'17 Spring Program.Pub

Total Page:16

File Type:pdf, Size:1020Kb

'17 Spring Program.Pub Note Please turn off or mute your cellphones. Unauthorized use of cameras or recording device is prohibited during performance. Food & beverages are not allowed in the theatre. Curtain times are prompt and as a courtesy to our audience and performers, late arrivals will be Presents seated by an usher at an appropriate time. PPC Entertainment Placer Pops Chorale Council President: MaryEllen Vogt President: Becky Heieck Co-Vice Presidents: Debbie Astle and Secretary: MaryEllen Vogt Joyce Scolnick Treasurer: Bob Churchwell Secretary: Robin Haney Artistic Director: Lorin Miller Directors: Council Members: Greg Flessing Vivian Baughman Don Roberts Warren Schwegel Debby Brown Barbara Sawyer Terrie Jaramillo David Seagraves Graphic Design: Lucille Putnam Madeline Thill Keith D. Vogt Janet Riswold Glenn Tsukimura The Placer Pops Chorale fervently seeks community-minded supporters who are willing and able to make financial contributions to the Chorale. Your gifts will enable us to continue providing the high quality of concerts which have made us a favorite in the Sacramento region, by helping defray the costs of purchasing music, hiring musicians, and renting venues. The Placer Pops Chorale is a nonprofit organization and your donations could be tax deductible. If you would like to make a donation by mail please make your check payable to Placer Pops Chorale, write 'DONATION' in the memo and send it to: Placer Pops Chorale, P.O. Box 7237, Auburn, CA 95604-7237 Or go to our website, www.placerpops.com, Sierra College, Dietrich Theatre for additional information. May 5 7:30pm May 6 & 7 2:00 pm Harris Center May 19, 7:30pm May 21, 2:00pm The Placer Pops Chorale, led by Artistic/ Now in his twelfth year as Artistic/ Musical Director Lorin Miller, showcases Musical Director of the Placer Pops professional-quality, highly entertaining choral music. This auditioned group, with Chorale, Lorin Miller brings a its own orchestra, puts on two major distinguished background as a solo concert series each year, in May and in performer, music educator and choral December, along with special appearances director. In addition to his work with the and benefit performances, including the annual, free A Gift of the Heart “Homeland” concert, celebrating the 4th of Chorale, Lorin serves as Executive Musical July. Sung entirely from memory, the Chorale’s repertoire represents a Director and co-founder of A Gift of the variety of styles, with a strong emphasis on the popular music of the last 75 Heart, a Placer County performing arts organization benefiting years, including the best of Broadway and Hollywood. Established as a 501 local charities. He currently serves on the voice faculty of William (c) 3 nonprofit organization, the Chorale attracts talented singers of all ages to the group, and draws scores of music lovers to its dynamic concerts – Jessup University, as well as Musical Director for Auburn Grace often sold out weeks in advance. Under Lorin’s inspired leadership, the Community Church. A California native, Lorin grew up in Grass Chorale has become known for its varied and innovative programs. Valley, where he developed a deep love of music. He holds an Enhanced by sparkling performance attire and creative staging, the Chorale undergraduate degree and a master’s degree in Humanities, with a consistently delivers a magical theater experience. music performance concentration. After graduation, he produced, recorded, and toured with a solo album before pursuing film scoring at UCLA. Following his successful career in Hollywood television production, Lorin returned to this area and to his love of music. Lorin has been a soloist with the Sacramento Choral Society Since its founding in 1936, Sierra College has become a cornerstone of the and Orchestra, and