DOCSLIB.ORG

"You've Got to Be Carefully Taught": Reflections on War, Imperialism

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Brigham Young University BYU ScholarsArchive Theses and Dissertations 2013-11-09 "You've Got to Be Carefully Taught": Reflections on arW , Imperialism and Patriotism in America's South Pacific Jayna D. Butler Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the Film and Media Studies Commons, and the Theatre and Performance Studies Commons BYU ScholarsArchive Citation Butler, Jayna D., ""You've Got to Be Carefully Taught": Reflections on arW , Imperialism and Patriotism in America's South Pacific" (2013). Theses and Dissertations. 3812. https://scholarsarchive.byu.edu/etd/3812 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. “You’ve Got to Be Carefully Taught”: Reflections on War, Imperialism and Patriotism in America’s South Pacific Jayna Butler A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts Megan Sanborn Jones, Chair Rodger D. Sorensen Wade Hollingshaus Department of Theatre and Media Arts Brigham Young University November 2013 Copyright © 2013 Jayna Butler All Rights Reserved ABSTRACT “You’ve Got to Be Carefully Taught” Reflections on War, Imperialism and Patriotism in America’s South Pacific: Jayna Butler Department of Theatre and Media Arts, BYU Master of Arts Underneath the romance, comedy and exoticism, South Pacific is a story that questioned core American values, exploring issues of race and power at a time when these topics were intensely relevant—the original opened just four years post WWII, on the heels of Roosevelt’s aggressive expansionist response to domestic instabilities. Much has been written about the depiction of war and racial prejudice in South Pacific. However, examining such topics in the context of their cultural and political moment (both in 1949 and 2008) and through the lens of Terry Eagleton’s unique take on morality, is not only a fascinating study, but an intensely relevant and unchartered endeavor. This work concerns the evolution of an American code of ethics as it has been reflected and constructed in both Broadway productions of Roger and Hammerstein’s South Pacific (c.1949, 2008). Specifically, it examines the depiction of WWII, America’s imperialistic foreign policy, and the function of American patriotism in light of Terry Eagleton’s theories surrounding an evolving code of ethics in 20th/21st century America. By so doing, this thesis uncovers answers to the following questions. What were the cultural and political forces at work at the time South Pacific was created (both in 1949 and 2008)? How did these forces influence the contrasting depictions of war, imperialism and patriotism in each version of the musical? In what ways were these productions reflective of a code of ethics that evolved from what Eagleton would classify as moral realism (prescriptive of behavior) to moral nihilism (reflective of behavior)? How did the use of this increasingly reflexive moral code make this politically controversial musical more palatable, and therefore commercially viable during the contrasting political climates of WWII and the recent war on Iraq? Determining answers to questions such as these enables us as a society to look back on our history—on our mistakes and triumphs—and recognize our tendency to find pragmatic justification for our actions rather than acknowledging the possibility of the existence of objective truth, which remains unchanged through time and circumstance. Keywords: South Pacific, war, American expansionism, imperialism, prejudice, American patriotism, ethical, moral nihilism, moral realism, relativism, evolution, code of ethics, pragmatic justification, objective truth, historiography, World War II, war on Iraq, musical theatre, Broadway, New York, Terry Eagleton, Richard Rodgers, Oscar Hammerstein, Joshua Logan, Bartlet Sher, Mary Martin, Ezio Pinza, Kelli O’Hara, Paul Szot. Dedicated to my parents ACKNOWLEDGEMENTS I wish to thank my adviser, Megan Sanborn Jones, for her support and encouragement of both my initial concept, and subsequent efforts in the completion of this study. Her valuable insights, sense of humor and confidence in me were integral to the entire process. I also thank the entire Theatre and Media Arts faculty at Brigham Young University— particularly Wade Hollingshaus and Rodger Sorensen—for their unwavering support of this endeavor. All have been an inspiration to me, and have provided me with an educational experience I will not soon forget. Profound thanks to the Rodgers and Hammerstein organization, for their cooperation and support for this project. All original archived materials reprinted are done so with permission from the Rodgers and Hammerstein Organization. All rights reserved. A sincere thank-you to my Grandma Ellen Prince, my mother Janis Butler, and my sister Amy Hirsche, for instilling in me a love of music and theatre. The appreciation and enthusiasm I have developed as a result of their example and encouragement has filled my life with joy and meaning. Finally, I wish to thank my father, Danny Butler, who inspired me to follow in his footsteps and pursue my Masters degree at Brigham Young University in the first place. Without the appreciation for learning, history and music he instilled in me, and his unwavering confidence in my abilities, none of this might ever have come to pass. TABLE OF CONTENTS Page: Abstract……………………………………………………………………………………………………….........................