JUBILEE Collecting the Stories, the Rehearsal Process, the Final Script: the Record of a Project by the Good Companions with Pam Schweitzer
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AUTUMN 1996 Obltuarles
Bulletinof The HeatherSociety /Vg 4a', #1X.sJ".,^-...,," p",ri,"JijJig:: -'ouun"Junnuo"ru"^, &ffi* * Vol.5 No.9 Autumnl996 DIARY OF DVENTS 1996/7 1996 25 October North East Group AGM 26/27 Irorefiber H€athercompetition RHS Vlncent Squarc 27 November council Meeung RHSVincent Square 1997 l5 January closing Date for Informationfor the aulbiin la/tg February HeatherCompetition RHSVincent Square 19 February council Meeting RHS Vincent Square 5 April Souih West Croup Talk & Compeutton 5 April Southem Grcup Talk & Competiilon 20 July Southem Group BodiamNursery, Kent l6 August southem Croup HeathlandVlslt 5/8 S€ptember Annual Conference 20 September Southem Group RHSWisley TTIEHEATHER SOCIETY BULLETIN VOL. 5. No.9- AUIIIMN 1996 A Registeredchanty No. 261407 Edltor: Daphne Evsett, ores*res NuFery, Bringsty, worcest€r wR6 5TA. Telephone/Fd: ola85 482206 Cot€r illustEuon call@ Vulso'1s 'whne ME" by Brtta Johannsoo A .ontingcntol rwlze Blitish rcnbeft attefln?nthc 1996Nonh Ane,icanHeathzl socizt!confeftnrz.hcathis!@r in calilotnia.Thzcoqmnce, andthz ttut uhichplzeded it,wrcadelight,duein o stu\\I!,vy to thetren'mdous eturgy ad enthusias,nofthe NAHS Menben.A uonadfLl tine uvs hanW alt.A fuIt ftPon of thc tnP uilt aPWt in th?nei Besrle yow sinsu,ill fnn youout! It setnsda @rygoad idea at thztine toa&id haoing to uftr bottbsof catilomia ui e (intededt'ol gilt , arouttdth. USA,b! buyingthan at Oddbiisin Worczsteron ow uar honelnn Ileatbou what ue diln't knau wasthat all thebottbs wouw bear bbels stating'Sryci'lly inrytted by Oddbi,{ ! Pstst!Hauelouhzafith. storyol h't' ourl)ice-PrcsdenL Albert ltlian, h'd hisryiarus stobnin Ewela?Atlt I couAhaLv sr,vrn thtt it unsr bltck-t'1ttiathat tookhin andJean off to tht aipotl Solry,dy lipsale sealpn- yot uill iust hwe to askhin aboutit. -
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PLATES 1. Cole Porter, Yale yearbook photograph (1913). 2. Westleigh Farms, Cole Porter’s childhood home in Indiana (2011). 3. Cole Porter’s World War I draft registration card (5 June 1917). War Department, Office of the Provost Marshal General. 4. Linda Porter, passport photograph (1919). 5. Cole Porter, Linda Porter, Bernard Berenson and Howard Sturges in Venice (c.1923). 6. Gerald Murphy, Ginny Carpenter, Cole Porter and Sara Murphy in Venice (1923). 7. Serge Diaghilev, Boris Kochno, Bronislava Nijinska, Ernest Ansermet and Igor Stravinsky in Monte Carlo (1923). Library of Congress, Music Division, Reproduction number: 200181841. 8. Letter from Cole Porter to Boris Kochno (September 1925). Courtesy of The Cole Porter Musical and Literary Property Trusts. 9. Scene from the original stage production of Fifty Million Frenchmen (1929). PHOTOFEST. 10. Irene Bordoni, star of Porter’s show Paris (1928). 11. Sheet music, ‘Love for Sale’ from The New Yorkers (1930). 12. Production designer Jo Mielziner showing a set for Jubilee (1935). PHOTOFEST. 13. Cole Porter composing as he reclines on a couch in the Ritz Hotel during out-of-town tryouts for Du Barry Was a Lady (1939). George Karger / Getty Images. 14. Cole and Linda Porter (c.1938). PHOTOFEST. 15. Ethel Merman in the New York production of Cole Porter’s Panama Hattie (1940). George Karger / Getty Images. vi PLATES 16. Sheet music, ‘Let’s Be Buddies’ from Panama Hattie (1940). 17. Draft of ‘I Am Ashamed that Women Are So Simple’ from Kiss Me, Kate (1948), Library of Congress. Courtesy of The Cole Porter Musical and Literary Property Trusts. -
Cole Porter: the Social Significance of Selected Love Lyrics of the 1930S
