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The Golden Age Exposed: the Reality Behind This Romantic Era
Illinois Wesleyan University Digital Commons @ IWU Honors Projects Theatre Arts, School of 4-28-2017 The Golden Age Exposed: The Reality Behind This Romantic Era Danny Adams Follow this and additional works at: https://digitalcommons.iwu.edu/theatre_honproj Part of the Theatre and Performance Studies Commons Recommended Citation Adams, Danny, "The Golden Age Exposed: The Reality Behind This Romantic Era" (2017). Honors Projects. 22. https://digitalcommons.iwu.edu/theatre_honproj/22 This Article is protected by copyright and/or related rights. It has been brought to you by Digital Commons @ IWU with permission from the rights-holder(s). You are free to use this material in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This material has been accepted for inclusion by faculty at Illinois Wesleyan University. For more information, please contact [email protected]. ©Copyright is owned by the author of this document. Illinois Wesleyan University The Golden Age Exposed: The Reality Behind This Romantic Era Danny Adams Honors Research April 28th, 2017 1 In the spring of 2016, I took a class called "Music Theatre History and Literature" which is about exactly what it sounds like: a course on the history of music theatre and how it evolved into what it is today. From The Black Crook, the first known "integrated musical" in 1866, to In the Heights and shows today, the class covered it all. -
YCH Monograph TOTAL 140527 Ts
UCLA UCLA Electronic Theses and Dissertations Title Transformation of The Musical: The Hybridization of Tradition and Contemporary Permalink https://escholarship.org/uc/item/1hr7f5x4 Author Hu, Yuchun Chloé Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Transformation of The Musical: The Hybridization of Tradition and Contemporary A dissertation submitted in partial satisfaction of the requirement for the degree Doctor of Philosophy in Music by Yu-Chun Hu 2014 Copyright by Yu-Chun Hu 2014 ABSTRACT OF THE DISSERTATION Transformation of The Musical: The Hybridization of Tradition and Contemporary by Yu-Chun Hu Doctor of Philosophy in Music University of California, Los Angeles, 2014 Professor Ian Krouse, Chair Music and vision are undoubtedly connected to each other despite opera and film. In opera, music is the primary element, supported by the set and costumes. The set and costumes provide a visual interpretation of the music. In film, music and sound play a supporting role. Music and sound create an ambiance in films that aid in telling the story. I consider the musical to be an equal and reciprocal balance of music and vision. More importantly, a successful musical is defined by its plot, music, and visual elements, and how well they are integrated. Observing the transformation of the musical and analyzing many different genres of concert music, I realize that each new concept of transformation always blends traditional and contemporary elements, no matter how advanced the concept is or was at the time. Through my analysis of three musicals, I shed more light on where this ii transformation may be heading and what tradition may be replaced by a new concept, and vice versa. -
Edna Ferber Last
EDNA FERBER’S WOMEN CHARACTERS, 1911 – 1930, AND THE REINTERPRETATION OF THE AMERICAN DREAM THROUGH A FEMALE LENS A Thesis Submitted to the Faculty of The School of Continuing Studies And the Graduate School of Arts and Sciences In partial fulfillment of the requirements for the degree of Master of Arts In Liberal Studies By Anne Efman Abramson, B.A. Georgetown University Washington, D.C. April 30, 2010 EDNA FERBER’S WOMEN CHARACTERS, 1911 – 1930, AND THE REINTERPRETATION OF THE AMERICAN DREAM THROUGH A FEMALE LENS Anne E. Abramson, B.A. Mentor: Michael Collins, Ph. D. ABSTRACT Edna Ferber (1885‐1963) was a Pulitzer Prize‐winning author and one of the most popular writers of her time. Today, however, she is rarely read in schools or colleges, although her plays are still produced, and the films based on her novels, plays and short stories continue to be appreciated by classic film lovers. This thesis demonstrates how Edna Ferber created female characters in the early years of the twentieth century who struggled against the constraints of society’s traditional female roles, who were the first in their nontraditional professions, and who achieved their own version of the American Dream. Edna Ferber also revisited American history with stories that highlighted women’s contributions to America. This thesis first introduces Edna Ferber, her background and her early years drawing from Ferber’s two autobiographies, A Peculiar Treasure, 1939, and ii A Kind of Magic, 1963. Second, it discusses the New Woman at the turn of the century; the American Dream, historically and in relation to Ferber’s female characters; and Edna Ferber as a middlebrow modern writer whose literary output had powerful cultural agency. -