……ii Dedication.........................................................................................................................................................................iii Acknowledgments…….……………………………………………………………………………........................…………iv CHAPTER I: Introduction…...................……………………………………………………….......................……….…..1 1. South Pacific as Cultural Archive……..………..………………….….....…….........................…..….…..4 Finding Justification in South Pacific………..……………………………….........................…..….…..4 Delimitations Inherent in the Study of Musical Theatre…….….......................….…….….……6 A Method to the Madness……………………………………….……….…........................................….....8 Literature Review: Searching the Source……...…………………………........................……….…10 South Pacific: The Story Behind the Story……………...……………….…....................…………..16 The Innovation and Influence of Rodgers and Hammerstein…………....................……….18 Even Broadway has its Limits: Delimitations of the Musical Genre………....................…22 2. The Evolution of Morality…………..…....………………....………………....…….....................…....….25 Moral Realism: Absolute, Uncompromising Truth….......……………....................……..……..25 Moral Nihilism: ‘Truth’ is Relative...………………………………….............................................…28 Eagleton’s Ethics: Objective Truth Lives On…….....………………………….....................…...…32 Eagleton: Problems with Postmodernism….....……………………………...…........................….35 Eagleton’s Pledge: Morality and Politics—‘Indivisible under God......……....................…37 CHAPTER II: “Cockeyed Optimist” or Bloody Mary? The Depiction of War in South Pacific…………….....………………………................................……...…….…..39 1. Mid-Century American Morality......................................................................................................40 Putting South Pacific 1949 in Context…………………...……………......……...................…....….40 Us Vs. Them Ideology…………………………………….....…...……………....................……...………42 World War II Glorified.....…….…………………………………………....................….………………..44 2. Examples of Moral Realism at work in a War Torn South Pacific (1949)…......…………….…………………………..……….……...................……….……47 3. Making Sense of Moral Realist Ideology in South Pacific 1949 and Beyond………...……………....................…….....………..……...........……60 Why Moral Realism? ………………………………………………….......………....................………….63 4. The Nihilist Revival of South Pacific in Context………….......….........................………………65 Justifying the Revival’s Nihilist Depiction of War….........………….....................…………….68 5. Sher’s Nihilist Depiction of War in South Pacific 2008……………......………...................…72 v Acting Style/Direction…………........……………….…………………………..................………...…...76 Staging/Transitions..………………………………………………………………..................……...……78 Music/Choreography……….....……...……………………………………………...................………….81 The Power of Conventions to Communicate Progressive Ideas….......................………..84 Conclusion……………........……………………………………………………………......................…...….86 CHAPTER III: “Bali Ha’i” –Your Special Island: Racial Prejudice and Imperialism in South Pacific……......……………....................……….....…...........…..88 1. South Pacific 1949: A Topical Story………………...……………...................……………..…...…90 2. Rodgers and Hammerstein’s use of Realism and Nihilism in South Pacific ……………………......................….......………….......….94 A Realist Indictment of Racial Prejudice…………...............….............................................…..94 A Nihilist Validation of Imperialism…..........…………….….......................……………...…….…98 3. Reflective Nihilism in the South Pacific Revival……...………….................…….........……..105
Load more

Recommended publications
  • A Transcultural Perspective on the Casting of the Rose Tattoo