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Unisa Institutional Repository Cole Porter: the social significance of selected love lyrics of the 1930s by MARILYN JUNE HOLLOWAY submitted in accordance with the requirements for the degree of MASTER OF ARTS in the subject of ENGLISH at the UNIVERSITY OF SOUTH AFRICA SUPERVISOR: PROFESSOR IA RABINOWITZ November 2010 DECLARATION i SUMMARY This dissertation examines selected love lyrics composed during the 1930s by Cole Porter, whose witty and urbane music epitomized the Golden era of American light music. These lyrics present an interesting paradox – a man who longed for his music to be accepted by the American public, yet remained indifferent to the social mores of the time. Porter offered trenchant social commentary aimed at a society restricted by social taboos and cultural conventions. The argument develops systematically through a chronological and contextual study of the influences of people and events on a man and his music. The prosodic intonation and imagistic texture of the lyrics demonstrate an intimate correlation between personality and composition which, in turn, is supported by the biographical content. KEY WORDS: Broadway, Cole Porter, early Hollywood musicals, gays and musicals, innuendo, musical comedy, social taboos, song lyrics, Tin Pan Alley, 1930 film censorship ii ACKNOWLEDGEMENTS I should like to thank Professor Ivan Rabinowitz, my supervisor, who has been both my mentor and an unfailing source of encouragement; Dawie Malan who was so patient in sourcing material from libraries around the world with remarkable fortitude and good humour; Dr Robin Lee who suggested the title of my dissertation; Dr Elspa Hovgaard who provided academic and helpful comment; my husband, Henry Holloway, a musicologist of world renown, who had to share me with another man for three years; and the man himself, Cole Porter, whose lyrics have thrilled, and will continue to thrill, music lovers with their sophistication and wit. -
Item No: 9 Council 17 July 2019 Members Questions 1
COUNCIL 17 JULY 2019 MEMBERS QUESTIONS 1 Question from Councillor Matt Hartley, to Councillor Christine Grice, Cabinet Member for Finance and Resources Can the Cabinet Member provide an update on working arrangements that have been put in place between the Council's Universal Credit Support Team and Citizens Advice, following the DWP's funding of Citizens Advice to deliver Help To Claim? How many residents have been referred between the two? Reply – I thank Councillor Matt Hartley for his question. The Citizens Advice Bureau (CAB) Help to Claim Service is now co-located at Woolwich Jobcentre to assist claimants with new claims for Universal Credit, and assist with queries up until first payment. The CAB took this over completely from the end of April following the new staff being trained and allowing for a smooth transition period. The CAB also receive queries through their national telephone line, and via their online webchat. Whilst it would be rare for the council to refer existing UC customers back to the CAB, since the CAB offers the initial part of the claim process, the council recognises that the CAB is still currently embedding in the Help to Claim model which has been set by Citizens Advice nationally, whilst also going through a reorganisation due to changes in their funding. Communication is on-going with them to update their required data sharing agreements to allow the CAB to accept referrals directly, and to continue to ensure that the two services are adapting to what is needed and to avoid duplication of service. Myself and the new Director of Finance are looking to visit the CAB in due course. -
Industrial Premises To
Greenwich Property, Woolwich Centre, 35 Wellington Street, Woolwich, SE18 6HQ Tel: 020 8921 5515 or Fax: 020 8921 4949 Please note that these particulars or any part thereof, do not constitute any offer or contract. Whilst every care has been taken in their preparation, neither the Council nor its employees accept any liability for any inaccuracies therein and prospective tenants are advised to satisfy themselves as to the correctness of the detail Viewing by appointment; please contact Jevais Marché 5 The Mound – William Barefoot Email: [email protected] Drive Eltham, SE9 3BA Telephone Number: 07395256875 Description: Formerly Ladies Hairdressers. The property is located in a local neighbourhood precinct comprising some 14 shops providing a wide variety of services to the Coldharbour Estate and surrounding areas Current uses on the parade: Supermarket, Sub-post office, Bookmakers Newsagents, Chemist, Barbers, Hairdresser, Dental Surgery, Café, Kebabs Takeaway, Chinese Take-away, Tanning & Beauty Shop, N.C.T and Care Services. Accommodation: The property has an area of 559.73 sq. ft (52 sq. m) Guide Rental: £7,000 per annum, exclusive of all outgoings. Rates: £1,821.35 per annum for 20/21 Further information There may be a reduction in rates payable if this is a Tenant’s sole UK business. AVAILABLE Important Information and Guidance for Applicants – Retail Premises to Let Viewings Internal viewings are by appointment only. Before an internal viewing is requested, applicants should view the premises externally and have regard to the rest of the shopping parade and/or the area generally in order to assure themselves that the premises are likely to be suitable for their proposed use. -
Greenwich Conservatives 2018 Manifesto
A strong, independent voice for you Greenwich Conservatives Manifesto Royal Borough of Greenwich Council elections May 2018 Greenwich Conservatives Greenwich Conservatives manifesto 2018 Contents Foreword - Cllr Matt Hartley, Leader of the Opposition 3 Why Greenwich needs an Opposition 4 Our track record of getting things done 5 Our priorities for the next four years 6 Holding the Labour Council to account 7 Opposing waste at the Town Hall 8 Improving local health and education 9 Campaigning for better transport 10 Supporting our small businesses 11 Working to improve local policing 12 Improving our local environment 13 Pressing for more affordable homes 14 Supporting vulnerable residents 15 Your local Conservative candidates 16 Get involved with our local work 16 Visit our website at www.greenwichconservatives.com A strong, independent voice for you 2 Greenwich Conservatives manifesto 2018 Foreword from the Leader of the Opposition Conservative councillors provide the only opposition to Labour at the Town Hall Councillor Matt Hartley Leader of Greenwich Conservatives 3 A strong, independent voice for you Greenwich Conservatives manifesto 2018 Why Greenwich needs an Opposition Labour wants to turn Greenwich into a one party state at these elections - they are aiming to win all 51 seats on the council this year. This means there would be no Opposition councillors left to scrutinise and oppose their decisions on behalf of residents. The council could just do whatever it likes. We can’t let that happen. Here’s why Greenwich Council needs an We provide the only Opposition to Opposition to fight residents’ corner over Labour on Greenwich Council the next four years. -
CR 585 Porter on My Mind Francis Thorne
NWCR585 Francis Thorne: Porter On My Mind Francis Thorne, piano and vocals; Jack Six, bass 7. Just One Of Those Things ................................... (3:45) (From Jubilee, 1935) 8. You’re Sensational .............................................. (4:04) (From High Society, 1956) 9. Why Shouldn’t I? ................................................ (3:54) (From Jubilee, 1935) 10. You Do Something To Me .................................. (2:41) (From Fifty Million Frenchmen, 1929) 11. Please Don’t Monkey With Broadway ................ (2:16) (From Broadway Melody of 1940) 12. How Could We Be Wrong? ................................. (3:46) (From Nymph Errant, 1933) 13. All Of You .......................................................... (2:26) (From Silk Stockings, 1955) 14. I Happen To Like New York ............................... (2:10) (From The New Yorkers, 1930) 15. A Picture Of Me Without You ............................ (4:34) (From Jubilee, 1935) 16. Easy To Love ...................................................... (3:39) (From Born To Dance, 1936) 1. At Long Last Love .............................................. (3:50) 17. Down In The Depths ........................................... (3:14) (From You Never Know, 1938) (From Red, Hot and Blue, 1936) 2. I’ve Got You On My Mind ................................. (2:02) 18. Night And Day .................................................... (3:23) (From Gay Divorce, 1932) (From Gay Divorce, 1932) 3. Dream Dancing ................................................... (2:57) 19. -
Latin American Music in Musical Theatre