he has performed nationally and community, meeting the needs of those it serves by providing quality internationally, throughout Europe and Asia, in a variety of styles education, enriching lives, and helping businesses thrive. PPC is proud to have from Bach to Broadway. This extensive solo career has most been affiliated with this distinguished academic institution since our choral recently included European tours with the A Gift of the Heart group was formed in 1991. We thank Sierra College for its longtime support outreach program, to Slovenia each year from 2009 through 2015; and for providing us with rehearsal space in the Music Building throughout the and with the Sacramento Choral Society and Orchestra to Vienna, school year, as well as performance space at Dietrich Theatre in December and Prague, Budapest and Munich in the summer of 2004. Lorin led the May. Placer Pops Chorale on a successful European singing tour to Barcelona, Spain, in July of 2014, following an equally rewarding four-city singing tour of Ireland in July of 2012. In June, 2017, the Placer Pops will begin a concert tour of Slovenia, in the spectacular lower Alps. Our Chorale will be part of a European celebration of the 500th anniversary of the Reformation, and we look forward to The Osher Lifelong Learning Institute (OLLI), through a grant from The Bernard Osher Foundation, offers a wide range of challenging, high-quality, bringing a taste of America to this beautiful country. and free learning experiences for active adults. Sierra College is one of only two community colleges nationally to receive such a grant, and PPC is delighted to be affiliated with this outstanding program! My Fair Lady Hairspray Make ‘Em Laugh If I Only Had the Nerve Lyrics by Music by Music by Nacio Herb Brown Alan Jay Lerner Marc Shaiman Lyrics by Arthur Freed The Merry Old Land of Oz Music by Lyrics by Marc Shaiman and Frederick Loewe Singin’ in the Rain Scott Wittman Music by Nacio Herb Brown Over the Rainbow Arranged by Andy Arranged by Mac Huff Beck Lyrics by Arthur Freed Welcome to the 60s Soloists: Don Roberts, Tony The Wiz I Could Have Danced All Night Roberts, Joyce Scolnick, Jason Hairspray On the Street Where You Live Welch, Kellie Wheeler Ease on Down the Good Morning Baltimore Tap Dancing by Derek Martin Wouldn’t It Be Loverly Road Words and Music It Takes Two I’ve Grown Accustomed to Her by Charlie Smalls Face Mama, I’m a Big Girl Now Wicked Arranged by Mac Music and Lyrics Huff Get Me to the Church on Time I Know Where I’ve Been by Stephen Schwartz Home Soloists: Vivian Baughman, You Can’t Stop the Beat Arranged by Words and Music by Charlie Richard Rodgers Mark Brymer Smalls* Soloists: Kelly Dunn, Ronda Arranged by Andy Beck and The Sound of Music Pearce Michael Spresser Lyrics by Oscar No One Mourns the Wicked Hammerstein II The Wizard and I Music by Richard INTERMISSION Soloists: Kelly Dunn, Tony Rodgers One Short Day Roberts, Michael Seagraves, Arranged by John Hannah Barnett, Jason Welch, Leavitt For Good The Music of Madeline Thill MGM The Sound of Music Defying Gravity Arranged by My Favorite Things Greg Gilpin Ensemble: Debbie Astle, Vivian Wizard Baughman, Ronda Pearce, Guy The Lonely Goatherd Pilgrim, Marissa Pilgrim, Don of Oz Roberts, Tony Roberts, Richard That’s Entertainment Lyrics by Grease Music by Arthur Schwartz Rodgers, Lisa Sands, Joyce Lyrics and Music E. Y. Scolnick, Michael Siegel, Kaitlin Lyrics by Howard Dietz Harburg by Warren Casey Sitton, Madeline Thill, Glenn and Jim Jacobs San Francisco Music by Harold Arlen Tsukimura, Jason Welch, Lynne Arranged by Music by Bronislau Kaper and Arranged by Mark Brymer Wetzel, Kellie Wheeler Mark Brymer Walter Jurmann Follow the Yellow Brick Road Lyrics by Gus Kahn We’re Off to See the Wizard We Go Together The Trolley Song Music by Ralph Blane Munchkinland Those Magic Changes Lyrics