    RSA JOU R N A L 25/2014 GIULIANA MUS C IO A Transcultural Perspective on the Casting of The Rose Tattoo A transcultural perspective on the film The Rose Tattoo (Daniel Mann, 1955), written by Tennessee Williams, is motivated by its setting in an Italian-American community (specifically Sicilian) in Louisiana, and by its cast, which includes relevant Italian participation. A re-examination of its production and textuality illuminates not only Williams’ work but also the cultural interactions between Italy and the U.S. On the background, the popularity and critical appreciation of neorealist cinema.1 The production of the film The Rose Tattoo has a complicated history, which is worth recalling, in order to capture its peculiar transcultural implications in Williams’ own work, moving from some biographical elements. In the late 1940s Tennessee Williams was often traveling in Italy, and visited Sicily, invited by Luchino Visconti (who had directed The Glass Managerie in Rome, in 1946) for the shooting of La terra trema (1948), where he went with his partner Frank Merlo, an occasional actor of Sicilian origins (Williams, Notebooks 472). Thus his Italian experiences involved both his professional life, putting him in touch with the lively world of Italian postwar theater and film, and his affections, with new encounters and new friends. In the early 1950s Williams wrote The Rose Tattoo as a play for Anna Magnani, protagonist of the neorealist masterpiece Rome Open City (Roberto Rossellini, 1945). However, the Italian actress was not yet comfortable with acting in English and therefore the American stage version (1951) starred Maureen Stapleton instead and Method actor Eli Wallach.
    [Show full text]
  • Music, Dance and Theatre (MDT) 1
    Music, Dance and Theatre (MDT) 1 MDT 510 Latin American Music (3 Credits) MUSIC, DANCE AND THEATRE A course in the music of selected Latin America countries offering music and Spanish-language majors and educators perspectives into the (MDT) musical traditions of this multifaceted region. Analysis of the music will be discussed in terms that accommodate non specialists, and all lyrics MDT 500 Louis Armstrong-American Hero (3 Credits) will be supplied with English translations. A study of the development of jazz with Louis Armstrong as the vehicle: MDT 511 Vocal Pedagogy (3 Credits) who he influenced and how he did it. Comparative analytical studies with This course is to provide the student of singing a deeper understanding his peers and other musicians are explored. of the vocal process, physiology, and synergistic nature of the vocal MDT 501 Baroque Music (3 Credits) mechanism. We will explore the anatomical construction of the voice as This course offers a study of 17th and 18th century music with particular well as its function in order to enlighten the performer, pedagogue and emphasis on the works of Johann Sebastian Bach, Dietrich Buxtehude, scholar. Each student will learn to codify a practical knowledge of, and Arcangelo Corelli, Francois Couperin, Andrea and Giovanni Gabrieli, skill in, teaching voice. George Frederick Handel, Jean-Baptiste Lully, Claudio Monteverdi, Jean- MDT 520 Musical On B'Way&Hollywood I (3 Credits) Philippe Rameau, Alessandro and Domenico Scarlatti, Gerog Telemann, This course offers an analysis of current Broadway musicals with special and Antonio Vivaldi. seminars with those connected with one or two productions.
    [Show full text]
  • A Quantitative Analysis of the Songs of Cole Porter and Irving Berlin
    i DEVELOPMENT OF CREATIVE EXPERTISE IN MUSIC: A QUANTITATIVE ANALYSIS OF THE SONGS OF COLE PORTER AND IRVING BERLIN A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy By Richard W. Hass January, 2009 ii ABSTRACT Previous studies of musical creativity lacked strong foundations in music theory and music analysis. The goal of the current project was to merge the study of music perception and cognition with the study of expertise-based musical creativity. Three hypotheses about the nature of creativity were tested. According to the productive-thinking hypothesis, creativity represents a complete break from past knowledge. According to the reproductive-thinking hypothesis, creators develop a core collection of kernel ideas early in their careers and continually recombine those ideas in novel ways. According to what can be called the field hypothesis, creativity involves more than just the individual creator; creativity represents an interaction between the individual creator, the domain in which the creator works, and the field, or collection of institutions that evaluate creative products. In order to evaluate each hypothesis, the musical components of a sample of songs by two eminent 20 th century American songwriters, Cole Porter and Irving Berlin, were analyzed. Five separate analyses were constructed to examine changes in the psychologically salient musical components of Berlin’s and Porter’s songs over time. In addition, comparisons between hit songs and non-hit songs were also drawn to investigate whether the composers learned from their cumulative songwriting experiences. Several developmental trends were found in the careers of both composers; however, there were few differences between hit songs and non-hit songs on all measures.
