Chorale News Spring, 2017
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Ferenc Molnar
L I L I O M A LEGEND IN SEVEN SCENES BY FERENC MOLNAR EDITED AND ADAPTED BY MARK JACKSON FROM AN ENGLISH TEXT BY BENJAMIN F. GLAZER v2.5 This adaptation of Liliom Copyright © 2014 Mark Jackson All rights strictly reserved. For all inquiries regarding production, publication, or any other public or private use of this play in part or in whole, please contact: Mark Jackson email: [email protected] www.markjackson-theatermaker.com CAST OF CHARACTERS (4w;4m) Marie / Stenographer Julie / Louise Mrs Muskat Liliom Policeman / The Guard Mrs Hollunder / The Magistrate Ficsur / A Poorly Dressed Man Wolf Beifeld / Linzman / Carpenter / A Richly Dressed Man SCENES (done minimally and expressively) FIRST SCENE — A lonely place in the park. SECOND SCENE — Mrs. Hollunder’s photographic studio. THIRD SCENE — Same as scene two. FOURTH SCENE — A railroad embankment outside the city. FIFTH SCENE — Same as scene two SIXTH SCENE — A courtroom in the beyond. SEVENTH SCENE — Julie’s garden, sixteen years later. A NOTE (on time & place) The current draft retains Molnar’s original 1909 Budapest setting. With minimal adjustments the play could easily be reset in early twentieth century America. Though I wonder whether certain of the social attitudes—toward soldiers, for example— would transfer neatly, certainly an American setting could embody Molnar’s complex critique of gender, class, and racial tensions. That said, retaining Molnar’s original setting perhaps now adds to his intention to fashion an expressionist theatrical legend, while still allowing for the strikingly contemporary themes that prompted me to write this adaptation—among them how Liliom struggles and fails to change in the face of economic and social flux; that women run the businesses, Heaven included; and Julie’s independent, confidently anti-conventional point of view. -
Buck Henry, Who Helped Create ʻget Smartʼ and Adapt ʻthe Graduate,ʼ Dies at 89 an Unassuming Screenwriter and Actor, Mr
1/11/2020 Buck Henry, Who Helped Create ‘Get Smart’ and Adapt ‘The Graduate,’ Dies at 89 - The New York Times https://nyti.ms/2N7atsQ Buck Henry, Who Helped Create ʻGet Smartʼ and Adapt ʻThe Graduate,ʼ Dies at 89 An unassuming screenwriter and actor, Mr. Henry thought up quirky characters with Mel Brooks and inhabited many more on “Saturday Night Live.” By Bruce Weber Published Jan. 9, 2020 Updated Jan. 10, 2020 Buck Henry, a writer and actor who exerted an often overlooked but potent influence on television and movie comedy — creating the loopy prime-time spy spoof “Get Smart” with Mel Brooks, writing the script for Mike Nichols’s landmark social satire “The Graduate” and teaming up with John Belushi in the famous samurai sketches on “Saturday Night Live” — died on Wednesday in Los Angeles. He was 89. His wife, Irene Ramp, said his death, at Cedars-Sinai Medical Center, was caused by a heart attack. John Belushi, left, and Mr. Henry in the 1978 “Saturday Night Live” sketch “Samurai Optometrist.” Fred Hermansky/NBCUniversal via Getty Images As a personality and a performer, Mr. Henry had a mild and unassuming aspect that was usually in contrast with the pungently satirical or broadly slapstick material he appeared in — and often wrote. Others in the room always seemed to make more noise. https://www.nytimes.com/2020/01/09/movies/buck-henry-dead.html 1/6 1/11/2020 Buck Henry, Who Helped Create ‘Get Smart’ and Adapt ‘The Graduate,’ Dies at 89 - The New York Times Indeed, for almost 50 years he was a Zelig-like figure in American comedy, a ubiquitous if underrecognized presence not only in grand successes but also in grand failures. -
Film Film Film Film