Jim Crow, Jett Rink, and James Dean: Reconstructing Ferber's Giant
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Biodiversity Informatics Jim Crow, Jett Rink, and James Dean 5 Jim Crow, Jett Rink, and James Dean: Reconstructing Ferber’s Giant (1952-1956) J. E. Smyth In December 1954, America’s best-selling historical novelist, Edna Ferber, wrote to director George Stevens emphasizing her continued interest in his production of her latest book, Giant. She believed that Giant’s value lay in its exposure of racial prejudice against Mexican Americans in Texas, and that its racial themes had become “more vital, more prevalent today in the United States than . when I began to write the novel.”1 Ferber hoped that one day Anglo oil millionaires like Bick Benedict and Jett Rink, the originators and perpetu- ators of these inequalities in the economic and social hierarchies of America’s new West, would be “anachronisms like the dear old covered wagons and the California gold-rush boys.”2 Later in May 1955, when shooting first began on the film, Ferber wrote to Henry Ginsberg, producer and co-founder of the inde- pendent film company, Giant Productions, “I don’t quite know why the motion picture presentation of Giant interests and fascinates me much more than the screen career of any of my other novels or plays. That goes for Show Boat, So Big, Cimarron, and many others. Perhaps it is because behind the characters and events in Giant there stands a definite meaning, a purpose.”3 Although Ferber had considered writing a historical novel about Texas as early as 1939, she only started to research the topic seriously after the war. -
The Great American Songbook in the Classical Voice Studio
THE GREAT AMERICAN SONGBOOK IN THE CLASSICAL VOICE STUDIO BY KATHERINE POLIT Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May, 2014 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. ___________________________________ Patricia Wise, Research Director and Chair __________________________________ Gary Arvin __________________________________ Raymond Fellman __________________________________ Marietta Simpson ii For My Grandmothers, Patricia Phillips and Leah Polit iii ACKNOWLEDGMENTS I wish to express my sincerest thanks to the members of my committee—Professor Patricia Wise, Professor Gary Arvin, Professor Marietta Simpson and Professor Raymond Fellman—whose time and help on this project has been invaluable. I would like to especially thank Professor Wise for guiding me through my education at Indiana University. I am honored to have her as a teacher, mentor and friend. I am also grateful to Professor Arvin for helping me in variety of roles. He has been an exemplary vocal coach and mentor throughout my studies. I would like to give special thanks to Mary Ann Hart, who stepped in to help throughout my qualifying examinations, as well as Dr. Ayana Smith, who served as my minor field advisor. Finally, I would like to thank my family for their love and support throughout my many degrees. Your unwavering encouragement is the reason I have been -
THE SINGER's MUSICAL THEATRE ANTHOLOGY DUETS VOLUMES Bk
THE SINGER'S MUSICAL THEATRE ANTHOLOGY DUETS VOLUMES Bk. Only CDs Only Bk./CDs D1 = Volume 1 00361075 00740239 00000487 D2 = Volume 2 00740331 00740240 00000492 D3 = Volume 3 00001155 00001161 00001166 SONG SHOW VOLUME Agony Into the Woods D3 All For the Best Godspell D3 All I Ask Of You The Phantom of the Opera D2 All the Wasted Time Parade D3 Almost a Love Song Victor/Victoria D2 An Old Fashioned Wedding Annie Get Your Gun D2 The Apple Doesn't Fall Very Far The Rink D3 Anything You Can Do Annie Get Your Gun D2 As Long as You're Mine Wicked D3 Barcelona Company D2 Bess, You Is My Woman Porgy and Bess D1 Bosom Buddies Mame D2 A Boy Like That / I Have a Love West Side Story D3 Can You Feel the Love Tonight The Lion King D3 Class Chicago D2 Come to Jesus Myths and Hymns D3 Crazier Than You The Addams Family D3 Do You Love Me? Fiddler on the Roof D3 Elaborate Lives Aida D2 Every Day a Little Death A Little Night Music D3 For Good Wicked D3 The Grass Is Always Greener Woman of the Year D3 Guys and Dolls Guys and Dolls D2 I Have Dreamed The King and I D1 I Loves You, Porgy Porgy and Bess D1 I Remember It Well Gigi D2 I Remember That Saturday Night D2 (I Wonder Why?) You're Just in Love Call Me Madam D2 I'd Give It All for You Songs for a New World D2 I'll Know Guys and Dolls D2 I'm All Alone Monty Python's Spamalot D3 In Whatever Time We Have Children of Eden D3 Invocation and Instructions to the AudienceThe Frogs D3 It Couldn't Please Me More Cabaret D2 It Never Was You Knickerbocker Holiday D1 It Takes Two Into the Woods D3 Kiss Me Sweeney -
