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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. -
The Sleeping Beauty Untouchable Swan Lake In
THE ROYAL BALLET Director KEVIN O’HARE CBE Founder DAME NINETTE DE VALOIS OM CH DBE Founder Choreographer SIR FREDERICK ASHTON OM CH CBE Founder Music Director CONSTANT LAMBERT Prima Ballerina Assoluta DAME MARGOT FONTEYN DBE THE ROYAL BALLET: BACK ON STAGE Conductor JONATHAN LO ELITE SYNCOPATIONS Piano Conductor ROBERT CLARK ORCHESTRA OF THE ROYAL OPERA HOUSE Concert Master VASKO VASSILEV Introduced by ANITA RANI FRIDAY 9 OCTOBER 2020 This performance is dedicated to the late Ian Taylor, former Chair of the Board of Trustees, in grateful recognition of his exceptional service and philanthropy. Generous philanthropic support from AUD JEBSEN THE SLEEPING BEAUTY OVERTURE Music PYOTR IL’YICH TCHAIKOVSKY ORCHESTRA OF THE ROYAL OPERA HOUSE UNTOUCHABLE EXCERPT Choreography HOFESH SHECHTER Music HOFESH SHECHTER and NELL CATCHPOLE Dancers LUCA ACRI, MICA BRADBURY, ANNETTE BUVOLI, HARRY CHURCHES, ASHLEY DEAN, LEO DIXON, TÉO DUBREUIL, BENJAMIN ELLA, ISABELLA GASPARINI, HANNAH GRENNELL, JAMES HAY, JOSHUA JUNKER, PAUL KAY, ISABEL LUBACH, KRISTEN MCNALLY, AIDEN O’BRIEN, ROMANY PAJDAK, CALVIN RICHARDSON, FRANCISCO SERRANO and DAVID YUDES SWAN LAKE ACT II PAS DE DEUX Choreography LEV IVANOV Music PYOTR IL’YICH TCHAIKOVSKY Costume designer JOHN MACFARLANE ODETTE AKANE TAKADA PRINCE SIEGFRIED FEDERICO BONELLI IN OUR WISHES Choreography CATHY MARSTON Music SERGEY RACHMANINOFF Costume designer ROKSANDA Dancers FUMI KANEKO and REECE CLARKE Solo piano KATE SHIPWAY JEWELS ‘DIAMONDS’ PAS DE DEUX Choreography GEORGE BALANCHINE Music PYOTR IL’YICH TCHAIKOVSKY -
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. -
Broadway 1 a (1893-1927) BROADWAY and the AMERICAN DREAM
EPISODE ONE Give My Regards to Broadway 1 A (1893-1927) BROADWAY AND THE AMERICAN DREAM In the 1890s, immigrants from all over the world came to the great ports of America like New York City to seek their fortune and freedom. As they developed their own neighborhoods and ethnic enclaves, some of the new arrivals took advantage of the stage to offer ethnic comedy, dance and song to their fellow group members as a much-needed escape from the hardships of daily life. Gradually, the immigrants adopted the characteristics and values of their new country instead, and their performances reflected this assimilation. “Irving Berlin has no place in American music — he is American music.” —composer Jerome Kern My New York (excerpt) Every nation, it seems, Sailed across with their dreams To my New York. Every color and race Found a comfortable place In my New York. The Dutchmen bought Manhattan R Island for a flask of booze, E V L U C Then sold controlling interest to Irving Berlin was born Israel Baline in a small Russian village in the Irish and the Jews – 1888; in 1893 he emigrated to this country and settled in the Lower East Side of And what chance has a Jones New York City. He began his career as a street singer and later turned to With the Cohens and Malones songwriting. In 1912, he wrote the words and music to “Alexander’s Ragtime In my New York? Band,” the biggest hit of its day. Among other hits, he wrote “Oh, How I Hate to Get Up in the Morning,” “What’ll I Do?,” “There’s No Business Like —Irving Berlin, 1927 Show Business,” “Easter Parade,” and the patriotic “God Bless America,” in addition to shows like Annie Get Your Gun. -
CAROUSEL Audience Guide3.Pdf
AUDIENCE INSIGHTS Goodspeed’s Audience Insights is made possible through the generosity of GOODSPEED MUSICALS GOODSPEED The Max Showalter Center for Education in Musical Theatre CAROUSEL Goodspeed Opera House July 13 -Sept 23, 2012 _________ MUSIC BY RICHARD RODGERS BOOK AND LYRICS BY Audience Insights OSCAR HAMMERSTEIN II TABLE OF CONTENTS BASED ON THE PLAY LILIOM BY FERENC MOLNÁR AS ADAPTED BY BENJAMIN F. GLAZIER Show Synopsis........................................................................................................3 Character Summary............................……….……………………………………...4 ORIGINAL DANCES BY AGNES DE MILLE Meet the Writers...............................................