They Really Saying? ...............................................................16 B. Sensational Satire ..................................................................................17 Taking It Further – Political Cartooning ...................................................17 Look To The Rainbow – Dreams of Hope, Home and the Heart ............................18 A. Where’s Your Rainbow? ..........................................................................18 B. Love is All Around ..................................................................................18 C. Look to the Rainbow Project...................................................................18 RESOURCES .................................................................................................19 TABLE oF CONTENTS FiniansonBroadway.com • Finian’s r ainBOW • INTRODUCTION how to use this guide dear teachers, Welcome to the Finian’s Rainbow Educational Guide. These materials can serve as a catalyst for educational enrichment beyond the performance. Inside this resource you’ll find a variety of activities that may either stand alone or work in sequence as a unit of study. Feel free to photocopy pages from this guide to distribute to your students. We have struc- tured the guide into three sections: Before the Show, After the Show, and Resources. The first section, Before the Show, provides infor- mation about the production, some historical back- ground, and other show-related information. The second section, After the Show, features activities and discussion topics to explore Finian’s Rainbow’s content in your classroom. Finally, the Resources section pro- vides information for delving deeper into the world of Finian’s Rainbow with websites, videos, and more. We hope this guide will inspire your students to further explore issues of community, segregation, and cultural celebration. Enjoy the Show! • FINIAN’s r ainBOW • FiniansonBroadway.com FiniansonBroadway.com • Finian’s r ainBOW • About the show Basic Plot synoPsis As the tale begins we learn that a spirited Irishman, Before attending the show, read the plot synopsis Finian McLonergan, along with his daughter, Sharon, aloud to your students. Have your students brain- (and followed by a leprechaun named Og) have trav- storm ideas about how the story will be enacted eled from Glocca Morra, Ireland to Rainbow Valley. live onstage including the “magic” moments. Have Finian, it turns out, has “borrowed” Og’s crock of them then create a list of predictions and hold onto gold to plant in the soil near Fort Knox so it will grow them. After the show, revisit these lists and see what comparisons emerge. and make him rich. But Og wants it back, for without it, all the Glocca Morra leprechauns will lose their magic powers and the crock of gold, which grants his whimsical magical fable-with-a-social-con- wishes, will turn to dross. The McLonergans arrive science takes place in the mythical state just as Buzz, a stooge for racist Senator Rawkins, tof Missitucky, USA, in a community called is trying to take the sharecroppers’ land away for Rainbow Valley. Rainbow Valley is special because inability to pay back taxes. Luckily, Woody gets home the owners, Woody Mahoney and his mute sister, from the city with money to pay the taxes. Unluckily, Susan, who “talks” with her feet by dancing, share he is sixty-five dollars short! Sharon, who is hiding the work and the land with an interracial, tight-knit in a tree, is touched by the community’s plight and community of sharecroppers. throws down a shower of bills to save the day. • FINIAN’s r ainBOW • FiniansonBroadway.com A highly original story unfolds, at once sentimen- Og are a happy couple and Finian goes on his way, tal, magical and satirical. Woody and Sharon fall in taking his rainbow of hope to others who need it. love as Finian secretly buries the crock. The Senator Classic songs from Finian’s Rainbow include: is about to throw all the citizens of Rainbow Valley off “How Are Things in Glocca Morra?,” “Old Devil their land for violating his “law of the south,” namely: Moon,” “When the Idle Poor Become the Idle whites and blacks cannot work or live side by side. Rich,” “When I’m Not Near the Girl I Love,” “Look Sharon is outraged, and wishes that the Senator to the Rainbow,” “Necessity,” “Something Sort of could be black and feel the terrible pain of racism. Grandish,” “That Great Come-and-Get-It Day,” “If Because – without knowing it – she is standing over This Isn’t Love” and “The Begat.” the buried crock, it happens! The Senator turns black – the crowd is stunned – he is horrified, and runs off into the forest to hide. In preparation for your visit