Bruce Walker Musical Theater Recording Collection
Bruce Walker Musical Theater Recording Collection Bruce Walker Musical Theater Recording Collection Recordings are on vinyl unless marked otherwise marked (* = Cassette or # = Compact Disc) KEY OC - Original Cast TV - Television Soundtrack OBC - Original Broadway Cast ST - Film Soundtrack OLC - Original London Cast SC - Studio Cast RC - Revival Cast ## 2 (OC) 3 GUYS NAKED FROM THE WAIST DOWN (OC) 4 TO THE BAR 13 DAUGHTERS 20'S AND ALL THAT JAZZ, THE 40 YEARS ON (OC) 42ND STREET (OC) 70, GIRLS, 70 (OC) 81 PROOF 110 IN THE SHADE (OC) 1776 (OC) A A5678 - A MUSICAL FABLE ABSENT-MINDED DRAGON, THE ACE OF CLUBS (SEE NOEL COWARD) ACROSS AMERICA ACT, THE (OC) ADVENTURES OF BARON MUNCHHAUSEN, THE ADVENTURES OF COLORED MAN ADVENTURES OF MARCO POLO (TV) AFTER THE BALL (OLC) AIDA AIN'T MISBEHAVIN' (OC) AIN'T SUPPOSED TO DIE A NATURAL DEATH ALADD/THE DRAGON (BAG-A-TALE) Bruce Walker Musical Theater Recording Collection ALADDIN (OLC) ALADDIN (OC Wilson) ALI BABBA & THE FORTY THIEVES ALICE IN WONDERLAND (JANE POWELL) ALICE IN WONDERLAND (ANN STEPHENS) ALIVE AND WELL (EARL ROBINSON) ALLADIN AND HIS WONDERFUL LAMP ALL ABOUT LIFE ALL AMERICAN (OC) ALL FACES WEST (10") THE ALL NIGHT STRUT! ALICE THROUGH THE LOOKING GLASS (TV) ALL IN LOVE (OC) ALLEGRO (0C) THE AMAZING SPIDER-MAN AMBASSADOR AMERICAN HEROES AN AMERICAN POEM AMERICANS OR LAST TANGO IN HUAHUATENANGO .....................(SF MIME TROUPE) (See FACTWINO) AMY THE ANASTASIA AFFAIRE (CD) AND SO TO BED (SEE VIVIAN ELLIS) AND THE WORLD GOES 'ROUND (CD) AND THEN WE WROTE... (FLANDERS & SWANN) AMERICAN -
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. -
Jerome Kern Collection [Finding Aid]. Library of Congress. [PDF Rendered
Jerome Kern Collection Guides to Special Collections in the Music Division of the Library of Congress Music Division, Library of Congress Washington, D.C. 2005 Revised 2010 March Contact information: http://hdl.loc.gov/loc.music/perform.contact Additional search options available at: http://hdl.loc.gov/loc.music/eadmus.mu002004 LC Online Catalog record: http://lccn.loc.gov/95702650 Processed by the Music Division of the Library of Congress Collection Summary Title: Jerome Kern Collection Span Dates: 1905-1945 Call No.: ML31.K4 Creator: Kern, Jerome, 1885-1945 Extent: circa 7,450 items ; 102 boxes ; 45 linear feet Language: Collection material in English Location: Music Division, Library of Congress, Washington, D.C. Summary: The collection consists primarily of Kern's show music, some holograph sketches; most are manuscript full and vocal scores of Kern's orchestrators and arrangers, especially Frank Saddler and Robert Russell Bennett. Film and other music also is represented, as well as a small amount of correspondence. Selected Search Terms The following terms have been used to index the description of this collection in the Library's online catalog. They are grouped by name of person or organization, by subject or location, and by occupation and listed alphabetically therein. People Bennett, Robert Russell, 1894-1981. Kern, Jerome, 1885-1945--Correspondence. Kern, Jerome, 1885-1945. Kern, Jerome, 1885-1945. Kern, Jerome, 1885-1945. Selections. Saddler, Frank. Subjects Composers--United States--Correspondence. Musical sketches. Musicals--Scores. Musicals--Vocal scores with piano. Titles Kern collection, 1905-1945 Administrative Information Provenance The bulk of the material, discovered in a Warner Bros. -
Director's Vision