by Hugh Martin Ding-Dong! The Witch is Dead Greased Lightnin’ Good Morning If I Only Had a Brain Beauty School Dropout Music by Nacio Herb Brown Lyrics by Arthur Freed Soloists: Kelly Dunn, Guy Pilgrim If I Only Had a Heart Additional Lyrics by Betty Comden and Adolph Green If I Were King of the Forest Image coming Soprano 1 Tenor 1 Debbie Astle Terrie Jaramillo, Phillip Cuneo Elizabeth Allen Section Leader Joan Griffin Hannah Barnett Guy Pilgrim Noreen Barnett Alto 1 Richard Rodgers Nancy Bowman Kathy Adams-Parke July 2 & 3, 2016 Leann Haugen Lori Hall Tenor 2 Auburn Library Garden Theater Jenny Richardson Sandy Lewis Frank Chapman 350 Nevada Street, Auburn Joyce Scolnick Laurie Meadows Mike Kranz Vivian Baughman Brenda Paquin Don Roberts Section Leader Marissa Pilgrim Michael Siegel David Seagraves Placer Pops Scholarship Program Janet Riswold Kaitlin Sitton Tenor Section Leader Soprano 2 We are excited and proud to announce the new Placer Avery, Johanna Marsha Von Dessonneck Baritones Pops Scholarship Program! With funds secured through Bobolis, Jamie Lucille Putnam, MichaelAllen Section Leader Dana Caldwell donations and fundraisers, such as our golf tournament and Brown, Debby Bryant, Kathy Mike Johnston the Big Day of Giving, we are providing four young people Alto 2 Dick Maxey with funding to pursue their musical dreams. For 2017, we Chabrier, Donna Sue Bradlee Kent McCarley are giving four scholarships: Johnson, Janette Marian Caldwell Dean Metzner Keeffe, Lorraine Robin Haney Jeff Riswold Three $800 scholarship to students, ages 12-17, for vocal Margit Miller music training Pearce, Ronda Tony Roberts Noël Shusted Jason Welch One $2500 scholarship to a high school senior or student Peterson, Tiana Linda Snelling Rosenau, Alexis GlennTsukimura, currently enrolled in a vocal education program at a MaryEllen Vogt Section Leader college or university Rosenau, Patrice Lynne Wetzel Kellie
Recommended publications
  • Hair: the Performance of Rebellion in American Musical Theatre of the 1960S’
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Winchester Research Repository University of Winchester ‘Hair: The Performance of Rebellion in American Musical Theatre of the 1960s’ Sarah Elisabeth Browne ORCID: 0000-0003-2002-9794 Doctor of Philosophy December 2017 This Thesis has been completed as a requirement for a postgraduate research degree of the University of Winchester MPhil/PhD THESES OPEN ACCESS / EMBARGO AGREEMENT FORM This Agreement should be completed, signed and bound with the hard copy of the thesis and also included in the e-copy. (see Thesis Presentation Guidelines for details). Access Permissions and Transfer of Non-Exclusive Rights By giving permission you understand that your thesis will be accessible to a wide variety of people and institutions – including automated agents – via the World Wide Web and that an electronic copy of your thesis may also be included in the British Library Electronic Theses On-line System (EThOS). Once the Work is deposited, a citation to the Work will always remain visible. Removal of the Work can be made after discussion with the University of Winchester’s Research Repository, who shall make best efforts to ensure removal of the Work from any third party with whom the University of Winchester’s Research Repository has an agreement. Agreement: I understand that the thesis listed on this form will be deposited in the University of Winchester’s Research Repository, and by giving permission to the University of Winchester to make my thesis publically available I agree that the: • University of Winchester’s Research Repository administrators or any third party with whom the University of Winchester’s Research Repository has an agreement to do so may, without changing content, translate the Work to any medium or format for the purpose of future preservation and accessibility.
