Show 1- Sunday-June 2-12:30 Pm
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Jolly Holiday Script V3
JOLLY HOLIDAY by Kira Prince DRAFT © 2017 Kira Prince 2. QUEUE: The queue for Jolly Holiday combines several queuing ideas under one roof. The queue starts and ends as a traditional queue but the main portion is a thoroughly modern "virtual queue" with activities and distractions. It takes much inspiration from the world of immersive theatre with several live characters populating the micro-land and interacting with each other as well as the guests. EXT. EDWARDIAN LONDON TOWN - ENTRANCE / TRADITIONAL QUEUE 1 A quaint town on the outskirts of London sits proudly awaiting its visitors. The buildings are close together and sit helter-skelter. A variety of chimneys stick up charmingly at odd angles. Underscore of The Life I Lead and the Overture plays. At night silhouettes of chimney sweeps mulling about are seen on this skyline. Occasionally underscore of Step in Time breaks out and the sweeps dance about the rooftop. A large archway sits in the center of the facade leading us to the street that curves away beneath it. ALLEY - TRADITIONAL QUEUE 1 As we venture onto this street/alleyway the slim facades of various slightly grimy businesses and residences are seen. Signs in the windows advertise their wares and various doors and staircases hint at the residents living above. If you listen closely you might hear the LAUGH of UNCLE ALBERT echoing inside his wood-paneled walls. Some row homes can be seen through gaps in the buildings on the next street over (the exit queue). As we approach another bend the buildings pull away to reveal the gate to Cherry Tree Lane. -
RECITAL 2019 “Mary Poppins” & “Dance the Elements”
RECITAL 2019 “Mary Poppins” & “Dance the Elements” Important information! Keep this package to reference during recital week. PLEASE READ ALL OF THE ATTACHED INFORMATION AND SCHEDULES CAREFULLY! This package has been prepared to give you all the recital information you will need. If you have any questions please speak to an instructor or contact the studio 519.421.0950 [email protected] Show Dates There will be two performances per show: Saturday April 27: Mary Poppins 3:00 pm Saturday April 27: Elements 6:30 pm Sunday April 28: Mary Poppins 3:00 pm Sunday April 28: Elements 6:30 pm Dancers are required to attend ALL of their performances. There is no air conditioning in the WCI Auditorium so dress accordingly. Recital Tickets will be sold online as of Monday March 4, 2019 at 4:00pm from the link provided onstagedirect.com/danceinstyle. Tickets are $15 per person. Children under 2 are free but will need to sit on your lap. THIS EVENT WILL HAVE RESERVED SEATING. PLEASE PLAN TO GET YOUR TICKETS EARLY! Flowers There will be an opportunity to pre-order flowers at the studio or online via Onstage Direct to present to your dancer at recital. We may have a few flowers to purchase the day of recital, however it is best to pre-order. You will be able to pick up your flowers in the lobby prior to the show or during intermission. Prices: Single Rose $8.00 Bouquet $10.00 Volunteers Our recital runs smoothly with your help and the time that you are able to volunteer. -
The Place of the Nanny in British Society
MASARYK UNIVERSITY FACULTY OF EDUCATION Department of English Language and Literature Mary Poppins and British society Bachelor Thesis Brno 2012 Author: Supervisor: Pavlína Matoušková Mgr. Lucie Podroužková, Ph.D. Declaration Hereby I declare that I have compiled this thesis on my own and all the sources of information used in the diploma thesis are listed in the references. Brno, 9 December 2012 ……………………….. Pavlína Matoušková Acknowledgement I would like to express my thanks to my supervisor Mgr. Lucie Podroužková, Ph.D. for her kind advice and valuable feedback. Content Introduction .............................................................................................................................. 5 Life of P.L. Travers with emphasis on resemblance with Mary Poppins ........................... 