Sing-Along Words for New York Songs
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Critical Perspectives on American Musical Theatre Thea
Critical Perspectives on American Musical Theatre Thea. 80200, Spring 2002 David Savran, CUNY Feb 4—Introduction: One Singular Sensation To be read early in the semester: DiMaggio, “Cultural Boundaries and Structural Change: The Extension of the High Culture Model to Theater, Opera, and the Dance, 1900-1940;” Block, “The Broadway Canon from Show Boat to West Side Story and the European Operatic Ideal;” Savran, “Middlebrow Anxiety” 11—Kern, Hammerstein, Ferber, Show Boat Mast, “The Tin-Pan-Tithesis of Melody: American Song, American Sound,” “When E’er a Cloud Appears in the Blue,” Can’t Help Singin’; Berlant, “Pax Americana: The Case of Show Boat;” 18—No class 20—G. and I. Gershwin, Bolton, McGowan, Girl Crazy; Rodgers, Hart, Babes in Arms ***Andrea Most class visit*** Most, Chapters 1, 2, and 3 of her manuscript, “We Know We Belong to the Land”: Jews and the American Musical Theatre; Rogin, Chapter 1, “Uncle Sammy and My Mammy” and Chapter 2, “Two Declarations of Independence: The Contaminated Origins of American National Culture,” in Blackface, White Noise: Jewish Immigrants in the Hollywood Melting Pot; Melnick, “Blackface Jews,” from A Right to Sing the Blues: African Americans, Jews, and American Popular Song 25— G. and I. Gershwin, Kaufman, Ryskind, Of Thee I Sing, Shall We Dance Furia, “‘S’Wonderful: Ira Gershwin,” in his Poets of Tin Pan Alley, Mast, “Pounding on Tin: George and Ira Gershwin;” Roost, “Of Thee I Sing” Mar 4—Porter, Anything Goes, Kiss Me, Kate Furia, “The Tinpantithesis of Poetry: Cole Porter;” Mast, “Do Do That Voodoo That You Do So Well: Cole Porter;” Lawson-Peebles, “Brush Up Your Shakespeare: The Case of Kiss Me Kate,” 11—Rodgers, Hart, Abbott, On Your Toes; Duke, Gershwin, Ziegfeld Follies of 1936 Furia, “Funny Valentine: Lorenz Hart;” Mast, “It Feels Like Neuritis But Nevertheless It’s Love: Richard Rodgers and Lorenz Hart;” Furia, Ira Gershwin: The Art of the Lyricist, pages 125-33 18—Berkeley, Gold Diggers of 1933; Minnelli, The Band Wagon Altman, The American Film Musical, Chaps. -
Hart, Lorenz (1895-1943) Lorenz Hart (Standing, by Raymond-Jean Frontain Right) with Richard Rodgers in 1936
Hart, Lorenz (1895-1943) Lorenz Hart (standing, by Raymond-Jean Frontain right) with Richard Rodgers in 1936. Encyclopedia Copyright © 2015, glbtq, Inc. Library of Congress Prints and Photographs Entry Copyright © 2002, glbtq, Inc. Division. Reprinted from http://www.glbtq.com Barely five feet tall, balding early, and possessing a disproportionately large head, Larry Hart was the first to disparage his own attractiveness. His jokes, however, masked a deeply-rooted inability to accept the possibility of romantic happiness or sexual gratification. Hart impulsively proposed marriage to several women friends, none of whom thought his offer serious. And when he allowed himself to act upon his desire for other men, he seems to have had difficulty performing sexually. (Biographer Frederick Nolan quotes one unidentified male partner's shock at discovering Hart cowering in the bedroom closet after sex, suggesting that the songwriter was unable actively to pursue homosexual pleasure without being overcome by guilt.) The result of such emotional imbroglio is that, despite having written lyrics as witty as any sung on the Broadway stage before or since, Hart is best remembered for his songs of unfulfilled desire and failed romance. Born Lorenz Milton Hart on May 2, 1895, to an immigrant Jewish family, Hart learned from his entrepreneur father that self-assertion allows survival. Never without a business venture, many of which were dishonest, Hart's father provided Larry with a lasting model for the cycles of impulsive free-spending and resulting impecuniosity that characterized Hart's own life. Hart entertained both friends and strangers lavishly, often living far beyond his means, but with a (sometimes unfounded) optimism that something would turn up. -
On the Main Stage Friday, Saturday Dec. 4, 5 at 7:30Pm Sunday Dec. 6 at 2:00Pm Thursday, Friday Sunday, Dec. 10, 11, 13 at 7:30