City of Darkness, City of Light is the first ever book-length study of the cinematic represen- tation of Paris in the films of the émigré film- PHILLIPS CITY OF LIGHT ALASTAIR CITY OF DARKNESS, makers, who found the capital a first refuge from FILM FILMFILM Hitler. In coming to Paris – a privileged site in terms of production, exhibition and the cine- CULTURE CULTURE matic imaginary of French film culture – these IN TRANSITION IN TRANSITION experienced film professionals also encounter- ed a darker side: hostility towards Germans, anti-Semitism and boycotts from French indus- try personnel, afraid of losing their jobs to for- eigners. The book juxtaposes the cinematic por- trayal of Paris in the films of Robert Siodmak, Billy Wilder, Fritz Lang, Anatole Litvak and others with wider social and cultural debates about the city in cinema. Alastair Phillips lectures in Film Stud- ies in the Department of Film, Theatre & Television at the University of Reading, UK. CITY OF Darkness CITY OF ISBN 90-5356-634-1 Light ÉMIGRÉ FILMMAKERS IN PARIS 1929-1939 9 789053 566343 ALASTAIR PHILLIPS Amsterdam University Press Amsterdam University Press WWW.AUP.NL City of Darkness, City of Light City of Darkness, City of Light Émigré Filmmakers in Paris 1929-1939 Alastair Phillips Amsterdam University Press For my mother and father, and in memory of my auntie and uncle Cover design: Kok Korpershoek, Amsterdam Lay-out: japes, Amsterdam isbn 90 5356 633 3 (hardback) isbn 90 5356 634 1 (paperback) nur 674 © Amsterdam University Press, Amsterdam, 2004 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, me- chanical, photocopying, recording or otherwise) without the written permis- sion of both the copyright owner and the author of the book. -
What's the Use of Wondering If He's Good Or Bad?: Carousel and The
What’s the Use of Wondering if He’s Good or Bad?: Carousel and the Presentation of Domestic Violence in Musicals. Patricia ÁLVAREZ CALDAS Universidad de Santiago de Compostela [email protected] Recibido: 15.09.2012 Aceptado: 30.09.2012 ABSTRACT The analysis of the 1956 film Carousel (Dir. Henry King), which was based on the 1945 play by Rodgers and Hammerstein, provides a suitable example of a musical with explicit allusions to male physical aggression over two women: the wife and the daughter. The issue of domestic violence appears, thus, in a film genre in which serious topics such as these are rarely present. The film provide an opportunity to study how the expectations and the conventions brought up by this genre are capable of shaping and transforming the presentation of Domestic Violence. Because the audience had to sympathise with the protagonists, the plot was arranged to fulfil the conventional pattern of a romantic story inducing audiences forget about the dark themes that are being portrayed on screen. Key words: Domestic violence, film, musical, cultural studies. ¿De qué sirve preocuparse por si es bueno o malo?: Carrusel y la presentación de la violencia doméstica en los musicales. RESUMEN La película Carrusel (dirigida por Henry King en 1956 y basada en la obra de Rodgers y Hammerstein de 1945), nos ofrece un gran ejemplo de un musical que realiza alusiones explícitas a las agresiones que ejerce el protagonista masculino sobre su esposa y su hija. El tema de la violencia doméstica aparece así en un género fílmico en el que este tipo de tratamientos rara vez están presentes. -
(XXXIX:9) Mel Brooks: BLAZING SADDLES (1974, 93M) the Version of This Goldenrod Handout Sent out in Our Monday Mailing, and the One Online, Has Hot Links
October 22, 2019 (XXXIX:9) Mel Brooks: BLAZING SADDLES (1974, 93m) The version of this Goldenrod Handout sent out in our Monday mailing, and the one online, has hot links. Spelling and Style—use of italics, quotation marks or nothing at all for titles, e.g.—follows the form of the sources. DIRECTOR Mel Brooks WRITING Mel Brooks, Norman Steinberg, Richard Pryor, and Alan Uger contributed to writing the screenplay from a story by Andrew Bergman, who also contributed to the screenplay. PRODUCER Michael Hertzberg MUSIC John Morris CINEMATOGRAPHY Joseph F. Biroc EDITING Danford B. Greene and John C. Howard The film was nominated for three Oscars, including Best Actress in a Supporting Role for Madeline Kahn, Best Film Editing for John C. Howard and Danford B. Greene, and for Best Music, Original Song, for John Morris and Mel Brooks, for the song "Blazing Saddles." In 2006, the National Film Preservation Board, USA, selected it for the National Film Registry. CAST Cleavon Little...Bart Gene Wilder...Jim Slim Pickens...Taggart Harvey Korman...Hedley Lamarr Madeline Kahn...Lili Von Shtupp Mel Brooks...Governor Lepetomane / Indian Chief Burton Gilliam...Lyle Alex Karras...Mongo David Huddleston...Olson Johnson Liam Dunn...Rev. Johnson Shows. With Buck Henry, he wrote the hit television comedy John Hillerman...Howard Johnson series Get Smart, which ran from 1965 to 1970. Brooks became George Furth...Van Johnson one of the most successful film directors of the 1970s, with Jack Starrett...Gabby Johnson (as Claude Ennis Starrett Jr.) many of his films being among the top 10 moneymakers of the Carol Arthur...Harriett Johnson year they were released. -