    [Show full text]
  • NEWSLETTER Volume 12, Number 1 Spring 1994
    KURTWEILL NEWSLETTER Volume 12, Number 1 Spring 1994 IN THIS ISSUE More Radical Than Most Gebrauchsjazz: Music for the "Berlin im Licht" Festival 6 Nils Grosch Weill and Schoenberg 10 David Drew Around the World: Street Scene Research Documents at Yale University and the Rubin Academy of Music and Dance 14 David D'Andre and Claude Abravanel Books 17 Christopher Hailey. Franz Schreker, 1878-1934: A Cultural Biography. Keith Cochran Marc A Weiner. Undertones of Insurrection: Music, Politics, and the Social Sphere in the Modem German Narrative. Keith Cochran Hans Otto Munsterer. The Young Brecht James K. Lyon Peter Thomson and Glendyr Sacks, eds. The Cambridge Companion to Brecht Ronald Speirs Peter Jelavich. Be rlin Cabaret Alan IAreau Performances 20 Violin Concerto. Philadelphia Orchestra in New York Michael von der Linn Die sieben Todsiinden in New York Nicholas Deutsch Street Scene in Houston Howard Pollack Der Undberghflug in Dessau Andreas Hillger Recordings 23 Die sieben Todsunden. David Hamilton Fassbaender/NOR Radio Philharmonia (Hannover) /Garben on Harmonia Mundi Bierett/Cologne Radio Orchestra/Zagrosek on Capriccio Silja/Cleveland Orchestra/von Dohnanyi on Cleveland Orchestra label Videos 24 Der Undberghflug. Directed by Jean-Fran~oisJung; produced by WDR/La Sept/lNA Geoffrey Burleson Die sieben Todsiinden (Les sept peches capitaux). Directed by Peter Sellars; produced by La Sept-Arte/ Opera de Lyon. Geoffrey Burleson Columns Nils Grosch uncovers new info~ation about Kurt Weill Edition Report 3 music composed for the "Berlin im Licht" Festival. 1994 Grant Awards 5 Page 6. New Publications 16 Selected Perfom1ances 27 News lady in the Dark at City Center Zinman Conducts All-Weill Pops Reaux in Saratoga Springs and As part of the series "Encores! Great Concert Montreal American Musicals in Concert.,'' City Cen­ ter is poised to present a performance of David Zinman will conduct the Balti­ Charles Dutoit leads the Philadelphia Lady in the Dark on 4-7 May 1994.
    [Show full text]
  • Audience Insights Table of Contents
    GOODSPEED MUSICALS AUDIENCE INSIGHTS TABLE OF CONTENTS JUNE 29 - SEPT 8, 2018 THE GOODSPEED Production History.................................................................................................................................................................................3 Synopsis.......................................................................................................................................................................................................4 Characters......................................................................................................................................................................................................5 Meet the Writer........................................................................................................................................................................................6 Meet the Creative Team.......................................................................................................................................................................7 Director's Vision......................................................................................................................................................................................8 The Kids Company of Oliver!............................................................................................................................................................10 Dickens and the Poor..........................................................................................................................................................................11
    [Show full text]
  • Herever You Go, There You Are: Bringing Experiences of Race, Class, Language, Gender, and Culture to Research in Mathematics Education, by Mary Q