ON THE MAIN STAGE FRIDAY, SATURDAY DEC. 4, 5 AT 7:30PM SUNDAY DEC. 6 AT 2:00PM THURSDAY, FRIDAY SUNDAY, DEC. 10, 11, 13 AT 7:30PM FULLY COMMITTED By Becky Mode Based on characters created by Becky Mode and Mark Setlock *Revised Edition Performed by special arrangement with DRAMATISTS PLAY SERVICES INC. Produced on Broadway by Barbara Whitman and Patrick Catullus and Marcia Goldberg, Tom Casserly, Aaron Glick and David Binder The Off-Broadway Production of “Fully Committed” was produced by David Stone, Adam Pascal, Jesse L. Martin and Susan Quint Gallin “Fully Committed” received its World Premiere September 1999 at the Vineyard Theatre, New York City Originally developed at the Adirondack Theatre Festival, Glens Falls, New York, In June 1998 (Martha Bant, Artistic Director; David Turner, Producing Director) “The Lady is a Tramp” Music by Richard Rodgers, Lyrics by Lorenz Hart Copyright 1937 (Renewed) Chappel & Co. and Williamson Music, Inc. All Rights Reserved This selection is used by special arrangement with The Rodgers and Hammerstein Organization, 1065 Avenue of the Americas, Suite 2400, New York, NY 10018 and with Warner/Chappell Music Inc. 10585 Santa Monica Boulevard, Los Angeles, CA 90025 Fully Committed is a work of fiction. Any resemblance to actual persons living of dead is purely coincidental. While some of the characters bear the names of famous people, the portrayal of them in this play is entirely fictitious. PRODUCED BY............................................................Barry Lew DIRECTED BY.............................................................Ruthe Lew TECH DIRECTOR AND STAGE MANAGER...............Erin Trainor CAST OF CHARACTERS Ari Lew…..................................................……Sam and others PLACE An office in the basement of a world-renowned, ridiculously red-hot Manhattan restaurant TIME Early December Ari Lew (Sam and others) Ari is thrilled to be bringing Fully Committed to the main stage after having two successful runs in the black box. -
PAL JOEY Book by John O’Hara Lyrics by Lorenz Hart Music by Richard Rodgers
PRESENTS PAL JOEY Book by John O’Hara Lyrics by Lorenz Hart Music by Richard Rodgers Directed by Esther Jun OCTOBER 10 -19, 2019 Five Points Theatre, Barrie | 705-792-1949 www.tift.ca Presented by | Season Partner Artistic Producer Arkady Spivak Justin Stadnyk in PAL JOEY Book by John O’Hara Lyrics by Lorenz Hart Music by Richard Rodgers Director Esther Jun Musical Director Dan Rutzen Choreographer Alyssa Martin Set and Lighting Designer Joe Pagnan Costume Designer Michelle Bohn Production Manager Jeff Braunstein Stage Manager Barry W Cook Apprentice Stage Manager Jeff Soucy Head Carpenter Diane Frederick Properties Coordinator Michele Schwemmer Fight Director Jennifer Dzialoszynski CAST OF CHARACTERS AND BAND Cast Gladys----------------------------------------------------------------------------------------------------------------------------------Tess Benger Stage Manager, Mr. Armour, O’Brien-----------------------------------------------------------------------------Aidan deSalaiz Mike-----------------------------------------------------------------------------------------------------------------------------------Izad Etemadi The Kid, The Girl----------------------------------------------------------------------------------------------------------------Sierra Holder Louis, Ernest, Harry, Manager--------------------------------------------------------------------------------------------Derek Kwan Terry-----------------------------------------------------------------------------------------------------------------------------------------Billy -
'Gilding the Guild:' Art Theatre, the Broadway Revue, and Cultural
KEL/ )!hh&,-Ç.(Afl]dd][lDaeal]\*()+ Klm\a]kafEmka[YdL`]Ylj] Ngdme]/FmeZ]j) *()+Afl]dd][lDl\9jla[d]&=f_dak`dYf_mY_]&\ga2)(&)+0.'kel&/&)&,-W) E9Q9;9FLM QYd]K[`ggdg^<jYeY Ë?ad\af_l`]?mad\Ì29jll`]Ylj]$ l`]:jgY\oYqj]nm]Yf\ [mdlmjYdhYjg\qafL`]?Yjja[c ?Ya]la]k )1*-Ç)1+(! 9:KLJ9;L C=QOGJ<K The legendary Garrick Gaieties revues of the mid-1920s are credited with launch- Broadway revue ing the Broadway careers of Richard Rodgers and Lorenz Hart, with developing the Rodgers and Hart style of the ‘sophisticated revue’ and with establishing Rodgers’ collaboration with Theatre Guild the Theatre Guild, which later produced Oklahoma! (1943) and Carousel (1945). art theatre Beyond these more familiar innovations, The Garrick Gaieties invites closer parody scrutiny for the series’ complex relationship with the Little Theatre and art theatre intertextuality movements of the 1920s, as represented by the Theatre Guild. Through cultural parody satirizing both the Theatre Guild and Broadway commercialism, the creators of The Garrick Gaieties of 1925, 1926 and 1930 not only used the revue form to destabilize cultural hierarchies and address tensions concerning art and commerce, but to bridge the distinct traditions of the Broadway musical and art theatre during the culturally dynamic years of the 1920s. The Garrick Gaieties revues of the mid-1920s are legendary for launching the Broadway careers of Richard Rodgers and Lorenz Hart. Bringing Rodgers and Hart ‘their first major recognition’ as a songwriting partnership (Hischak 2007: 92), these witty revues produced the team’s first nationally popular hits: ,- SMT_7.1_Cantu_45-60.indd 45 5/11/13 9:23:51 PM EYqY;Yflm the urban and bucolic odes ‘Manhattan’ and ‘Mountain Greenery’, respec- tively. -