6 The film version of Mary Poppins .......................................................................................... 8 Historical background ............................................................................................................. 9 The class differences ............................................................................................................... 12 Education .............................................................................................................................. 16 Work ..................................................................................................................................... 17 Housing ............................................................................................................................... -
Mary Poppins DANCE SHOW NEWS - 2017
Mary Poppins DANCE SHOW NEWS - 2017 DIRECTIONS TO POWERS AUDITORIUM - Follow Market St. to Federal Plaza in downtown Youngstown. Take a left on to Commerce Avenue, take for approx. six blocks. This will take you to the BACK of Powers Auditorium, where limited parking is available. The actual address is 260 Federal Plaza West. BE ON TIME: Show begins at 7:00 p.m. Students are to be there at 6:15. Please be prompt and go directly to the dressing rooms. Come dressed in your first costume with a cover-up on. Apply make-up at home. Suggestions: base, lipstick, eye shadow, blush, eyebrow pencil, mascara and eyeliner. Please have hair off face and neck in either a French braid or bun. No jewelry. PARENTS PLEASE NOTE: ONLY mothers working backstage are allowed in the dressing rooms. NO EXCEPTIONS!! All others will be asked to return to the audience. BACKSTAGE GUIDELINES: listed below are specific instructions and guidelines for students and parents to follow. Your cooperation is needed to keep the performance as professional as possible. • You may send a water bottle and snack with your child if they will be downstairs in the dressing room. Please remember that your child will have their costume on. Try not to send anything that could melt or stain. • All students must report backstage prior to the show starting. • Kinderdance, “HOBBY HORSE” should come backstage after VOTES FOR WOMEN. Kindercise, “DOIN’ THE PENGUIN” should come backstage after INTERMISSION. Bring them over to the hallway on STAGE RIGHT. After their number, your child can be picked up OUTSIDE IN THE HALL ON STAGE RIGHT. -
Dec. 11, 2014 ***** MARY POPPINS ***** V10. 6 CAST Mary Poppins Bert Mr
Dec. 11, 2014 ***** MARY POPPINS ***** v10. 6 CAST Mary Poppins Bert Mr. George Banks Mrs. Winifred Banks Jane Banks Michael Banks Ellen: Maid Mrs. Brill: Cook Katie Nanna, Nannies Constable Jones Admiral Boom & Mates Uncle Albert The Bird Woman Mr. Dawes, Sr. & Bankers: Mr. Dawes, Jr.; Mr. Grubbs; Mr. Tomes Penguin Waiters & Animals (1520); Supercal band (6): 1 scene Chimneysweeps (2025): 1 scene London Choir (13): on floor and 1 number on stage Lullaby Chorus: 68 Girls: Stay Awake; Feed the Birds SCENES SCENE 1: 17 Cherry Tree Lane: Sister, The Life I Lead, Advertisement SCENE 2: Next Morning: 17 Cherry Tree Lane: The Interview SCENE 3: Nursery: Spoonful SCENE 4: In the Park SCENE 5: Jolly Holiday: Penguin Dance, Supercalifragilisticexpialidocious SCENE 6: Nursery: Stay Awake SCENE 7: Next Morning: Out of Sorts SCENE 8: Uncle Albert SCENE 9: Parlor: A British Bank SCENE 10: Nursery: Feed the Birds SCENE 11: The Bank: Fidelity Fiduciary Bank SCENE 12: Chimney Sweeps: Chimchimeree, Step in Time SCENE 13: Parlor: That Poppins Woman: A Man Has Dreams SCENE 14: The Bank: Sacked SCENE 15: Parlor & Street: Go Fly a Kite MUSICAL NUMBERS All songs written and composed by Richard M. Sherman and Robert B. Sherman. Mary Poppins (Original Soundtrack) No. Title Performer(s) Length 1. "Overture" (Instrumental) 3:01 2. "Sister Suffragette" Mrs Banks/Maids 1:45 3. "The Life I Lead" Mr Banks 2:01 4. "The Perfect Nanny" Jane & Michael 1:39 5. "A Spoonful of Sugar" Mary P 4:09 1 of 53 Dec. 11, 2014 7. -