Director’s Vision by Rob Ruggiero SHOW BOAT has moved and entertained audiences since it was first produced back in 1927. The musical is based on the 1926 novel of the same name by Edna Ferber and has seen many productions for close to a century. It is a powerful story spanning nearly four decades, and takes us on a journey into the lives of those living and working on the Cotton Blossom, a Mississippi River show boat. The play's dominant themes of racial prejudice, family struggles, and enduring love have touched the lives of many audiences over the years, and the show itself helped redefine the musical in its time. It is certainly a daunting task to take on this monumental classic. When Goodspeed first approached me to direct Show Boat, I realized I actually knew very little about it. I have never seen the show to this day. Here I am now preparing for our production and I have become totally consumed and moved by this powerful story and extraordinary piece of musical theater. I continue to be humbled and impressed at how this show affects all of us and how “not old” it feels. I am very honored Michael Price has trusted me to direct Goodspeed’s first and only production of Show Boat. What interests me most is telling the story of this intimate show business family; a family that reaches beyond any biological connection to a place that represents a very deep connection and love. This family crosses lines of race and class, which in its time was even more provocative and dangerous. -
Show Boat” (1932) Added to the National Registry: 2005 Essay by Todd Decker (Guest Post)*
“Show Boat” (1932) Added to the National Registry: 2005 Essay by Todd Decker (guest post)* Helen Morgan Original album package Paul Robeson Before the long-playing record (or LP) made original cast albums a key component of the Broadway musical, record companies recognized the potential of turning a Broadway score into a unified experience for home listeners. The 1927 musical “Show Boat” was the first to receive this treatment. In 1932, the year of “Show Boat’s” first Broadway revival, the Brunswick label released a set of four specially-recorded 78s of songs from the show. The discs were bound in a handsome album featuring cover art taken from the sheet music for the Broadway show which had, in turn, been derived from the cover of Edna Ferber’s 1926 novel. The lavish set’s liner notes described the collection as an “album of music from one of the most tuneful and popular operettas of the modern day.” Conducted by Victor Young and using custom orchestral arrangements—not those played by the pit orchestra in the theater—the Brunswick set features two singing stars who shaped “Show Boat” both in the minds of its creators and for the show’s enthusiastic early audiences: Paul Robeson and Helen Morgan. Music critics praised the unity of Young’s collection, “obviously recorded as a unit and with great care.” And even though listening to all eight sides would have been a clunky affair at the time—involving much changing and flipping of discs—Young clearly imagined the set as a whole. The inclusion of sides titled “Overture” and “’Show Boat’ Finale” suggest a partial playing order. -
Values at Barnatd Castle " SHOWBOAT. O
• ▪▪ • • gay, April 23rd, 1952. THE TEESDALE MEROURY. •••/•■•••• " SHOWBOAT. o Values at Barnatd Castle ++.4,4,44++4.01.44+4,40444.+444,4.4.+4.4.444.44 C34,1014.134.1:14,101+13+1214.04434* 11111111111111111M11111111111111111119111111111111111111111111111111111111111111111111111111111111111111111111111111111110111M1 See " Showboat," II vas SHOE COMPLETES THE PICTURE Enjoy a Good Picture. SPRINC CLEANING? E Buy a Kodak And tike a Good Picture. ting's Meat) Motel NEW CURTAINS, CUSHION g 1 COVERS: TELEVISION LESLIE GREENBANIL Isarnarb Castle Telephone 19 • We will make them for you = a Service for Amateur with your own material F-- AND RADIO Vividly gay, Phobographers, at the Ei 25, HORSEMARKET,. BARNARD CASTLE, COMFORTABLE LOUNGES :.--.F.E DEALER audaciously Phone 3103 CLOTHING REPAIR ::-....- I'] DEVELOPING & PRINTING BUFFET BAR COCKTAIL BAR 0 smart- Daily Service. SERVICE a. Agent for Book your table for Luncheon or Dinner (H. Wilson, Prop.). KODAK CAMERAS AND Records of Show Boat keep young in heart 0 FILMS, ETC. Good Food and Wines 13, THE BANK. 44=40.0.0.01+101+0+CI443 ZWZWZ2212:12:222.2eZ2.212:e obtainable on order in I TEL. 3342 WAISTELL'S " SAMPAN 9 T. B. RICHARDSON, R.P. 37, MARKET PLACE Maurice Jenkinson era 17, GALGATE . BARNARD CASTLE BARNARD CASTLE YOUR DEALER Plumber & Heating Engineer High - Class murphy T.411 ruiterers and lorists 27, GALGATE BARNARD CASTLE BARNARD Robert Anderson CASTLE 4, Authorised 'Calor Gas' Dealer FROZEN FRUITS, FISH & WALL'S ICE-CREAM always in stock Phone 385 Van Delivery Service in town and country Pbone 109 +4.00444.4.+444.4.4.4.4.444.4,4,4,4.4.4.4.4.4.444.+ re MIIIIIIIII11111111111111111111111111111111111111111111111111111111111111,1111111111111111111111111111111111111111111111111111111111111111 : 0004,0,1.04,534.0.1.10.04.04,0+04.C1+0+04.04, 202.',22".eZeZZ,2WZ: -....r.:2222:;e:Z2e2:122222121eZ:r57:0 A.