Rehearsal Mon March 2
The Classics of Rodgers & Hammerstein MONDAY, MARCH 2 132 S 5th St--Rehearsal Hall Order Time REHEARSAL ORDER Vocal Designation Singer Chorus 1 7:00 The Carousel Waltz (Concert Version) Orchestra Only orchestra orch only 2 R&H Orchestra Interlude - Overture Orchestra Only orchestra orch only 3 7:30 Hello, Young Lovers Soprano Solo Amy Rosine 4 no chorus Out Of My Dreams Mezzo Solo ,SATB Chorus Patricia Thompson, chorus KWU 5 no chorus You'll Never Walk Alone Mezzo Solo Patricia Thompson, chorus South HS 6 When I Marry Mister Snow soprano Amy Rosine 7 My Favorite Things Mezzo Solo Patricia Thompson 8 The Sound Of Music (F Major) Soprano Solo Amy Rosine 9 w/o Drew I Have Dreamed Mezzo ,Baritone Duet Patricia Thompson, Drew Horton 10 no chorus June Is Bustin' Out All Over Mezzo Solo ,SATB Chorus Patricia Thompson, chorus Sal Chorale 11 Climb Ev'ry Mountain (Tenor Version) Soprano Amy Rosine It's A Grand Night For Singing (Concert Version) Baritone Solo ,SATB Chorus Reg Pittman, chorus KWU We Kiss In A Shadow Soprano ,Tenor Duet Janie Brokenicky, Bryan Pinkall I Whistle A Happy Tune SATB Chorus Chorus KWU If I Loved You (Db Major) Tenor Solo Reg Pittman Soliloquy Baritone Solo Drew Horton Younger Than Springtime (F Major) Tenor Solo Bryan Pinkall I'm in Love with a Wonderful Guy Soprano Solo Janie Brokenicky There Is Nothin' Like A Dame Men's Chorus Men's Chorus S Chor MEN Some Enchanted Evening (Concert Version) Baritone Solo Reg Pittman Do-Re-Mi SATB Chorus Salina South HS South HS Oh, What A Beautiful Mornin' Tenor Solo Drew Horton Surrey with the Fringe on Top Baritone Solo Bryan Pinkall People Will Say We're In Love (A/D Major) Soprano ,Tenor Duo Janie Brokenicky, Bryan Pinkall Oklahoma! Everyone on stage. -
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. -
Directed by Kendall Campbell, Burton Community Church Spring, 1990?
Nov. 12, 1989 - Directed by Kendall Campbell, Burton Community Church Spring, 1990? (no info found) Nov. 18, 1990 – Directed by Jerry McGee, Vashon Lutheran Church Two Madrigals, “Since I First Saw Your Face” & “Musik Dein Ganz Lieblich Kunst” American Folk Songs – “Gentle Lena Clare” & “Misty Morning” “I’ll Sail Upon the Dog Star”, “Whither Must I Wander?” & “Simple Gifts” – G. Koch “Benedictus” by Camille Saint-Saens “Thanks to the Pail”, “The Singer” & “Under the Sea” – M. Ericksen Songs of the Sea – “Just As the Tide Was Flowing” & “High Barbary” April 27, 1991 – Directed by Jerry McGee, LDS Church Concerto Grosso Op. 6 Nr. 1 by G. F. Handel Missa Solemnis in B Flat Major by F.J. Haydn (Kalmus) Dec. 8, 1991 – Directed by Jerry McGee, LDS Church Vesperare Solemnes De Confessore by W.A. Mozart, Kalmus April 12, 1992 – Directed by Jerry McGee, Vashon Island Theater Frostiana, Seven Country Songs, music by Randall Thompson American Spirituals, arr. Harry T. Burleigh Swing Low, arr. G. Alan Smith Wondrous Cool, arr. J. Brahms Phantom of the Opera Choral Medley Dec. 6, 1992 – Directed by Jerry McGee, SJV Church Mass in G by F. Schubert, Schirmer edition Gloria by A. Vivaldi, Kalmus edition April 25, 1993 – Directed by Jerry McGee, McMurray School Come To Me, O My Love by Allan Robert Petker Lavender’s Blue, arr. Gordon Langford The Owl & the Pussycat, arr. Robert Chilcott Give Me a Good Digestion, Lord, arr. Ferguson Turkey In the Straw, arr. Alice Parker Home Is a Special Kind of Feeling by John Rutter, Hinshaw Music Basketball! A Court Jest by Bayne Dobbins Two Chorales from Sørlandet by Bjarne SlØgedal Amazing Grace, arr. -
Learning to Live Together
