Sondheim Edition Bracket

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ROUND 1 ROUND 2 SWEET 16 ELITE 8 FINAL 4 CHAMPIONSHIP March 4-6 March 9-11 March 16-18 March 20-22 March 24-26 March 27-29 Jack (Into the Woods) Amy (Company) Jack Amy Toby (Sweeney Todd) Wilson Mizner (Road Show) Little Red George Anybodys (West Side Story) George (Sunday in the Park) Little Red George Little Red (Into the Woods) Sally (Follies) Beggar Woman (Sweeney Todd) Little Red Sweeney Addison Mizner (Road Show) Beggar Woman Fosca Hattie Walker (Follies) Fosca (Passion) Beggar Woman Sweeney Erronius (A Funny Thing...) Fredrik (A Little Night Music) Milky White Sweeney Milky White (Into the Woods) Baker's Wife Sweeney Sweeney (Sweeney Todd) Doc (West Side Story) Officer Krupke (West Side Story) Doc Officer Krupke Pangloss (Candide) Mayor Cora (Anyone Can Whistle) Narrator Officer Krupke Madame Armfeldt (A Little Night Music) Franklin (Merrily We Roll Along) Narrator Franklin Narrator (Into the Woods) Cinderella's Prince Countess Charlotte (A little Night Music) Baker's Wife /Wolf Balladeer (Assassins) Gussie (Merrily We Roll Along) Balladeer Schrank Reciter (Pacific Overtures) Cinderella's Prince Schrank (West Side Story) Baker's Wife /Wolf Baker's Wife (Into the Woods) Cinderella's Prince/Wolf (Into the Woods) Baker's Wife Cinderella's Prince/Wolf Prologus/Pseudolus (A Funny Thing...) Judge Turpin (Sweeney Todd) Cunegonde (Candide) Mrs. Lovett (Sweeney Todd) Fay Apple Witch Fay Apple (Anyone Can Whistle) Witch (Into the Woods) Anne Egerman Witch Anne Egerman (A Little Night Music) Joanne (Company) Anne Egerman Joanne Philia (A Funny Thing...) Petra (A Little Night Music) Cinderella Witch Johanna (Sweeney Todd) Dot/Marie (Sunday in the Park) Maria Dot/Marie Maria (West Side Story) Phyllis (Follies) Cinderella Anita Cinderella (Into the Woods) Anita (West Side Story) Cinderella Anita Clara (Passion) Desirée Armfeldt (A Little Night Music) Cinderella Witch Buddy (Follies) Bobby (Company) Buddy Bobby Henrik (A Little Night Music) Mary Flynn (Merrily We Roll Along) Anthony Bobby Anthony (Sweeney Todd) Gene (Saturday Night) Anthony Marta Rapunzel's Prince (Into the Woods) Marta (Company) Tony Bobby Giorgio (Passion) Helen (Saturday Night) Tony Peter Tony (West Side Story) Peter (Company) Tony CHAMPION Rapunzel Candide (Candide) Beth (Merrily We Roll Along) Hero Rapunzel Hero (A Funny Thing...) Rapunzel (Into the Woods.) 52 .

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Overture to Candide Leonard Bernstein Did You Know?
nothing good about them, like violence, Did You Know? shipwrecks, or the Spanish Inquisition. • Less than two months before Candide’s In its initial Broadway run, in 1956–57, Broadway opening, Bernstein was named Candide played for 73 performances — Co-Principal Conductor of the New York hardly a stunning success — and Bernstein Philharmonic, alongside Dimitri Mitropoulos. would go on to alter the piece, again and • The Overture was heard in the Philharmon- again, for later revivals. Through all of ic’s historic 2008 performance in North Ko- the show’s transformations, the rollicking rea, when it was played without a conduc- Overture remained essentially untouched. tor, a tradition first adopted in tribute to Bernstein after his death. Born in Brooklyn, Aaron Copland polished his composing technique in France but and neighborly friendship. This expanse has returned home to establish what became found more success than the opera overall, recognized as a profoundly American sound, and it is often performed in a choral setting a musical language rich in folk inflections the composer prepared, with multiple voices and wide-open harmonies that proved irre- rendering each line. sistible to imitators. Copland’s Rodeo was also a stage work — His 1953 opera The Tender Land is a fine a ballet choreographed by Agnes de Mille, example of the lyrical aspect of Copland’s who said: Americana. Set in the 1930s, it tells the tale of Laurie, a teenager who is about to graduate It is not an epic, or the story of pioneer con- from high school and yearns for experiences quest.