    [Show full text]
  • The Wiz Short FINAL
    media contact: erica lewis-finein brightbutterfly pr brightbutterfly[at]hotmail.com BERKELEY PLAYHOUSE CONCLUDES FIFTH SEASON WITH “THE WIZ” July 13-August 25, 2013 Book by William F. Brown Music and lyrics by Charlie Smalls Adapted from The Wonderful Wizard of Oz by L. Frank Baum Berkeley, CA (June 5, 2013) – Berkeley Playhouse closes its fifth season with the Tony Award-winning musical THE WIZ. Kimberly Dooley (Lucky Duck, Seussical, The Musical, Once On This Island) directs and choreographs this soulful re-imagining of L. Frank Baum’s family classic The Wonderful Wizard of Oz, featuring a cast of 46. THE WIZ plays July 13 through August 25 (Press opening: July 13) at the Julia Morgan Theater in Berkeley. For tickets ($17-60) and more information, the public may visit berkeleyplayhouse.org or call 510-845-8542x351. In THE WIZ, Dorothy gets swept away by a tornado and ends up in the land of Oz. There, she learns that the only way she can get home again is to see the magical Wiz in the Emerald City. Along the way, she meets a Scarecrow made of garbage who wants a brain, a Tin Man who wants a heart, and a Lion who wants courage, and together they set off down the Yellow Brick Road to seek help from the all-powerful Wiz. This stage classic about the power of believing in yourself features such soul-stirring songs as “Home,” “The Feeling We Once Had,” “If You Believe,” “No Bad News,” and “Ease On Down the Road.” THE WIZ opened on Broadway in 1975 and closed in 1979, after four years and 1,672 performances.
    [Show full text]
  • Musical! Theatre!
    Premier Sponsors: Sound Designer Video Producer Costume Coordinator Lance Perl Chrissy Guest Megan Rutherford Production Stage Manager Assistant Stage Manager Stage Management Apprentice Mackenzie Trowbridge* Kat Taylor Lyndsey Connolly Production Manager Dramaturg Assistant Director Adam Zonder Hollyann Bucci Jacob Ettkin Musical Director Daniel M. Lincoln Directors Gerry McIntyre+ & Michael Barakiva+ We wish to express our gratitude to the Performers’ Unions: ACTORS’ EQUITY ASSOCIATION AMERICAN GUILD OF MUSICAL ARTISTS AMERICAN GUILD OF VARIETY ARTISTS SAG-AFTRA through Theatre Authority, Inc. for their cooperation in permitting the Artists to appear on this program. * Member of the Actor's Equity Association, the Union of Professional Actors and Stage Managers in the United States. + ALEXA CEPEDA is delighted to be back at The KRIS COLEMAN* is thrilled to return to the Hangar. Hangar! Select credits: Mamma Mia (CFRT), A Broadway Credit: Jersey Boys (Barry Belson) Chorus Line (RTP), In The Heights (The Hangar Regional Credit: Passing Strange (Narrator), Jersey Theatre), The Fantasticks (Skinner Boys - Las Vegas (Barry Belson), Chicago (Hangar Barn), Cabaret (The Long Center), Anna in the Theatre, Billy Flynn), Dreamgirls (Jimmy Early), Sister Tropics (Richard M Clark Theatre). She is the Act (TJ), Once on This Island (Agwe), A Midsummer founder & host of Broadway Treats, an annual Nights Dream (Oberon) and Big River (Jim). benefit concert organized to raise funds for Television and film credits include: The Big House Animal Lighthouse Rescue (coming up! 9/20/20), and is (ABC), Dumbbomb Affair, and The Clone. "As we find ourselves currently working on her two-person musical Room 123. working through a global pandemic and race for equality, work Proud Ithaca College BFA alum! "Gracias a mamacita y papi." like this shows the value and appreciation for all.