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research, Creative Activity, and Performance - School of Music Music, School of 4-2012 A Little Rumba Numba: Latin American Music in Musical Theatre John David Cockerill University of Nebraska - Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicstudent Part of the Music Commons Cockerill, John David, "A Little Rumba Numba: Latin American Music in Musical Theatre" (2012). Student Research, Creative Activity, and Performance - School of Music. 50. https://digitalcommons.unl.edu/musicstudent/50 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Student Research, Creative Activity, and Performance - School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. A LITTLE RUMBA NUMBA: LATIN AMERICAN MUSIC IN MUSICAL THEATRE by John David Cockerill A THESIS Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Master of Music Major: Music Under the Supervision of Professor Peter M. Lefferts Lincoln, Nebraska April, 2012 A LITTLE RUMBA NUMBA: LATIN AMERICAN MUSIC IN MUSICAL THEATRE John David Cockerill, M.M. University of Nebraska, 2012 Adviser: Peter M. Lefferts Despite the prevalent use of Latin American musical styles in American musical theatre, little research has been done on the subject. Quite often the fact that a musical number even has a Latin beat goes unrecognized. This paper examines the various genres of Latin American music that have had an impact in the United States and in musical shows both on and off Broadway. -
These Notes Were Created As Research for the Historic England Heritage Schools Local History Timeline for the Royal Borough of Greenwich
Brief history of Greenwich These notes were created as research for the Historic England Heritage Schools local history timeline for the Royal Borough of Greenwich. There is so much more information than we could possibly fit on the twenty-one timeline slides. The notes take the story of the Greenwich area from its earliest inhabitants up to the modern day, tracing the evolution of the borough. The story of Greenwich is set in the context of national and sometimes international events, as they shaped the local area. The local evidence for historical events is highlighted in blue in the text. There is also a focus on how history affects the built environment, influencing building styles, art, and architecture. Key building styles and local examples are highlighted in red. There is also a little explanation about the date notation, as this changes over time, from Years Ago, when dealing with the very distant past, to AD for the last 2,000 years. All dates are highlighted in green. Many images of local buildings can be accessed in the Historic England online archive: http://archive.historicengland.org.uk, while photos of listed buildings can be found here: http://www.imagesofengland.org.uk. Links to further resources to support the timeline Enquiry Questions are also provided at the end of this document. We hope this resource will be of interest to teachers and help them answer any questions they or their pupils have about their local heritage. All images used in this resource are © Trustees of the British Museum Prehistory Early humans first evolved in Africa and gradually spread into the Middle East, Asia, Europe and beyond. -
St Mary's and Morris Walk Areas
CHAPTER 6 St Mary’s and Morris Walk Areas This chapter covers the areas that lie inland from the for- is a good example of board school architecture. Robert mer naval dockyard. The land here billows across gently Pearsall’s fire station of1886 –7 is another notable survival. rising hills, its slopes now unified by twentieth-century Around these institutions the housing stock deterio- social housing. A history of that housing is preceded here rated, and slum conditions spread. The present character by accounts of the area’s first phases of speculative devel- of the area is largely due to the formation of the St Mary’s opment, largely late-Georgian in date, and of its numer- Comprehensive Development Area in 1951. There were ous institutional buildings, mainly churches and schools, important preliminaries on the Rectory Estate in the 1930s, mostly built during the Victorian era. The territory cov- when the Ecclesiastical Commissioners began an ambitious ered is bounded to the north by the grounds of the par- rebuilding project. But post-war redevelopment was initi- ish church of St Mary and Woolwich Church Street (Ill. ated by Woolwich Borough Council, a formidable house- 280). It extends as far south as the west end of Wellington building authority. This was the only project of its kind and Street, to the east across John Wilson Street and to the date in London overseen by a borough rather than by the west, straddling Frances Street, as far as the Morris Walk London County Council. Within twenty years the area’s Estate, which spills across the parish boundary. -