………...………………………..…..5 Behind the Scenes: Carving the Carousel Horse..............................................7 LIGHTING DESIGN BY JOHN LASITER The Theatre: New Musical in Manhattan............................................................9 The Importance of Carousel..............................................................................11 COSTUME DESIGN BY ALEJO VIETTI Social Class During the Guilded Age.......………...…………....……………..…13 Resources..................................................………...…………....……………..…14 SCENIC DESIGN BY MICHAEL SCHWEIKARDT CHOREOGRAPHED BY PARKER ESSE DIRECTED BY ROB RUGGIERO PRODUCED FOR GOODSPEED MUSICALS BY MICHAEL P. PRICE Goodspeed’s Audience Insights can be found on our website: www.goodspeed.org/pages/guides Audience Insights for Carousel was prepared by Joshua S. Ritter, M.F.A, Education & Library -
Celebration: the Art of the Pas De Deux 35
Celebration: The Art of the Pas de Deux 35 Miami City Ballet CELEBRATION: THE ART OF THE PAS DE DEUX Charleston Gaillard Center May 25, 6:30pm Martha and John M. Rivers Performance Hall Artistic Director and Moderator Lourdes Lopez Conductor Gary Sheldon Piano Ciro Fodere and Francisco Rennó Spoleto Festival USA Orchestra 1 hour, 30 minutes | Performed without an intermission Afternoon of a Faun (1953) Choreography Jerome Robbins Music Claude Debussy Staging Jean-Pierre Frohlich Set and Lighting Design Jean Rosenthal Lighting Recreation Les Dickert Costume Design Irene Sharif Scenic Supervision Arnold Abramson Dancers Unity Phelan and Chase Finlay* Pause Other Dances (1976) Choreography Jerome Robbins Music Frédéric Chopin Staging Isabelle Guérin Costume Design Santo Loquasto Lighting Design Jennifer Tipton Lighting Recreation Les Dickert Dancers Simone Messmer and Renan Cerdeiro Piano Francisco Rennó Pause In the Night (1970) Choreography Jerome Robbins Music Frédéric Chopin Staging Miami City Ballet Costume Design Anthony Dowell Lighting Design Jennifer Tipton Lighting Recreation Les Dickert Dancers Emily Bromberg and Kleber Rebello Unity Phelan and Chase Finlay* Katia Carranza and Reyneris Reyes Piano Ciro Fodere The 2018 dance series is sponsored by BlueCross BlueShield of South Carolina. Support provided by The Jerome Robbins Foundation. Sponsored by Eastern Distribution. This performance is made possible in part through funds from the Spoleto Festival USA Endowment, generously supported by BlueCross BlueShield of South Carolina, Wells Fargo, and Bank of America. *Guest artists from New York City Ballet. 36 Celebration: The Art of the Pas de Deux Program Notes About the Choreographer Afternoon of a Faun JEROME ROBBINS (choreographer) is world renowned for Music: Prélude à l’Après-midi d’un Faune by Claude Debussy his work as a choreographer of ballets as well as his work as a director and choreographer in theater, movies, and television. -
Carousel Auditions Please Prepare All Readings and Songs for One Character
Carousel Auditions Please prepare all readings and songs for one character. Everyone will be asked to dance and anyone who would like to be considered for a dance feature should attend one of the audition sessions. Black Box Theatre HS TIME ROOM WHO? Tues. OR Wed. Black Box 5:30—8:30 PM WOMEN June 9th & 10th Theatre Tues. OR Wed. Black Box 5:30—8:30 PM MEN June 9th & 10th Theatre Wednesday Black Box 5:30 PM CALLBACKS June 11th Theatre ALL AUDITIONS WILL BE CLOSED. No audience. Everyone auditioning must be fully registered prior to auditions, no refunds will be issued after casts are posted. ROLE BREAKDOWN FOR “Carousel” In a Maine coastal village toward the end of the 19th century, the swag- gering, carefree carnival barker, Billy Bigelow, captivates and marries the naïve millworker, Julie Jordan. Billy loses his job just as he learns that Julie is pregnant and, desperately intent upon providing a decent life for his family, he is coerced into being an accomplice to robbery. Caught in the act and facing the uncertainty of prison, Billy dies and is sent “up there” (heaven?). Billy is allowed to return to earth for one day fifteen years later, and he encounters the daughter he never knew. She is a lonely, friendless teenager, her father’s reputation of a thief and bully having haunted her throughout her young life. How Billy instills in both the child and her mother a sense of hope and dignity is a dra- matic testimony to the power of love. It is easy to understand why, of all the shows they created, CAROUSEL was Rodgers and Hammerstein’s personal favorite. -