    [Show full text]
  • POPS Concert 5.31.19 | 7:00 PM
    by Lauren Gubler CVHS Instrumental Music Presents POPS Concert 5.31.19 | 7:00 PM Good Evening! Few experiences are as captivating as going to Broadway and seeing a live musical, where dancing, singing, acting and stage craft come together to provide a moving experience for the audience. Whether it is seeing Tony and Maria explore the other side of the American dream, or governess Maria keeping kids distracted during the Nazi occupation of Austria, or even seeing a person with social anxiety trying to fit in, musicals have a way of transporting us out of our day-to-day reality and into another world, where wondrous feats of artistry occur. Tonight the Crescenta Valley High School Instrumental Music Program presents a concert filled with songs from musicals. It’s an eclectic collection with songs from classic musicals like The King and I and Porgy and Bess, as well as movie musicals such as The Wizard of Oz, West Side Story and The Wiz. We have music from some modern classics such as Cats, Phantom of the Opera and Les Misérables, as well as the recent Broadway smash Dear Evan Hansen. Our students have had another exemplary year. We started with the Marching Band placing 4th in their competitive division in CSBC with The Planets, earning numerous High Music, High Auxiliary, and High Percussion awards. Then Concert Band, String Orchestra and Symphony Orchestra all earned Superiors at SCSBOA Regionals during Festival season. In fact, one judge expressed that she had not heard a high school Symphony Orchestra better than ours in her vast years of judging! Our Jazz Band, rebuilding due to a large senior class last year, didn’t skip a beat and ended up earning Superiors at its last few festivals.
    [Show full text]
  • Dissertation Final Corrected
    FROM PENCIL TO PERFORMANCE: The creative nexus of arranging, orchestration and music direction in works of contemporary pop/rock musical theatre BRYAN SCHIMMEL 8300995 A thesis submitted to the Faculty of Humanities University of the Witwatersrand, Johannesburg in fulfilment of the requirements for the Degree of Master of Music Final Corrected Submission 22 September 2014 ABSTRACT In the art form of musical theatre, available literature on the creative musical aspects of musicals has focused primarily on the composers and/or lyricists; their works having been extensively analysed and documented. There is, however, comparatively less literature and documentation on the processes that guide the transformation of the theatre composer’s work to an eventual performance embracing arranging, orchestration and music direction. This dissertation explores these practices from two perspectives – the creative and the recreative. First, from the creative perspective, I challenge Joseph P. Swain who makes a compelling case for composition as a tool of dramaturgy in his book The Broadway Musical: A Critical and Musical Survey (2002). I contest that his argument cannot hold true for pop/rock musicals in which the scores are comprised of pre-existing popular music that was not originally or intentionally composed for the stage. In order to understand how music functions as a dramatic element in musical theatre, it must follow that all collaborative creative forces that contribute to this music must be evaluated in a holistic manner. Dramaturgy contextualises and elucidates storytelling and artistic vision. While Swain has postulated that composition is an element of dramaturgy, I offer the notion that since arranging and orchestration contextualise and elucidate the composition they therefore cannot be excluded as dramaturgical devices.
    [Show full text]
  • Broadway Starts to Rock: Musical Theater Orchestrations and Character, 1968-1975 By
    Broadway Starts to Rock: Musical Theater Orchestrations and Character, 1968-1975 By Elizabeth Sallinger M.M., Duquesne University, 2010 B.A., Pennsylvania State University, 2008 Submitted to the graduate degree program in Musicology and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Chair: Paul R. Laird Roberta Freund Schwartz Bryan Kip Haaheim Colin Roust Leslie Bennett Date Defended: 5 December 2016 ii The dissertation committee for Elizabeth Sallinger certifies that this is the approved version of the following dissertation: Broadway Starts to Rock: Musical Theater Orchestrations and Character, 1968-1975 Chair: Paul R. Laird Date Approved: 5 December 2016 iii Abstract In 1968, the sound of the Broadway pit was forever changed with the rock ensemble that accompanied Hair. The musical backdrop for the show was appropriate for the countercultural subject matter, taking into account the popular genres of the time that were connected with such figures, and marrying them to other musical styles to help support the individual characters. Though popular styles had long been part of Broadway scores, it took more than a decade for rock to become a major influence in the commercial theater. The associations an audience had with rock music outside of a theater affected perception of the plot and characters in new ways and allowed for shows to be marketed toward younger demographics, expanding the audience base. Other shows contemporary to Hair began to include rock music and approaches as well; composers and orchestrators incorporated instruments such as electric guitar, bass, and synthesizer, amplification in the pit, and backup singers as components of their scores.