COLE a Musical Revue in 2 Acts; Music and Lyrics by Cole Porter; Book by Benny Green and Alan Strachan; Mermaid Theatre, London - 2 July 1974
COLE A Musical Revue in 2 Acts; Music and lyrics by Cole Porter; Book by Benny Green and Alan Strachan; Mermaid Theatre, London - 2 July 1974 Original cast: Ray Cornell; Lucy Fenwick; Peter Gale; Bill Kerr; Julia McKenzie; Rod McLennan; Kenneth Nelson; Elizabeth Power; Angela Richards; Una Stubbs. MUSICAL NUMBERS Act One 1. Introduction 2. Overture : Night and Day Orchestral 3. Wouldn't it be Fun? (Aladdin, TV Show, 1958) - Kenneth Nelson 4. Another Op'nin', Another Show (Kiss Me, Kate, 1948) - Company 5. Introducing Cole Porter - Peter Gale, Rod McLennan - Including The Bobolink Waltz (Orchestral) 6. Yale sequence 7. Bingo Eli Yale! (Yale, 1910) - Lucy Fenwick, Elizabeth Power, Angela Richards, Una Stubbs. 8. Gerald Murphy Remembers - Kenneth Nelson 9. When the Summer Moon Comes 'Long - (Yale, 1910) - Ray Cornell, Peter Gale, Bill Kerr, Rod McLennan 10. Leaving Yale - Rod McLennan, Kenneth Nelson 11. See America First (See America First, 1916) - Julia McKenzie 12. Leaving Home - Rod McLennan, Kenneth Nelson 13. Paris sequence 14. The Lost Liberty Blues (La Revue des Ambassadeurs, 1928) - Angela Richards 15. I Love Paris (Can-Can, 1953) - Elizabeth Power 16. Playboy - Rod McLennan 17. Thank You So Much, Mrs. Lowsborough Goodby (Incidental song, 1934) Julia McKenzie 18. Not All Play - Kenneth Nelson 19. Dizzy Baby (Unused, Paris, 1928) - Una Stubbs, Rod McLennan, Kenneth Nelson 20. Going Home - Elizabeth Power 21. You Don't Know Paree (Fifty Million Frenchmen, 1929) - Peter Gale 22. Manhattan sequence 23. Take Me Back to Manhattan (The New Yorkers, 1930) - Lucy Fenwick, Julia McKenzie, Elizabeth Power, Ray Cornell, Bill Kerr, Rod McLennan 24. -
Kiss Me, Kate
‘A CHANCE FOR STAGE FOLKS TO SAY “HELLO”: ENTERTAINMENT AND THEATRICALITY IN KISS ME, KATE HANNAH MARIE ROBBINS DEPARTMENT OF MUSIC This dissertation is submitted to the University of Sheffield for the Degree of Doctor of Philosophy August 2017 ABSTRACT As Cole Porter’s most commercially successful Broadway musical, Kiss Me, Kate (1948) has been widely acknowledged as one of several significant works written during ‘the Golden age’ period of American musical theatre history. Through an in-depth examination of the genesis and reception of this musical and discussion of the extant analytical perspectives on the text, this thesis argues that Kiss Me, Kate has remained popular as a result of its underlying celebration of theatricality and of entertainment. Whereas previous scholarship has suggested that Porter and his co-authors, Sam and Bella Spewack, attempted to emulate Rodgers and Hammerstein’s Oklahoma! (1943) by creating their own ‘integrated musical’, this thesis demonstrates how they commented on contemporary culture, on popular art forms, and the sanctity of Shakespeare and opera in deliberately mischievous ways. By mapping the influence of Porter and the Spewacks’ previous work and their deliberate focus on theatricality and diversion in the development of this work, it shows how Kiss Me, Kate forms part of a wider trend in Broadway musicals. As a result, this study calls for a new analytical framework that distinguishes musicals like Kiss Me, Kate from the persistent methodologies that consider works exclusively through the lens of high art aesthetics. By acknowledging Porter and the Spewacks’ reflexive celebration of and commentary on entertainment, it advocates a new position for musical theatre research that will encourage the study of other similar stage and screen texts that incorporate themes from, and react to, the popular cultural sphere to which they belong.