Carousel the World of the Musical Three Big Questions Resources
HELPFUL HINTS FOR THEATER AUDIENCES CONTENTS The Play Meet Rodgers and Hammerstein Continuing Musical Theater History A Visit to the Carousel The World of the Musical Three Big Questions Resources THE PLAY Step right up! It’s 1908, and Billy Bigelow is the best carousel barker on the New England coast. Billy is the macho guy that every man wants to be and every woman wants to be with. Then, the innocent Julie Jordan catches his eye, and, against the odds, these opposites attract. Soon after, Julie is thrown out of the carnival by Billy’s jealous boss, Mrs. Mullin, and ordered to never return. Meanwhile, Julie’s best friend, Carrie Pipperidge, is madly in love with Enoch Snow, and they intend to marry. That is, until one of Billy’s notorious associates, Jigger Craigin, shows up at the annual clambake. The course of true love never did run smooth, and both couples must fight for their “happily ever after.” Billy, in particular, is faced with a desperate choice. Can he RODGERS AND HAMMERSTEIN’S find redemption for his past mistakes? Is there grace on the other side? Through music, betrayal and misunderstandings, Carousel explores our struggles with love and honor and the wrongs we do each other. CAROUSEL MUSIC BY RICHARD RODGERS barker - a person who stands outside a theater, carnival or sideshow to draw an BOOK & LYRICS BY OSCAR HAMMERSTEIN II audience with colorful sales talk ORIGINAL DANCES BY AGNES DE MILLE DIRECTED BY MOLLY SMITH “ You’re different all right. Don’t NOW PLAYING ON THE FICHANDLER STAGE know what it is. -
Carousel at the 5Th Avenue Theatre Encore Arts Seattle
FEBRUARY 2015 2014/15 SEASON A CHORUS LINE SEPT 3 - 28, 2014 KINKY BOOTS OCT 7 - 26, 2014 A CHRISTMAS STORY NOV 25 - DEC 30, 2014 RODGERS & HAMMERSTEIN’S CAROUSEL FEB 5 - MAR 1, 2015 JACQUES BREL IS ALIVE AND WELL & LIVING IN PARIS MAR 7 - MAY 17, 2015 CO-PRESENTED AT ACT - A CONTEMPORARY THEATRE JASPER IN DEADLAND APR 30 - MAY 24, 2015 GREASE JULY 9 - AUGUST 2, 2015 SEE MORE LEARN MORE KNOW MORE EncoreArtsSeattle.com Q&A BEHIND ARTIST NEWS PREVIEWS THE SCENES SPOTLIGHT February 2015 Volume 12, No. 4 Paul Heppner Publisher Susan Peterson Design & Production Director Ana Alvira, Deb Choat, Robin Kessler, Kim Love Design and Production Artists Mike Hathaway Advertising Sales Director Marty Griswold Seattle Sales Director Joey Chapman, Gwendolyn Fairbanks, Ann Manning, Lenore Waldron Seattle Area Account Executives Staci Hyatt, Marilyn Kallins, Terri Reed, Tim Schuyler Hayman San Francisco/Bay Area Account Executives Carol Yip Sales Coordinator Jonathan Shipley Ad Services Coordinator www.encoreartsseattle.com Paul Heppner An Extraordinary Pink Diamond Ring from our Collection Publisher 425-777-4451 www.GordonJamesDiamonds.com Marty Griswold Associate Publisher 10133 Main Street, Bellevue 98004 Leah Baltus Editor-in-Chief Dan Paulus Art Director Jonathan Zwickel up for Senior Editor Gemma Wilson Associate Editor something new? Amanda Manitach Visual Arts Editor sunset at SkyCity Catherine Petru Returns February 2nd Account Executive Monday - Thursday: 2:30pm-5:30pm Amanda Townsend Events Coordinator It’s time for a round of drinks! Join us -
Florida State University Libraries