to see The sharecroppers learn there is gold in Rainbow Finian’s Rainbow, have your students Valley – though no one except Finian knows where it is. Assuming they will all be rich, they crazily order use the internet to visit the official everything they’ve ever wanted with their newly-avail- website for the Broadway production able line of credit. Susan the Silent enters, alone. As and peruse production pictures, videos she dances in the forest, magic seems to draw her to and more at www.finiansonbroadway.com. the place where Finian has buried the gold. She digs it up. Amazed and enchanted, she dances away, tak- ing the crock with her. As she dances off, Og enters, and soon after, a hungry, lonely, frightened black Senator stumbles onstage. Og casts a spell to cure the Senator of his bigotry! At Sharon and Woody’s wedding, the Sheriff ar- rives and takes them to jail for the crime of changing the senator from a white man to a black one. Finian knows that he can, by making a wish over the crock, turn the senator white again, and believes that all will soon be right with the world. But when he goes to dig up the crock, he discovers that it is missing – carried off by Susan in her mad dance. Just before dawn the next morning, Og discovers Susan sitting over the crock. He falls madly in love with her and sings, “When I’m Not Near the Girl I Love.” Meanwhile, Sharon, accused of witchcraft for turning Rawkins black, is about to face execution. But at the last minute, there are happy endings for all: Og discovers the crock and uses it to set things right; Sharon and Woody marry; the Senator discovers his humanity; Susan gains the power to speak; she and FiniansonBroadway.com • Finian’s r ainBOW • character descriPtions FINIAN McLONERGAN – A wily dreamer and fanciful BUZZ COLLINS – Stooge for Senator Rawkins philosopher from Ireland SHERIFF – The town’s sheriff who does everything SHARON McLONERGAN – Finian’s loving and long-suf- he can to enforce Rawkins’ law fering daughter SUNNY – The harmonica-playing musical town crier WOODY MAHONEY – Idealistic and charismatic DOTTIE – The unofficial “mayor” of Rainbow Valley; Rainbow Valley landowner mother of Henry SUSAN MAHONEY – Woody’s sister who speaks HENRY – Dottie’s ten-year-old son who interprets through dance or “foot talk” Susan’s “foot talk” OG – A leprechaun who is turning mortal DIANA – A ten-year-old girl, Henry’s best friend; she believes in make-believe SENATOR RAWKINS – The man who is trying to take control of the land in Rainbow Valley; he knows HOWARD – A determined, young black man who has how to play the game because he wrote the rules worked his way through three years of college but needs the money to finish BILL – Senator Rawkins, once he is turned black by Sharon’s wish ADDITIONAL TOWNSFOLK AND SHARECROPPERS • FINIAN’s r ainBOW
Recommended publications
  • 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.
    [Show full text]
  • The 2009 Lotte Lenya Competition First Round
    The 2009 Lotte Lenya Competition Lauren Worsham’s recent credits include Sophie in Master Class (Pa- permill Playhouse), Clara in The Light in the Piazza (Chamber Version - Kilbourn Hall, Eastman School of Music Weston Playhouse), Cunegonde in Candide (New York City Opera), Jerry Springer: The Opera (Carnegie Hall), Olive in The 25th Annual Putnam Saturday, 18 April 2009 County Spelling Bee (First National Tour). New York workshops/readings: Mermaid in a Jar, Le Fou at New Georges, The Chemist's Wife at Tisch, Mir- ror, Mirror at Playwright's Horizons, and Now I Ask You at Provincetown First Round Playhouse. Graduate of Yale University, 2005. Thanks for all the love and support from Bryan and Management 101. Most importantly, I owe it all to my amazing family. Proud member AEA! www.laurenworsham.com The Kurt Weill Foundation for Music, Inc. administers, promotes, and perpetuates the legacies of Kurt Weill and Lotte Lenya. It encourages broad dissemination and appreciation of Weill’s music through support of performances, productions, recordings, and scholarship; it fosters understanding of Weill’s and Lenya’s lives and work within diverse cultural contexts; and, building upon the legacies of both, it nurtures talent, particularly in the creation, performance, and study of musical theater in its various manifestations and media. Established in 1998 by the Kurt Weill Foundation for Music, the Lotte Lenya Competition provides a unique opportunity for talented young singer/actors to show their versatility in musical theater repertoire ranging from opera/operetta to contemporary Broadway, with Competition Administration, for the Kurt Weill Foundation: a focus on the varied works of Kurt Weill.