Let's Go Fly a Kite Rev. Catie Scudera Do You
Let’s Go Fly A Kite Rev. Catie Scudera Do you remember when you meet George Banks in the old Disney movie Mary Poppins? Katie Nanna has just lost track of the Banks children, Jane and Michael, again, and has told the cook and the maid that she won’t stay another day with two such wayward children; and then, Winifred Banks comes home from a full day of advocacy fighting for women’s right to vote (a cause about which her husband does not approve), and Katie Nanna tells her that she’s lost the children, again, and doesn’t care, and just wants the pay she’s earned so far before she leaves the house for good; and so, Mrs. Banks is in quite a panic — hiding her suffragist sash, worrying about her lost children, and also worrying about how Mr. Banks will respond to this news when he “was just beginning to get used to” Katie Nanna. And then, we see Mr. Banks for the first time, walking home from his work at the bank and telling the neighbor that all is well because, “Money’s sound. Credit rates are moving up, up, up. And the British pound is the admiration of the world.” He doesn’t mention his family because, as he sings about shortly thereafter, he really doesn’t pay any attention to them: “It’s grand to be an Englishman in 1910 King Edward’s on the throne, it’s the age of men I’m the lord of my castle the sovereign, the liege I treat my subjects — servants, children, wife — with a firm but gentle hand, noblesse oblige “It’s 6:03 and the heirs to my dominion Are scrubbed and tubbed and adequately fed And so I’ll pat them on the head and send them off to bed Ah, lordly is the life I lead” Having arrived home on schedule at precisely six o’clock, that means that Mr. -
Mary Poppins *****
***** MARY POPPINS ***** CAST Mary Poppins Bert Mr. George Banks Mrs. Winifred Banks Jane Banks Michael Banks Ellen: Maid Mrs. Brill: Cook Katie Nanna, Nannies Constable Jones Admiral Boom & Mates Uncle Arthur The Bird Woman Mr. Dawes, Sr. & Bankers: Mr. Dawes, Jr.; Mr. Grubbs; Mr. Tomes Penguin Waiters & Animals (15-20); Supercal band (6): 1 scene Chimneysweeps (20-25): 1 scene London Choir (20-30): on floor and 1 number on stage Lullaby Chorus: 6-8 Girls: Stay Awake; Feed the Birds SCENES SCENE 1: 17 Cherry Tree Lane: Sister, The Life I Lead, Advertisement ................. 2 SCENE 2: Next Morning: 17 Cherry Tree Lane: The Interview .............................. 11 SCENE 3: Nursery: Spoonful ................................................................................... 14 SCENE 4: In the Park ............................................................................................... 17 SCENE 5: Jolly Holiday: Supercal ........................................................................... 19 SCENE 6: Nursery: Stay Awake .............................................................................. 23 SCENE 7: Next Morning: Out of Sorts .................................................................... 25 SCENE 8: Uncle Arthur ............................................................................................ 27 SCENE 9: Parlor: A British Bank ............................................................................. 30 SCENE 10: Nursery: Feed the Birds ....................................................................... -
Encountering the Supercalifragilisticexpialidocious: the Roles of Art in Religious Learning