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2017 It's like I've Walked Right out of My Dreams: Dream Ballets in the Broadway Musical Natalia Alexis Perez Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC “IT’S LIKE I’VE WALKED RIGHT OUT OF MY DREAMS”: DREAM BALLETS IN THE BROADWAY MUSICAL By NATALIA ALEXIS PEREZ A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music 2017 Natalia Alexis Perez defended this thesis on July 13, 2017. The members of the supervisory committee were: Charles E. Brewer Professor Directing Thesis Michael Bakan Committee Member Michael Buchler Committee Member The Graduate school has verified and approved the above-named committee members and certifies that the thesis has been approved in accordance with university requirements. ii ACKNOWLEDGMENTS I am indebted to my advisor, Dr. Charles Brewer for his constant support and encouragement. Throughout this writing process, there were many moments of uncertainty, and without Dr. Brewer’s unwavering belief in me, I wouldn’t have been able to complete this project. I appreciate how he always let me come to conclusions on my own and encouraged me to be the scholar he knew I could be. I would also like to express my gratitude to my other committee members, Dr. Michael Bakan and Dr. Michael Buchler, both of whose suggestions helped this thesis reach its full potential. -
[email protected] ROBERT
FOR IMMEDIATE RELEASE CASTING UPDATE February 12, 2013 Contact: Katherine E. Johnson (212) 875-5718; [email protected] ROBERT FAIRCHILD AND TILER PECK New York City Ballet Principal Dancers TO JOIN THE NEW YORK PHILHARMONIC’S PRESENTATION OF RODGERS & HAMMERSTEIN’S CAROUSEL February 27–March 2 Choreographed by WARREN CARLYLE Previously Announced Cast Includes KELLI O’HARA, NATHAN GUNN, STEPHANIE BLYTHE, SHULER HENSLEY, JASON DANIELEY, and JESSIE MUELLER With KATE BURTON and JOHN CULLUM Performances To Be Conducted by ROB FISHER and Directed by JOHN RANDO Production To Be Nationally Telecast on Live From Lincoln Center The New York Philharmonic has announced that New York City Ballet principal dancers Robert Fairchild and Tiler Peck will perform in the staged production of Rodgers & Hammerstein’s Carousel, February 27–March 2, 2013. Robert Fairchild will portray the Carnival Boy, and Tiler Peck will portray Louise. With original choreography by Warren Carlyle, Mr. Fairchild and Ms. Peck will dance the pas de deux ballet in Act II. Reflecting this production’s focus on Carousel’s music, the ballet will be the sole fully choreographed scene. These performances mark Warren Carlyle’s first time choreographing Mr. Fairchild and Ms. Peck, and represent Mr. Carlyle, Mr. Fairchild, and Ms. Peck’s Philharmonic debuts. Mr. Fairchild and Ms. Peck are appearing courtesy of the New York City Ballet. “Robert Fairchild and Tiler Peck are the future of classical ballet, and it’s a real coup that they will be dancing in this production,” Warren Carlyle said. “It will be a beautiful evening about the music with one special moment of dance.” Casting for the Philharmonic’s Carousel production is now complete. -
Diablolovestories2021 Copy
PLAYBILL Love Stories 2020-2021 SEASON Presented Virtually JUNE 18 - 27, 2021 Lauren Jonas, Artistic Director Susan Boreliz, Executive Director Board of Directors Administrative Staff Laurie Miller & Karen Lapointe, Co-Presidents Susan Boreliz, Executive Director Kristina Cipriano, Secretary Krissy Gray, Director of Operations Cheryl DeSimone Michele Johnson, Communications Elizabeth Green-Sah and Development Manager Fred Lambright, Treasurer Dan Meagher, Audience Development Manager Umberto Leone Julie Hahn, Guest Services Manager Lanita Mims Gabriella Giannini, Grants Manager Ashraf Habibiullah, Co-Founder & President Emeritus Rosselyn Ramirez, PEEK Associate Director, Social Media Edward Stegge, PEEK Associate Director Advisory Board Shannon Stowe, Program Design/Public Relations Manager Solomon Belette, MBA Business Development Consultant, Production Staff East Contra Costa County Alliance Jack Carpenter, Lighting Designer Co-Executive Director, US Africa Institute David Hartenstein, Stage Manager Gina Buscheck, Poshmark Ambassador Thomas Roberts, Technical Director Jack Catton, former Vice President of Banking, Renee Rothmann, Wardrobe Mistress US Bank Alex Bull, Lighting Technician John diBene, Assistant Vice President, Senior Legal Counsel at AT&T Film Production Staff Ruth Egherman, Director of Marketing and Sales, Heliomotion Pictures, Film Production Arts Marketing Services Walter Yamazaki, Producer, Director, Lead Editor Ghislaine Escot-Johnson, Compliance Testing Officer, Luke H. Sauer, Director of Photography, Editor Bank