    [Show full text]
  • Read Book Just for the Record
    JUST FOR THE RECORD PDF, EPUB, EBOOK Geri Halliwell | 320 pages | 01 Nov 2003 | Ebury Publishing | 9780091888046 | English | London, United Kingdom Just For The Record PDF Book Jeff Randall Kenneth Cope When the Sun Comes Out. Pargiter Olivia Hamnett Ager Arlen Koehler Yellen. Barbra Streisand feat: Don Rickles. The Barbra Streisand Album , Marty Hopkirk Annette Andre Stoney End , Movies I have seen. Liner notes. Energetic Happy Hypnotic. DeSylva Lew Brown. Andre Mallot James Forrest Back to Broadway Halloween Movies for the Whole Family. Miss Marmelstein Harold Rome. Browne ultimately awarded the collection a grade of A- and called it a good representation of the singer's ability to "chang[e the] definition of pop" and "make mainstream adult pop that was strong, elegant, [and] even passionate". Another common usage of the idiom involves clarifying a person's motivation for saying something or engaging in a particular action. Rainy Day Relaxation Road Trip. Barbra Streisand feat: Judy Garland. The Broadway Album , Don't Rain on My Parade. Title: Just for the Record 15 Jan The Best Horror Movies on Netflix. Alternately, someone may use it to explain why he did something that appeared particularly unintelligent. I Can Do It. Other tracks were compiled from various live performances, TV specials, and previous albums from her back catalog. Warm All Over Frank Loesser. Lost Inside of You. My Honey's Lovin' Arms. Lorenz Hart Richard Rodgers. It includes 24 of the songs from Just for the Record The Moon and I. You're the Top Cole Porter. Cryin' Time. Add the first question.
    [Show full text]
  • Maybe Not--But You Can Have Fun Trying
    12/29/2010 Can You Live Forever? Maybe Not--But… Permanent Address: http://www.scientificamerican.com/article.cfm?id=e-zimmer-can-you-live-forever Can You Live Forever? Maybe Not--But You Can Have Fun Trying In this chapter from his new e-book, journalist Carl Zimmer tries to reconcile the visions of techno-immortalists with the exigencies imposed by real-world biology By Carl Zimmer | Wednesday, December 22, 2010 | 14 comments Editor's Note: Carl Zimmer, author of this month's article, "100 Trillion Connections," has just brought out a much-acclaimed e-book, Brain Cuttings: 15 Journeys Through the Mind (Scott & Nix), that compiles a series of his writings on neuroscience. In this chapter, adapted from an article that was first published in Playboy, Zimmer takes the reader on a tour of the 2009 Singularity Summit in New York City. His ability to contrast the fantastical predictions of speakers at the conference with the sometimes more skeptical assessments from other scientists makes his account a fascinating read. Let's say you transfer your mind into a computer—not all at once but gradually, having electrodes inserted into your brain and then wirelessly outsourcing your faculties. Someone reroutes your vision through cameras. Someone stores your memories on a net of microprocessors. Step by step your metamorphosis continues until at last the transfer is complete. As engineers get to work boosting the performance of your electronic mind so you can now think as a god, a nurse heaves your fleshy brain into a bag of medical waste. As you —for now let's just call it "you"—start a new chapter of existence exclusively within a machine, an existence that will last as long as there are server farms and hard-disk space and the solar power to run them, are "you" still actually you? This question was being considered carefully and thoroughly by a 43-year-old man standing on a giant stage backed by high black curtains.
    [Show full text]
  • Institute for the Future
    Institute for the Future The Institute for the Future (IFTF) is a Palo Alto, California, US– based not-for-profit think tank. It was established, in 1968, as a spin- Institute for the Future off from the RAND Corporation to help organizations plan for the long-term future, a subject known as futures studies.[1] Type Not for profit Contents Industry Future Forecasting History Founded 1968 in Middletown, Genesis Connecticut, First years United States An increase in corporate focus Founders Frank Davidson, Evolution of societal forecasting Olaf Helmer, Paul Work Baran, Arnold Kramish, and People Theodore Gordon Past leaders Headquarters 201 Hamilton References Avenue, Palo Alto, External links United States Key people Marina Gorbis Services Ten Year Forecast, History Technology Horizons, Health Horizons Genesis Website iftf.org (http://iftf.or g) First references to the idea of an Institute for the Future may be found in a 1966 Prospectus by Olaf Helmer and others.[2] While at RAND Corporation, Helmer had already been involved with developing the Delphi method of futures studies. He, and others, wished to extend the work further with an emphasis on examining multiple scenarios. This can be seen in the prospectus summary: To explore systematically the possible futures for our [USA] nation and for the international community. To ascertain which among these possible futures seems desirable, and why. To seek means by which the probability of their occurrence can be enhanced through appropriate purposeful action.[1] First years The Institute opened in 1968, in Middletown, Connecticut. The initial group was led by Frank Davidson and included Olaf Helmer, Paul Baran, Arnold Kramish, and Theodore Gordon.[1] The Institute’s work initially relied on the forecasting methods built upon by Helmer while at RAND.