ENCOUNTERING THE SUPERCALIFRAGILISTICEXPIALIDOCIOUS: THE ROLES OF ART IN RELIGIOUS LEARNING Christopher K. Richardson Southern Virginia University & Rockbridge Unitarian Universalist Fellowship Buena Vista, Virginia, USA ABSTRACT Inspired by the aesthetic philosophies of José Vasconcelos and Friedrich Nietzsche, this paper reflects on the roles of art in religious learning through a consideration of two works of art, the films Mary Poppins and Pleasantville . It elaborates on three roles in particular: art as religious presentation, art as religious representation, and art as religious education. Mexican statesman and philosopher José Vasconcelos (1882-1959) referred to his system of thought as “monismo estético,” aesthetic monism (Haddox 12), and described the perspective in a book by the same name published in 1918: I believe that we are entering the era of the aesthetic philosophies, philosophies grounded no longer in pure reason, nor in practical reason, but in the mystery of aesthetic judgment. It is in the special pathos of beauty that I look for the unifying principle, capable of participating in the three forms of action, intellectual, moral, and aesthetic. (Goizueta 1994, 13) Cuban-American theologian Roberto Goizueta explains that: By the “special pathos of beauty,” Vasconcelos means the “empathic fusion” between subject and object that takes place in the aesthetic experience (i.e. the experience of beauty, or a work of art), wherein the person, or subject, loses him or herself in the experience… (Goizueta 2001, 91-92) Vasconcelos -
Mary Poppins
MARY POPPINS Música y Letra RICHARD M. SHERMAN & ROBERT B. SHERMAN Adaptación española: Maestro DAMASCO 1. OBERTURA / HOMBRE-ORQUESTA (Overture) Coros, Bert 2. ¡VOTA LA MUJER! (“Sister Suffragette”) Sra. Banks, Cocineras 3. CUAL GRAN SEÑOR (“The life I lead”) Sr. Banks 4. SE BUSCA NIÑERA (“The perfect nanny”) Jane, Michael 5. CON UN POCO DE AZÚCAR (“A spoonful of sugar”) Mary Poppins 6. PINTOR CALLEJERO (“Pavement artist”) Bert 7. UN DÍA DE VACACIONES (“Jolly holiday”) Bert, Mary Poppins 8. SUPERCALIFRAGILÍSTICOEXPIALIDOSO (“Supercalifragilisticexpialidocious”) Mary Poppins, Bert, Coros 9. NO DURMÁIS (“Stay awake”) Mary Poppins 10. EL BUEN REÍR (“I love to laugh”) Tío Albert, Mary Poppins, Bert 11. UNA CASA ES COMO UN BANCO (“A British Bank”) Sr. Banks, Mary Poppins 12. COMPRE MIGAS DE PAN (“Feed the birds”) Mary Poppins 13. AHORRO, CRÉDITO Y SEGURIDAD (“Fidelity Fiduciary Bank”) Sr. Dawes, Dawes Jr., Sr. Banks, apoderados del banco 14. CHIM-CHÍMENI (“Chim-chim-cheree”) Bert, Mary Poppins, Jane, Michael 15. ¡AL COMPÁS! (“Step in time”) Bert, deshollinadores 16. QUE VUELE LA COMETA / FINAL (“Let’s go fly a kite / Finale”) Sr. Banks, Bert, Coros. OBERTURA / HOMBRE-ORQUESTA (Overture) COROS: Chim chímeni, chim chímeni, chim chim cherí, la suerte, la suerte detrás va de mí. Chim chímeni, chim chímeni, chim chim chiró, La suerte tendrá si mi mano le doy. Dom dibi dibi dibi dom dibi da Dom dibi dibi dibi dom dibi da BERT: Viento del Este, y niebla gris anuncia que viene lo que ha de venir. No me imagino qué irá a suceder. Mas lo que ahora pase… Ya pasó otra vez. -
Mary Poppins, of Hoe Een Magische Nepmoeder Een Dolle Suffragette De Les Leest De Britse Kiesrechtstrijd in De Amerikaanse Populaire Cultuur Van De Jaren Zestig
Essay Mary Poppins, of hoe een magische nepmoeder een dolle suffragette de les leest De Britse kiesrechtstrijd in de Amerikaanse populaire cultuur van de jaren zestig Mineke Bosch Enkele jaren geleden zag ik geheel bevangen (niet gestormd!), en zeilt zij aan het slot van door het kerstvakantievirus de film ‘Mary de film bij westenwind ook weer weg. Mary Poppins’, een onvoorstelbare kaskraker uit Poppins weet de kinderen met haar fascine- 1964 – voor het eerst weer sinds enkele de- rende eigenschappen en trucs geheel voor cennia.1 Dat was een heel andere film dan zich te winnen. Geen wonder, want wie zou die ik ooit als kind had bewonderd. Voor wie geen kinderjuf willen hebben die suiker bij je zich het plot niet meer helemaal herinnert: drankje doet, met vogels spreekt en je leert het gaat om de familie Banks – moeder, vader om met een knip van je vingers het speelgoed en twee kinderen, Jane en Michael – waarvan in het gareel te krijgen? Wanneer het vertrou- de ouders worstelen met de opvoeding van wen is gewonnen, kan ook de opvoeding suc- hun kinderen. De een na de andere onappe- cesvol worden aangepakt. tijtelijke kinderjuf in smakeloze outfit en vaak Via Mary Poppins maken de kinderen ken- met snor en baard wordt door de kinderen tot nis met haar platonische vriend, de straatte- wanhoop gebracht, tot zich eindelijk de ideale kenaar, kastanjeverkoper en schoorsteenveger gouvernante aandient in de vorm van Mary Bert, met wie zij hele andere dimensies van Poppins. Zij reageert op een door de kinderen het leven en de wereld verkennen, in virtuele geschreven advertentie die hun vader had ver- parken en op levensechte daken. -