    [Show full text]
  • Ayo Walker's Performance Resume
    AYO WALKER PH.D. PERFORMANCE STUDIES PRACTITIONER /CHOREOGRAPHER/DANCE AND AFRICAN AMERICAN STUDIES EDUCATOR 818.726.2368 / [email protected] / WWW.AYOWALKER.COM CONCERT & STAGE PERFORMANCE Concert Dance Raissa Simpson’s Codelining PUSH Dance Company Bayview Opera House Sebastian Saephanh’s Journey Home PUSH Dance Festival 2017 ODC Theatre Halifu Osumare’s In the Eye of the Storm PUSH Dance Festival 2017 ODC Theatre Kevin Wynn’s Nanigizmo Jean Isaacs San Diego Dance Theatre Studio Theater, SDSU Musical Theatre The WIZ Charlie Smalls & William F. Brown Woodminster Theatre On the Town Leonard Bernstein, Betty Comden & The Western Stage Adolph Green West Side Story Arthur Laurents, Leonard Bernstein & Pacific Repertory Theatre Stephen Sondheim Annie Charles Strouse, Martin Charnin & The Western Stage Thomas Meehan University Raissa Simpson’s Dancing in Sepia PUSH Dance Company Wright Hall Theatre Trisha Brown’s Set & Reset Mills College Faculty Concert Lisser Hall Douglass Dunn’s Pulcinella NYU Steinhardt Faculty Concert Frederick Loewe Theatre Kiesha Clark-Booth’s Ornithology Cypress College Faculty Concert Campus Theater Erin Landry’s Happy Conversations & Soar Cypress College Faculty Concert Campus Theater EDUCATION Ph.D. Performance Studies, Designated Emphasis in African American Studies, University of California Davis, 2016 M.A. Dance in Higher Education and Professions, NYU Steinhardt, New York, NY, 2009 Post Baccalaureate Studies in Choreography and Performance, Mills College, Oakland, CA, 2002 B.A. Theater Arts: Performance
    [Show full text]
  • Sing! 1975 – 2014 Song Index
    Sing! 1975 – 2014 song index Song Title Composer/s Publication Year/s First line of song 24 Robbers Peter Butler 1993 Not last night but the night before ... 59th St. Bridge Song [Feelin' Groovy], The Paul Simon 1977, 1985 Slow down, you move too fast, you got to make the morning last … A Beautiful Morning Felix Cavaliere & Eddie Brigati 2010 It's a beautiful morning… A Canine Christmas Concerto Traditional/May Kay Beall 2009 On the first day of Christmas my true love gave to me… A Long Straight Line G Porter & T Curtan 2006 Jack put down his lister shears to join the welders and engineers A New Day is Dawning James Masden 2012 The first rays of sun touch the ocean, the golden rays of sun touch the sea. A Wallaby in My Garden Matthew Hindson 2007 There's a wallaby in my garden… A Whole New World (Aladdin's Theme) Words by Tim Rice & music by Alan Menken 2006 I can show you the world. A Wombat on a Surfboard Louise Perdana 2014 I was sitting on the beach one day when I saw a funny figure heading my way. A.E.I.O.U. Brian Fitzgerald, additional words by Lorraine Milne 1990 I can't make my mind up- I don't know what to do. Aba Daba Honeymoon Arthur Fields & Walter Donaldson 2000 "Aba daba ... -" said the chimpie to the monk. ABC Freddie Perren, Alphonso Mizell, Berry Gordy & Deke Richards 2003 You went to school to learn girl, things you never, never knew before. Abiyoyo Traditional Bantu 1994 Abiyoyo ..