    [Show full text]
  • The Salt Fish Girl
    TEACHERS’ GUIDE By James Venn, OCT ISBN: 9781459744189 @dundurnpress dundurn.com Copyright © Dundurn, 2018 This teachers’ guide was made possible by the support of the Ontario Media Development Corporation. The publisher is not responsible for websites or their content unless they are owned by the publisher. Books are available from our website (dundurn.com), your favourite bookseller, wholesalers, and UTP Distribution (t: 1-800-565-9523). CONTENTS I. Introduction 4 • About the Book • About the Author II. Literary Devices, Motifs, and Themes 6 III. Pre-Reading Activities 10 • Author Study • Cover Deconstruction • Class Discussion: Science Fiction as a Genre • Composition: Identity • On Identity Assignment IV. Chapter Summaries 13 V. During-Reading Activities 21 VI. Post-Reading Activities 42 • Comparison Study • Cover Redesign • Dramatization • Essay Assignment • Science Fiction Story VII. Assessment Rubric 45 VIII. Ontario Curriculum Connections 48 TRG | SALT FISH GIRL CONTENTS | 3 I. INTRODUCTION ABOUT THE BOOK Salt Fish Girl is a science fiction novel told by two narrators in alternating sections. These two narratives compliment and comment on each other. Miranda is a girl of Chinese heritage growing up on the North American West Coast in the near future. Governments have failed and rule by corporation has been established. Citizens of corporations live in enclaves while the majority of people make do outside these protected spaces. Economic activities, like selling produce, making shoes, advertising, or running a medical clinic, continue. The propagation of transgenic practices has led to some disturbing consequences. The corporations are cloning women for slave labour. They genetically modify these workers with genes culled from other species to deny them full human rights.
    [Show full text]
  • Predicting Future Locations and Arrival Times of Individuals
    Predicting Future Locations and Arrival Times of Individuals Ingrid E. Burbey Dissertation submitted to the faculty of the Virginia Polytechnic Institute and State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy In Computer Engineering Thomas L. Martin, Chair Mark T. Jones Scott F. Midkiff Manuel A. Perez-Quinones Joseph G. Tront 26 April, 2011 Blacksburg, Virginia Keywords: Context Awareness, Location Awareness, Context Prediction, Location Prediction, Time-of-Arrival Prediction Predicting Future Locations and Arrival Times of Individuals Ingrid E. Burbey ABSTRACT This work has two objectives: a) to predict people's future locations, and b) to predict when they will be at given locations. Current location-based applications react to the user‘s current location. The progression from location-awareness to location-prediction can enable the next generation of proactive, context-predicting applications. Existing location-prediction algorithms predict someone‘s next location. In contrast, this dissertation predicts someone‘s future locations. Existing algorithms use a sequence of locations and predict the next location in the sequence. This dissertation incorporates temporal information as timestamps in order to predict someone‘s location at any time in the future. Sequence predictors based on Markov models have been shown to be effective predictors of someone's next location. This dissertation applies a Markov model to two-dimensional, timestamped location information to predict future locations. This dissertation also predicts when someone will be at a given location. These predictions can support presence or understanding co-workers‘ routines. Predicting the times that someone is going to be at a given location is a very different and more difficult problem than predicting where someone will be at a given time.
    [Show full text]
  • News Release
    News Release FOR IMMEDIATE RELEASE PRESS CONTACT: Ben Randle, Artistic Associate ~ 415.694.6156 ~ [email protected] PHOTOS & PRESS KIT NEW CONSERVATORY THEATRE CENTER PRESENTS WEST COAST PREMIERE OF REIMAGINED ON A CLEAR DAY YOU CAN SEE FOREVER NEW VIEW OF CLASSIC MUSICAL TO BE DIRECTED BY NCTC FOUNDER & ARTISTIC DIRECTOR ED DECKER San Francisco, CA (April 7, 2016) – New Conservatory Theatre Center crowns its 2015-16 season with the West Coast premiere of a whimsical reimagining of On a Clear Day You Can See Forever, the classic American musical featuring music by Burton Lane, lyrics by Alan Jay Lerner, and a new book by Peter Parnell, based on the original book by Lerner. This mesmerizing and enchanting new look at the classic musical is just your typical musical comedy – about hypnosis, a gay florist with commitment issues, a love triangle with a therapist, and past life as a 1940s chanteuse. On a Clear Day You Can See Forever runs May 13 – June 12, 2016. Opening Night is Saturday, May 21, 2016 at 8pm. Tickets are $30–50 and available at nctcsf.org or by calling (415) 861-8972. Directing the West Coast premiere is NCTC Founder & Artistic Director Ed Decker, with music direction by Matthew Lee Cannon, choreography by Jayne Zaban, and instrument arrangements by Ben Prince. On a Clear Day is the rare original musical that is not based on source material. It broke ground by dealing with paranormal and supernatural experience — past lives, reincarnation, ESP and the seemingly limitless power of the mind. The musical originally opened on Broadway in 1965, starring Barbara Harris as a chain smoker who can hear phones before they ring and make flowers grow before your eyes.