The Making of Mary Poppins
Excerpted from The Disney Live-Action Productions (Hawthorne and Peabody, 1994). © 1994 by John G. West, Jr. All Rights Reserved. Mary Poppins Starring Julie Andrews (Mary Poppins), Dick Van Dyke (Bert and Mr. Dawes, Sr.), David Tomlinson (Mr. Banks), Glynis Johns (Mrs. Banks), Ed Wynn (Uncle Albert), Hermione Baddliey (Ellen), Karen Dotrice (Jane Banks), Matthew Garber (Michael Banks), Elsa Lanchester (Katie Nanna), Arthur Treacher (Constable Jones), Reginald Owen (Admiral Boom), Reta Shaw (Mrs. Brill), Arthur Malet (Mr. Dawes, Jr.), Jane Darwell (the Bird Woman), Cyril Delevanti (Mr. Grubbs), Lester Matthews (Mr. Tomes), Clive L. Halliday (Mr. Mousley), Don Barclay (Mr. Binnacle), Marjorie Bennett (Miss Lark), Alma Lawton (Mrs. Corry), Marjorie Eaton (Miss Persimmon). Coproducer: Bill Walsh. Director: Robert Stevenson. Screenplay: Bill Walsh, Donald DaGradi, Richard M. Sherman, Robert B. Sherman, based on the Mary Poppins series by P. L. Travers. Music and lyrics: Richard M. Sherman, Robert B. Sherman. Photography: Edward Colman. Editor: Cotton Warburton. Art directors: Carroll Clark, William H. Tuntke. Set decorations: Emile Kuri, Hal Gausman. Costume and design consultant: Tony Walton. Costume designer: Bill Thomas. Costumers: Chuck Keehne, Gertrude Casey. Consultant: P. L. Travers. Music supervisor, arranger, conductor: Irwin Kostal. Choreography: Marc Breaux, Dee Dee Wood. Songs: “Chim-Chim-Cheree,” “Sister Suffragette,” “The Life I Lead,” “The Perfect Nanny,” “A Spoonful of Sugar,” “Jolly Holliday,” “Supercalifragilisticexpialidocious,” “Stay Awake,” “I Love to Laugh,” “A British Bank (The Life I Lead),” “Feed the Birds (Tuppence a Bag),” “Fidelity Fiduciary Bank,” “Step in Time,” “A Man Has Dreams (The Life I Lead)/ A Spoonful of Sugar),” Let’s Go Fly a Kite.” Assistant directors: Joseph McEveety, Paul Feiner. -
P. L. Travers, Walt Disney, and the Making of Mary Poppins *
P. L. Travers, Walt Disney, and the Making of Mary Poppins * M. Thomas Inge Randolph-Macon College, Ashland, VA, USA Abstract When Walt Disney decided to adapt Mary Poppins for the screen in 1944, he began a fifteen-year process of negotiation with the author, P. L. Travers, that would result in generous terms that would make her wealthy for the rest of her life. However, she also complained about the film for decades after because she thought he had radically altered her creation. Most Travers fans and critics would argue the same, with none of them specifying exactly what the damaging changes were. An examination of the film and an analysis of Disney’s Mary Poppins suggest that the British nanny is as mysterious a character as in the original and perhaps is even more subversive than critics have noted. Mary Poppins may arguably be not only a great Disney film but a fine motion picture that will continue to speak to generations. Keywords literature into film; cultural studies; Pamela Lyndon Travers; Mary Poppins (book); Walt Disney; Mary Poppins (film) Many of Walt Disney’s decisions about what literature to adapt for the screen were based on a prior familiarity either through his own childhood reading or that of his immediate family.1 Around 1943 his wife, Lilian, began to share the Mary Poppins books by Pamela Lyndon Travers with their daughters Diane and Sharon. According to one account, Disney overheard his daughters laughing with great delight over the magical British nanny’s adventures. The entire family apparently joined forces to persuade Walt to make a film based on the books (which have no plots as such, being series of adventures and events in no particular order).