    CURRICULUM VITAE EDUCATION M.A. in Speech-Theatre, 1994 Louisiana Tech University, Ruston, Louisiana B.A. in Music with Minor in Business, 1992 Louisiana Tech University, Ruston, Louisiana School of the Performing Arts TEACHING 2011-Present Director of Miller Arts Scholars, College of Arts and Sciences, University of Virginia 2010-Present Associate Professor of Sound Design, Department of Drama, University of Virginia 2004-2010 Assistant Professor of Sound Design, Department of Drama, University of Virginia 2002-2004 Assistant Professor of Music Technology, Performing Arts and Sound Design, Louisiana Tech University, Ruston, Louisiana 1996-2002 Instructor of Music Technology, Performing Arts and Sound Design, Louisiana Tech University, Ruston, Louisiana 1992-1993 Director for Job Training Partnership Act (JTPA) Summer Performing Arts Program, Louisiana Tech University Courses: Department of Drama, University of Virginia, by semester (2004 to Present) Fall 2021 CASS 1010 Miller Arts Scholars Discussion, 1 credit hour, 22 students DRAM 2620(1) Sound Design, 3 credit hours, 12 students DRAM 2620(2) Sound Design, 3 credit hours, 13 students DRAM 2630 Production Lab in Sound, 1 credit hour, 6 students DRAM 7620 Mentored Study in Sound, 3 credit hours, 2 students Summer 2021 DRAM 2620 Sound Design, 3 credit hours, 9 students Spring 2021 CASS 1011 Miller Arts Scholars Discussion, 1 credit hour, 23 students DRAM 2620(1) Sound Design, 3 credit hours, 11 students DRAM 2620(2) Sound Design, 3 credit hours, 14 students DRAM 2630 Production Lab in
    [Show full text]
  • State of Aloha Neil Hannahs
    AUGUST 2009 PRESENTS State of Aloha Neil Hannahs FormerA Sense Chair, PBS ofHawaii Gratitude Board of Directors and Accomplishment Longtime PBS Hawaii Board Chairman Neil Hannahs recently passed the baton to a new Chair, Robbie Alm. In the following essay, Neil shares recollections and reflections about leading Hawaii’s only public television station into new territory, from State agency to proud private nonprofit organization. The vital change took place just nine years ago…. - Leslie Wilcox, President and CEO On June 30, I was among several long-serving individuals who retired from the board in compliance with term limit provisions of our by- Dearlaws. Mahalo PBS to Hawaii Bob Ozaki, ‘Ohana, David Leonard, Tom Wellman, Cheryl Hetherington, Rick Tsujimura and Susan Eichor for joining this or- ganization during its infancy and guiding our transition from State agency to private foundation. I wish to take this opportunity to express my gratitude for the privi- lege of serving as board chairman since the founding of the Hawaii Public Television Foundation (HPTF) in 1997. Retiring board members (from left) Rick Tsujimura, Susan Eichor, Cheryl Hetherington and Neil Hannahs. My association with this organization began in 1986 upon my appointment to the Hawaii Public Broad- casting Authority (HPBA). My children, who are now 31, 27 and 26, were 8, 4 and 3 at the time. My wife, Mariane, was young then…as she is today. I am indebted to them for their support of my service. In the late 1980s, the “Japanese bubble” fueled a booming economy and rapid growth of our budget, staff and local productions.
    [Show full text]
  • Next to Normal ______
    PRESS KIT: Next to Normal _____________________________________________________________________________________ FOR IMMEDIATE RELEASE – 06/15/2013 Next to Normal By Tom Kitt & Brian Yorkey Directed by Glenda ManWaring July 11 – 27, 2013 Thurs. – Sat. 8pm Sun. 3pm Next to Normal is best described as a “feel everything” rock musical. Playwright and lyricist Brian Yorkey employs humor through funny lines and situations to balance and lighten the play’s serious and painful situations of human life. The music by Tom Kitt provides pleasure in itself. The music connects to the audience’s emotions in ways that simple spoken words cannot. Bringing these two masters together birthed this extraordinary, award winning masterpiece. Its story concerns a mother who struggles with worsening bipolar disorder and the effect that her illness has on her family. The musical also addresses such issues as grieving a loss, suicide, drug abuse, ethics in modern psychiatry, and love-- both old and new. Next to Normal was nominated for 11 Tony Awards when it opened and was awarded 3 Tony Awards for Best Original Score, Best Orchestration, and Best Performance by a Leading Actress in a Musical. In addition, it also won the 2010 Pulitzer Prize for Drama, becoming just the eighth musical in history to do so. Centre Stage is partnering with the Greenville Health System in presenting two panel discussions during the run of this musical. The first discussion will be held after the 3PM matinee performance on Sunday, July 14 and the second one will be a 12PM Lunch & Learn on Friday, July 19th. Both of these panel discussions are titled, “Let’s Talk About Mental Illness” and will include local doctors, psychologists, psychiatrists, clinicians and guests from NAMI (National Alliance on Mental Illness).