    [Show full text]
  • 4-Year Song History
    SONGFEST 2020 Four Year Song History Competing Songfest groups may not perform any songs that have appeared in Songfest during the previous four years. It should also be noted that just because a song may not have appeared in Songfest in the past four years does NOT mean that that the Songfest staff will allow it to be used in the show. SONGFEST 2016 Song Title Composer(s) and/or Lyricist(s) Cabin Fever Cynthia Weil, Barry Mann Can’t Help Falling in Love Hugo Peretti, Luigi Creatore, George David Weiss Dancing in the Moonlight Sherman Kelly Discombobulate Hans Zimmer Give Your Heart a Break Josh Alexander, Billy Steinberg Go to the Mardi Gras Tee Terry, Henry Roeland Byrd Go Your Own Way Lindsay Buckingham God Bless Us Everyone Alan Silvestri, Glen Ballard Going Home Antonín Dvořák, William Arms Fisher The Government Can Leslie Bricusse, Anthony Newley, Tim Hawkins Halo Ryan Tedder, Evan Bogart, Beyoncé Knowles Help! John Lennon Holiday Chris Stivers I Feel the Earth Move Carole King I Got You Tom Kitt, Lin-Manuel Miranda, Amanda Green Kids in America Rickey Wilde, Marty Wilde Know Your Enemy Billy Joe Armstrong, Mike Dirnt, Frank Wright Let’s Groove Wayne Vaughn, Maurice White Man in the Mirror Siedah Garrett, Glen Ballard Masquerade Andrew Lloyd Webber Me and My Shadow Billy Rose, Al Jolson, Dave Dreyer One Night Only Henry Krieger, Tom Eyen Pi Chris Hardwick, Mike Phirman A Place in the Choir Bill Staines Radioactive Melvyn Gonzalez, Alexander Grant, Ben McKee, Josh Mosser, Dan Platzman, Dan Reynolds, Wayne Sermon Raise Your Voice
    [Show full text]
  • Browne, Sarah
    University of Winchester ‘Hair: The Performance of Rebellion in American Musical Theatre of the 1960s’ Sarah Elisabeth Browne ORCID: 0000-0003-2002-9794 Doctor of Philosophy December 2017 This Thesis has been completed as a requirement for a postgraduate research degree of the University of Winchester DECLARATION AND COPYRIGHT STATEMENT Declaration: No portion of the work referred to in the Thesis has been submitted in support of an application for another degree or qualification of this or any other university or other institute of learning. I confirm that this Thesis is entirely my own work. Copyright: Copyright © YEAR Sarah Elisabeth Browne ORCID: 0000-0003-2002-9794 This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acKnowledgement. Copies (by any process) either in full, or of extracts, may be made only in accordance with instructions given by the author. Details may be obtained from the RKE Centre, University of Winchester. This page must form part of any such copies made. Further copies (by any process) of copies made in accordance with such instructions may not be made without the permission (in writing) of the author. No profit may be made from selling, copying or licensing the author’s worK with further agreement. Intellectual Property Statement I confirm that the work in this thesis is the property of Sarah Elisabeth Browne. The images used in this thesis are in the public domain. Copyright license has not been obtained for musical excerpts and these, along with the images, will be removed after examination and prior to publication.