    [Show full text]
  • EMPOWERING SILENCED VOICES CHOROSYNTHESIS SINGERS Wendy Moy & Jeremiah Selvey, Co-Artistic Directors with Camel Heard & Chorale
    CONNECTICUT COLLEGE DEPARTMENT OF MUSIC & DAYTON ARTIST IN RESIDENCE PROGRAM PRESENT EMPOWERING SILENCED VOICES CHOROSYNTHESIS SINGERS Wendy Moy & Jeremiah Selvey, Co-Artistic Directors with Camel Heard & Chorale April 13, 2019, 7:30p.m. Evans Hall DAYTON ARTIST IN RESIDENCE PROGRAM Guests Chorosynthesis Singers, Jeremiah Selvey, & Stephen Lancaster Connecticut College Choirs Wendy Moy, Director of Choral Activities PEACE & HUMAN RIGHTS AUDIENCE SING-ALONG Dona Nobis Pacem ​(Grant us peace) Wolfgang A. Mozart (1756-1791) When Thunder Comes (2009) Mari Esabel Valverde (b. 1987) CC Camel Heard, CC Chorale, and Chorosynthesis Singers Tristan Filiato, John Frascarelli, and Naveen Gooneratne, ​percussion Kathleen Bartkowski, ​piano Wendy Moy, ​conductor WAR & DEVASTATION A Clear Midnight (2015) Thomas Schuttenhelm (b. 1970) CC Camel Heard and Chorosynthesis Singers Wendy Moy, ​conductor Come Up from the Fields (1995) C. G. Walden (b. 1955) Diane Walters, Lauren Vanderlinden, and Anthony Ray, ​soloists Reconciliation (2015) Michael Robert Smith (b. 1989) Chorosynthesis Singers Jeremiah Selvey, ​conductor 2 Salut Printemps Claude Debussy (1862-1918) CC Camel Heard Ruby Johnson and Sara Van Deusen, ​soloists Kathleen Bartkowski​, ​piano Wendy Moy, ​conductor COLONIALISM & BEYOND NORTH AMERICA Evening (2015/2016) Conrad Asman (b. 1996) Chorosynthesis Singers Diane Walters and Anthony Ray, ​soloists Jeremiah Selvey, ​conductor Risa Fatal (2015/2016) Tomás Olano (b. 1983) Chorosynthesis Singers Wendy Moy, ​conductor Blue Phoenix (from ​Gather These Mirrors​) (2009) Kala Pierson (b. 1977) SI, SE PUEDE/YES, WE CAN! Do You Hear How Many You Are? (2010) Keane Southard (b. 1987) CC Camel Heard, CC Chorale, and Chorosynthesis Singers Wendy Moy, ​conductor INTERMISSION SUICIDE & PULSE CLUB MASS SHOOTING Testimony (2012) Stephen Schwartz (b.