    [Show full text]
  • Rodgers & Hammerstein
    Connect the Devon Energy Presents Dots to Find Lyric Theatre’s the Castle! CinderellaA Literary Tale Interactive Rodgers & Hammerstein The music of Cinderella was composed by Richard Rodgers. The lyrics to the songs and book (script) were written by Oscar Hammerstein II. Originally presented on television in 1957 starring Julie Andrews (pictured below), Rodgers and Hammerstein’s Cinderella was the most widely viewed program in the history of the medium. Andrews starred in many musicals and movies, such as The Sound of Music, Camelot, and The Princess Diaries. Music by Richard Rodgers Book & Lyrics by Oscar Hammerstein II After long and highly distinguished careers with Study Guide Recommended for Children of All Ages other writing partners, Richard Rodgers (composer, Lyric’s Cinderella - A Literary Tale Interactive is a thrilling program 1902-1979) and Oscar Hammerstein II (librettist/ offering an original take on a familiar story. You will visit with favorite lyricist, 1895-1960), also known as R&H, joined characters: the gracious Cinderella, the charming Prince, and the forces in 1943 to create the most consistently fruitful evil Stepsisters. Through the music and dialogue of Rodgers and and successful partnership in the American musical Hammerstein, you will learn fun and important literary terms and theatre. Oklahoma!, the first Rodgers & Hammerstein concepts. musical, was also the first of a new genre, the musical play! Other R&H Musicals You May Know: Carousel, South Pacific, The King and I,and The Sound of Music Carolyn Watson THE Wilshire Rural Oklahoma McGee Charitable Source: www.rnh.com Community Foundation FOUNDATION Foundation LYRIC IS OKLAHOMA’S LEADING PROFESSIONAL THEATRE COMPANY and Seek & has been producing classic and contemporary musicals featuring both nationally Literature Plot Diagram known Broadway stars and local favorites for over 50 years.
    [Show full text]
  • Shipment Day Playbill.Indd
    MANOA VALLEY THEATRE PRESENTS A World Premiere by Lorenzo DeStefano November 8 – 25, 2018 #innovators #artists #individuals Hawai‘i’s arts education leader for more than 25 years Preschool to Grade 12 | midpac.edu | (808) 973-5005 A poignant Hawaii story graces our stage Manoa Valley Theatre’s 50th Anniversary continues with a very special presentation that is a highlight in this auspicious season. Lorenzo DeStefano’s poignant drama, Shipment Day, shines light on a troublesome period of Hawaii’s history and the amazing fortitude of one of its citizens, Olivia Robello Breitha, who was his cousin. The play dramatizes her early years in Honolulu when she was first disagnosed with Hansen’s Disease, and the resulting fear and hostilities she faced with this life changing condition. The play’s mirror on history is insightful, and its parallel to more recent epidemics and contemporary society’s response underscores the importance for education, understanding and compassion. We are grateful to Mr. DeStefano for inviting MVT to stage the World Premiere of his play. It is befitting to include this Hawaii based story in our first half-century celebration as we’re reflecting on our community, our mission, our past and our future. Thank you for engaging with us. Four more exciting productions are coming up this season, plus a music and comedy filled Studio Series lineup, so we hope to see you back at MVT often. We are grateful for your patronage and your support. Our partnership with you ensures robust and stimulating theatrical fare for our community. Thank you most kindly.