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Navigating Brechtian Tradition and Satirical Comedy Through Hope's Eyes in Urinetown: the Musical Katherine B
Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2016 "Can We Do A Happy Musical Next Time?": Navigating Brechtian Tradition and Satirical Comedy Through Hope's Eyes in Urinetown: The Musical Katherine B. Marcus Reker Scripps College Recommended Citation Marcus Reker, Katherine B., ""Can We Do A Happy Musical Next Time?": Navigating Brechtian Tradition and Satirical Comedy Through Hope's Eyes in Urinetown: The usicalM " (2016). Scripps Senior Theses. Paper 876. http://scholarship.claremont.edu/scripps_theses/876 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. “CAN WE DO A HAPPY MUSICAL NEXT TIME?”: NAVIGATING BRECHTIAN TRADITION AND SATIRICAL COMEDY THROUGH HOPE’S EYES IN URINETOWN: THE MUSICAL BY KATHERINE MARCUS REKER “Nothing is more revolting than when an actor pretends not to notice that he has left the level of plain speech and started to sing.” – Bertolt Brecht SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR OF ARTS GIOVANNI ORTEGA ARTHUR HOROWITZ THOMAS LEABHART RONNIE BROSTERMAN APRIL 22, 2016 II ACKNOWLEDGEMENTS This thesis would not be possible without the support of the entire Faculty, Staff, and Community of the Pomona College Department of Theatre and Dance. Thank you to Art, Sherry, Betty, Janet, Gio, Tom, Carolyn, and Joyce for teaching and supporting me throughout this process and my time at Scripps College. Thank you, Art, for convincing me to minor and eventually major in this beautiful subject after taking my first theatre class with you my second year here.
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Classics 3: Program Notes Overture to Candide Leonard Bernstein Born in Lawrence, Massachusetts, August 25, 1918
Classics 3: Program Notes Overture to Candide Leonard Bernstein Born in Lawrence, Massachusetts, August 25, 1918; died in New York, October 14, 1990 After collaborating on The Lark, a play with incidental music about Joan of Arc, Leonard Bernstein and Lillian Hellman turned their attention in 1954 to Voltaire’s novella Candide. They thought it the perfect vehicle to make an artistic statement against political intolerance in American society, just as Voltaire had done in eighteenth-century France. After bringing in poet Richard Wilbur to write the lyrics, they worked intermittently on Candide for two years. Enormous amounts of money were spent on the production, which opened in Boston on October 29, 1956. Though many critics called it brilliant, the production failed financially; after moving to New York in December, it was shut down after just seventy-three performances. Everyone had someone to blame, but many thought it failed because of audience confusion about its hybrid nature—was it an opera, operetta, or a musical? Leonard Bernstein: celebrating his The story revolves around the illegitimate Candide, who centennial loves and is loved in return by Cunegonde, daughter of nobility. They are plagued by myriad disasters, which lead them from Westphalia to Lisbon, Paris, Cadiz, Buenos Aires, Eldorado, Surinam, and finally Venice, where they are united at last. Bernstein’s often witty, sometimes tender music has been considered the work’s greatest asset, both in the initial failed production and in later successful versions. The Overture, possibly Bernstein’s most frequently performed piece, perfectly captures the mockery and satire as well as the occasional introspective moment of Voltaire’s masterful creation.
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The Maple Shade Arts Council Summer Theatre the MAPLE SHADE Announces Our Summer Children's Show ARTS COUNCIL Once Upon a Mattress PROUDLY PRESENTS
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Florence Klotz Costume Designs [Finding Aid]. Music Division, Library
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Music with Heart.Pdf
Wonderful Life 2018 insert.qxp_IAWL 2018 11/5/18 8:07 PM Page 1 B Y E DWARD S ECKERSON usic M with Heart American opera is alive and well in the imagination of Jake Heggie LMOND A AREN K 40 SAN FRANCISCO OPERA Wonderful Life 2018 insert.qxp_IAWL 2018 11/5/18 8:07 PM Page 2 n the multifaceted world of music theater, opera has true only to himself and that his unapologetic fondness for and always occupied the higher ground. It’s almost as if love of the American stage at its most lyric would dictate how he the very word has served to elevate the form and would write, in the only way he knew how: tonally, gratefully, gen- willfully set it apart from that branch of the genre where characters erously, from the heart. are wont to speak as well as sing: the musical. But where does Dissenting voices have accused him of not pushing the enve- thatI leave Bizet’s Carmen or Mozart’s Magic Flute? And why is it lope, of rejoicing in the past and not the future, of veering too so hard to accept that music theater comes in a great many forms close to Broadway (as if that were a bad thing) and courting popu- and styles and that through-sung or not, there are stories to be lar appeal. But where Bernstein, it could be argued, spent too told in words and music and more than one way to tell them? Will much precious time quietly seeking the approval of his cutting- there ever be an end to the tedious debate as to whether Stephen edge contemporaries (with even a work like A Quiet Place betray- Sondheim’s Sweeney Todd or Leonard Bernstein’s Candide are ing a certain determination to toughen up his act), Heggie has musicals or operas? Both scores are inherently “operatic” for written only the music he wanted—needed—to write.
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