    [Show full text]
  • Claudia Hommel's Songshop Presents the DR. RUTH SHOW, Sessions 2 & 3
    Claudia Hommel’s Songshop presents THE DR. RUTH SHOW, Sessions 2 & 3 The Café Simone Cabaret of Cyrano’s Bistrot Sat urday, January 29, 2011 “Session 2” “Session 3” Adrienne Getting to Know You Richard Rodgers & Oscar Hammerstein Joan My Heart Belongs to Daddy Cole Porter II (from “The King and I”) Carrie That Old Black Magic Harold Arlen & Johnny Mercer Arlene Harry Warren & Mack Gordon The More I See You Jim It Feels Like Home John Bucchino Richard Rodgers & Lorenz Hart (from Carrie Bewitched Richard Rodgers & Lorenz Hart "Pal Joey") Leona It Never Entered My Mind Joan If He Walked into My Life Jerry Herman (from “Mame”) Adrienne They Can’t Take That Away George and Ira Gershwin Ruth Nothing Marvin Hamlisch & Edward Kleban from Me (from “A Chorus Line”) Ruth Where or When Richard Rodgers & Lorenz Hart Jim Remember/Always Irving Berlin, arranged by Christopher Ira Fifty Percent Billy Goldenberg, Alan & Marilyn Marlowe Bergman (from “Ballroom”) Raymon La vie anterieure Henri Duparc, Charles Baudelaire Raymon Begin the Beguine Cole Porter Leona Smoke Gets in Your Eyes Jerome Kern & Otto Harbach (from Carol It’s a Most Unusual Day Jimmy McHugh and Harold Adamson “Roberta”) Arlene Ray Henderson & Mort Dixon Patrick Have I Told You Lately Van Morrison Bye Bye Blackbird Patrick Ken Darby, George R. Poulton Ira Another Winter in a Summer Scott Frankel & Michael Korie (from Love Me Tender “Grey Gardens”) Jo If You Hadn't But You Did Jule Styne, Betty Comden & Adolph Town Green (from “Two on the Aisle”) Carol How Do You Keep the Music Michel
    [Show full text]
  • THE FEASIBILITY of a TESTABLE GAIA HYPOTHESIS a Project Presented to the Faculty of the Undergraduate College of Mathematics and Sciences James Madison University
    THE FEASIBILITY OF A TESTABLE GAIA HYPOTHESIS A Project Presented to The Faculty of the Undergraduate College of Mathematics and Sciences James Madison University In Partial Fulfillment of the Requirements for the Degree Bachelor of Sciences by Brent Franklin Bauman 1998 Introduction In contrast to Darwinian theories of natural selection which hold that life evolves and adapts to existing geologic conditions, the Gaia hypothesis, first proposed by James Lovelock in 1969, states that Earth and the life inhabiting it coevolve as one globally integrated system. This system, Gaia, is homeostatically regulated through biological negative feedback reactions and creates conditions that are self-sustaining and comfortable for life itself. Lovelock compares the Earth's self-regulating abilities to those of a hypothetical planetary organism that is capable of maintaining the Earth's surface biogeochemistry as an organism maintains its own life-sustaining internal conditions. Views regarding the relationships between life and the Earth have historically resulted in polar opposite positions of scientific thought. Within the natural sciences, two such positions currently prevail: reductionism and holism. Reductionism is the notion that systems can be understood by analysis of their component parts. It proposes, for example, that all biological phenomena can be understood and described by the laws of physics. Holism is the notion that the component parts of a system can only be understood in context of the whole system. For example, biological phenomena exhibit emergent properties that can be ultimately reduced to or explained by the laws of physics. Although numerous holistic theories have recently emerged, reductionism has remained the dominant paradigm in the sciences since the 1950's (Goldsmith 65).
    [Show full text]
  • I Was a Teenage Negro! Blackface As a Vehicle of White Liberalism in Finian's Rainbow
    I Was a Teenage Negro! Blackface as a Vehicle of White Liberalism in Finian's Rainbow Russell Peterson Obviously we hope you will enjoy your evening with us, but before the curtain goes up we would like to forewarn you about what you will see. Finian s Rainbow is a joyous musical cel­ ebrating life, love, and the magic that lives in each of us, but it is also something more. Produced in 1947, it was one of the American theater's first attempts to challenge racism and big­ otry. With the two-edged sword of ridicule and laughter it punctured the stereotypes that corrupted America. In doing so it created something of a stereotype itself. If it seems at times that our cast makes fun of racial or social groups, it is only that we wish to expose and deride the bigotry that still would gain a hearing in our hearts. —program note from Edison Jun­ ior High School's (Sioux Falls, SD) 1974 production of Finian's Rainbow I might as well confess right up front that this article's title is a bit of a tease. While I did play a sharecropper in Edison Junior High's 1974 production of Finian s Rainbow, I was as white onstage as I was (and am) off. In this case, however, color-coordination of actor and role was less a matter of race-appro­ priate casting than of directorial whim. Allow me to explain. 0026-3079/2006/4703/4-035$2.50/0 American Studies, 47:3/4 (Fall-Winter 2006): 35-60 35 36 Russell Peterson Finian was a big Broadway hit in 1947.
    [Show full text]