    [Show full text]
  • 2013 Winners — Broadway.Com Audience Choice Awards
    HOME / 2013 WINNERS / ABOUT / BUZZ / VIDEO / PAST WINNERS And the Winners Are... Winners are marked below in bold. FAVORITE NEW MUSICAL A Christmas Story: The Musical (Book by Joseph Robinette; Music and Lyrics by Benj Pasek and Justin Paul) Bring It On: The Musical (Book by Jeff Whitty; Music by Tom Kitt and Lin-Manuel Miranda; Lyrics by Amanda Green and Lin-Manuel Miranda) Kinky Boots (Book by Harvey Fierstein; Music and Lyrics by Cyndi Lauper) Matilda (Book by Dennis Kelly; Music and Lyrics by Tim Minchin) Motown: The Musical (Book by Berry Gordy Jr.) FAVORITE NEW PLAY *Breakfast at Tiffany’s byby RichardRichard GreenbergGreenberg Lucky Guy by Nora Ephron The Nance by Douglas Carter Beane The Performers by David West Read Vanya and Sonia and Masha and Spike by Christopher Durang FAVORITE MUSICAL REVIVAL *Annie Jekyll & Hyde The Mystery of Edwin Drood Pippin Rodgers & Hammerstein’s Cinderella FAVORITE PLAY REVIVAL Cat on a Hot Tin Roof Harvey The Heiress *Macbeth Who’s Afraid of Virginia Woolf? FAVORITE LONG-RUNNING SHOW The Book of Mormon The Lion King Newsies The Phantom of the Opera *Wicked FAVORITE TOUR Anything Goes The Book of Mormon Les Miserables The Lion King *Wicked FAVORITE ACTOR IN A MUSICAL Bertie Carvel, Matilda Will Chase, The Mystery of Edwin Drood Santino Fontana, Rodgers & Hammerstein’s Cinderella *Billy Porter,, Kinky Boots Anthony Warlow, Annie FAVORITE ACTRESS IN A MUSICAL Annaleigh Ashford, Kinky Boots Stephanie J. Block, The Mystery of Edwin Drood Victoria Clark, Rodgers & Hammerstein’s Cinderella Patina Miller, Pippin *Laura Osnes,, Rodgers & Hammerstein’s Cinderella FAVORITE ACTOR IN A PLAY Norbert Leo Butz, Dead Accounts *Alan Cumming, Macbeth Tom Hanks, Lucky Guy Nathan Lane, The Nance Jim Parsons, Harvey FAVORITE ACTRESS IN A PLAY Jessica Chastain, The Heiress Scarlett Johansson, Cat on a Hot Tin Roof Patti LuPone, The Anarchist *Bette Midler, I’llI’ll EatEat YouYou Last:Last: AA ChatChat withwith SueSue MengersMengers Sigourney Weaver, Vanya and Sonia and Masha and Spike FAVORITE DIVA PERFORMANCE *Stephanie J.
    [Show full text]
  • You Can't Take It With
    Insights A Study Guide to the Utah Shakespeare Festival You Can’t Take It with You The articles in this study guide are not meant to mirror or interpret any productions at the Utah Shakespeare Festival. They are meant, instead, to be an educational jumping-off point to understanding and enjoying the plays (in any production at any theatre) a bit more thoroughly. Therefore the stories of the plays and the interpretative articles (and even characters, at times) may differ dramatically from what is ultimately produced on the Festival’s stages. Insights is published by the Utah Shakespeare Festival, 351 West Center Street; Cedar City, UT 84720. Bruce C. Lee, communications director and editor; Phil Hermansen, art director. Copyright © 2011, Utah Shakespeare Festival. Please feel free to download and print Insights, as long as you do not remove any identifying mark of the Utah Shakespeare Festival. For more information about Festival education programs: Utah Shakespeare Festival 351 West Center Street Cedar City, Utah 84720 435-586-7880 www.bard.org. Cover photo: Michael Thomas Holmes (left) and Laurie Birmingham in You Can’t Take It with You, 1995. Contents You Can’tInformation Take on theIt Play with You Synopsis 4 Characters 5 About the Playwright 6 Scholarly Articles on the Play Happy Lunacies 7 Still Speaking to Audiences 9 Utah Shakespeare Festival 3 351 West Center Street • Cedar City, Utah 84720 • 435-586-7880 Synopsis: You Can’t Take It with You The Vanderhof family at the center of You Can’t Take It with You is a collection of cheerful and erratic (yet lovable) incompetents.
    [Show full text]