    [Show full text]
  • Suggested Reading List
    UNIVERSITY OF TENNESSEE AT CHATTANOOGA DEPARTMENT OF THEATRE & SPEECH SUGGESTED READING LIST PLAYS GREEK DRAMA • THE ORESTEIA Aeschylus • MEDEA Euripides • OEDIPUS THE KING Sophocles • ANTIGONE Sophocles • LYSISTRATA Aristophanes • THE MENAECHMI Plautus • THE BROTHERS Terence MEDIEVAL DRAMA • THE SECOND SHEPHERD’S PLAY Anonymous (Wakefield Cycle) • EVERYMAN Anonymous • DULCITIUS Hrosvitha ITALIAN RENAISSANCE • LA MANDRAGOLA (a. k. a. THE MANDRAKE) Niccolò Machiavelli ENGLISH RENAISSANCE • VOLPONE Ben Jonson • THE SPANISH TRAGEDY Thomas Kyd • DOCTOR FAUSTUS Christopher Marlowe • KING LEAR William Shakespeare • HAMLET William Shakespeare • MACBETH William Shakespeare • OTHELLO William Shakespeare • AS YOU LIKE IT William Shakespeare • A MIDSUMMER NIGHT’S DREAM William Shakespeare • TWELFTH NIGHT William Shakespeare • THE TAMING OF THE SHREW William Shakespeare • JULIUS CAESAR William Shakespeare • HENRY IV PART ONE William Shakespeare • RICHARD III William Shakespeare • HENRY V William Shakespeare • THE DUCHESS OF MALFI John Webster FRENCH RENAISSANCE • TARTUFFE Molière • THE MISANTHROPE Molière • PHÈDRE Jean Racine SPANISH GOLDEN AGE • LIFE IS A DREAM Pedro Calderón de la Barca ENGLISH RESTORATION & 18th CENTURY • THE ROVER Aphra Behn • THE BUSY BODY Suzanna Centlivre • SHE STOOPS TO CONQUER Oliver Goldsmith • SCHOOL FOR SCANDAL Richard Sheridan • THE COUNTRY WIFE William Wycherly GERMAN, FRENCH AND ITALIAN 18TH CENTURY • THE MARRIAGE OF FIGARO Pierre Beaumarchais • FAUST PART I Johann Wolfgang Goethe • THE SERVANT OF TWO MASTERS Carlo
    [Show full text]
  • Composer/Performer
    Composer/Performer A Great Big World Say Something Aaron Copland Little Horses (The) Aaron Copland Twelve Poems of Emily Dickinson Abba Dancing Queen Abba Fernando Abba Gimme, Gimme, Gimme A Man After Midnight Abba Knowing Me, Knowing You Abba S.O.S. Abba Winner Takes It All (The) Adam Guettel Light in the Piazza (The) Adam Guettel Passegiata Adele Chasing Pavements Adele Hello Adele Love Song Adele Rolling in the Deep Adele Skyfall Adele Someone Like You Adolphe Adam O, Holy Night Aerosmith Dream On A-Ha Take On Me Air Supply One That You Love (The) Alan Jackson It's 5 O'Clock Somewhere Alan Menken Be Our Guest Alan Menken Colors of the Wind Alan Menken Happy Working Song Alan Menken Home Alan Menken I See the Light Alan Menken I Won't Say Alan Menken Kiss the Girl Alan Menken Part of Your World Alan Menken Proud of Your Boy Alan Menken Santa Fe Alan Menken So Close Alan Menken Under the Sea Alan Menken Whole New World (A) Alanis Morissette Hand in My Pocket Alanis Morissette Head Over Feet Alanis Morissette Ironic Albert Hague You're a Mean One, Mr. Grinch Alessia Cara Here Alex Anderson Mele Kalikimaka Alicia Keys Fallin' Alicia Keys If I Ain't Got You Alicia Keys No One Alicia Keys Superwoman Alice Merton No Roots Amy Winehouse Rehab Amy Winehouse Valerie Amy Winehouse You Know I'm No Good Andrew Lippa Beethoven Day Andrew Lippa Crazier than You Andrew Lippa Just Around the Corner Andrew Lippa My New Philosophy Andrew Lloyd Webber All I Ask of You Andrew Lloyd Webber Another Suitcase in Another Hall Andrew Lloyd Webber As If We Never
    [Show full text]