Learning to Live Together An Intercultural and Interfaith Programme for Ethics Education Learning to Live Together Learning Live to Learning to Live Together is an intercultural and interfaith programme for ethics education, designed to contribute to the realisation of the right of the child to full and healthy physical, mental, spiritual, moral and social development, and to education as set out in the United Nations Convention on the Rights of the Child (CRC), in article 26.1 of the Universal Declaration of Human Rights (UDHR), in the World Declaration on Education for All and in the Millennium Development Goals (MDG). Learning to Live Together provides youth leaders and educators world- wide with the tools for an intercultural and interfaith programme, by which children and young people are able to develop a stronger sense of ethics. It is designed to help the young understand and respect people from other cultures and religions and to nurture their sense of a global community. e resource has been developed in close cooperation with UNESCO and UNICEF. Learning to Live Together Learning to Live Together An Intercultural and Interfaith Programme for Ethics Education Interfaith Council on Ethics Education for Children Global Network of Religions for Children Arigatou Foundation In cooperation with and endorsed by UNESCO and UNICEF Learning to Live Together The Interfaith Council Secretariat welcomes requests for permission to reproduce and translate this book in part or in full. Applications and enquiries should be addressed to Arigatou International, 1, rue de Varembé, 1202 Geneva, Switzerland, which will be glad to provide the latest information on any changes made to the text. -
South Pacific Cast Who Took Even More Dance Instruction at Laura’S Studio
Prints of the Players July, 2014 “I’m gonna wash that man right out of my hair and send him on his way.” Theroyalplayers.com July 2,9,11,16 On these Wednes- days and Fridays someone will be at the Royal from 3-5 p.m. to take phone reservations live and answer questions. At other times patrons can leave a message telling name, date they want to attend, and number. Leave phone number in case there is a prob- lem. July 14-15 7 p.m. Our Town auditions. Page 2 Young Players Aladdin August 7-10 Production Aladdin Rehearsals have begun. Aladdin Performances will be August 7,8,9 and 10 Hairspray-January 8-18, 2014, 2015 One Acts-February 2015 The “selfie” to the left is part of the South Pacific cast who took even more dance instruction at Laura’s Studio. Below is Nellie ready for the Follies. Other photos: Jenny Johnston was nominated by Royal Players for a Community Service Award. She was honored by KARK for her work with us in choreography and her work with other groups. She received a cash award which she donated to the fund for the digital piano which was recently purchased. Other donors were Del and Peggy Roberson, Jim Ed and Laura Stilwell, and Susan Dill. Laura and Jenny at the Governor’s Mansion. RP 2013-14 Season Remaining Royal Players July 11-13; 18-20 The Royal Players and W. W. and Anne Jones Charitable Trust will present South Pacific at the Royal Theatre July 10-13 and 17- South Pacific 20. -
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. -
02257 Passage Title: Music: the Ancient Basis of Education
Passage Information Passage Code: 02257 Passage Title: Music: The Ancient Basis of Education Music: The Ancient Basis of Education 1 Music has been part of education for thousands of years. The history of education overlaps with music and science. Why should this be? We will better understand this relationship when we consider the beliefs of great thinkers from the past. 2 Philosophers believed that students should learn music. They saw patterns in music that appeared in other parts of the natural world. Music reflected the beauty found in nature. The ancient Greeks used a word similar to “harmony” to describe the most perfect beauty. This kind of beauty had form and balance. There was harmony in ethics, mathematics, and art. The notes of a harmonious chord follow a pattern. A painting shows harmony when the colors and lines do not conflict. The ancient Greeks’ idea of harmony could apply to almost any field of study. The ancient Greek philosopher Pythagoras was famous for his views on music. He believed that the entire universe follows the same elegant structure as a piece of music. In his opinion, studying music and studying astronomy were equally important. To him, the movement of the planets was as graceful as a symphony. 3 Plato, another Greek philosopher, said that music should be the first form of learning. He compared the educated mind to a tuned instrument. Children who studied music tuned their minds to think beautiful thoughts. In ancient India, thinkers also connected music to learning. These thinkers used a term similar to “song” for music.