Memoirs of an Ex-Prom Queen
Memoirs of an Ex-Prom Queen Alix Kates Shulman is the author of fourteen books, including her debut novel Memoirs of an Ex-Prom Queen, which established her as a primary figure in feminism’s second wave. Born in Cleveland, Ohio, Shulman studied philosophy at Columbia University and received an MA at New York University. She became a political activist, joining the Congress of Racial Equality in 1961 and the Women’s Liberation Movement in 1967. Shulman lives in Manhattan and continues to speak on issues such as feminism and reproductive choice. Memoirs of an ex Prom Queen.indd 1 20/03/2019 12:11 Memoirs of an Ex-Prom Queen Alix Kates Shulman with a new introduction by the author Memoirs of an ex Prom Queen.indd 3 20/03/2019 12:11 This edition published in Great Britain in 2019 by Serpent’s Tail, an imprint of Profile Books Ltd 3 Holford Yard Bevin Way London wc1x 9hd www.serpentstail.com Copyright © 1969, 1971, 1972, 1985, 2019 by Alix Kates Shulman Introduction copyright © 2019 by Alix Kates Shulman Originally published in 1972 by Alfred A. Knopf, Inc. Acknowledgement is extended to the following for permission to reprint copyrighted material: Chappel & Co., Inc.: Lines from Where or When by Lorenz Hart and Richard Rodgers. Copyright 1937 by Chappel & Co. Inc. Copyright renewed. Famous Music Publishing Companies: Lines from Lotus Blossom (Marahuana). Copyright 1934 by Famous Music Corporation. Copyright renewed 1961 by Famous Music Corporation. Harcourt Brace Jovanovich, Inc.: Excerpts from “The Love Song of J. Alfred Prufrock” by T.S. -
Broadway 1 a (1893-1927) BROADWAY and the AMERICAN DREAM
EPISODE ONE Give My Regards to Broadway 1 A (1893-1927) BROADWAY AND THE AMERICAN DREAM In the 1890s, immigrants from all over the world came to the great ports of America like New York City to seek their fortune and freedom. As they developed their own neighborhoods and ethnic enclaves, some of the new arrivals took advantage of the stage to offer ethnic comedy, dance and song to their fellow group members as a much-needed escape from the hardships of daily life. Gradually, the immigrants adopted the characteristics and values of their new country instead, and their performances reflected this assimilation. “Irving Berlin has no place in American music — he is American music.” —composer Jerome Kern My New York (excerpt) Every nation, it seems, Sailed across with their dreams To my New York. Every color and race Found a comfortable place In my New York. The Dutchmen bought Manhattan R Island for a flask of booze, E V L U C Then sold controlling interest to Irving Berlin was born Israel Baline in a small Russian village in the Irish and the Jews – 1888; in 1893 he emigrated to this country and settled in the Lower East Side of And what chance has a Jones New York City. He began his career as a street singer and later turned to With the Cohens and Malones songwriting. In 1912, he wrote the words and music to “Alexander’s Ragtime In my New York? Band,” the biggest hit of its day. Among other hits, he wrote “Oh, How I Hate to Get Up in the Morning,” “What’ll I Do?,” “There’s No Business Like —Irving Berlin, 1927 Show Business,” “Easter Parade,” and the patriotic “God Bless America,” in addition to shows like Annie Get Your Gun. -
My Way: a Musical Tribute to Frank Sinatra
Otterbein University Digital Commons @ Otterbein 2008 Summer Theatre Productions 2001-2010 8-1-2008 My Way: A Musical Tribute to Frank Sinatra Otterbein University Theatre and Dance Department Follow this and additional works at: https://digitalcommons.otterbein.edu/summer_production_2008 Part of the Acting Commons, Dance Commons, and the Theatre History Commons Recommended Citation Otterbein University Theatre and Dance Department, "My Way: A Musical Tribute to Frank Sinatra" (2008). 2008 Summer Theatre. 1. https://digitalcommons.otterbein.edu/summer_production_2008/1 This Book is brought to you for free and open access by the Productions 2001-2010 at Digital Commons @ Otterbein. It has been accepted for inclusion in 2008 Summer Theatre by an authorized administrator of Digital Commons @ Otterbein. For more information, please contact [email protected]. My Way A Musical Tribute to Frank Sinatra Conceived by David Grapes & Todd Olson Book by Todd Olson Original Production Directed by David Grapes Original piano/vocal arrangements by Vince di Mura Additional arrangements by Stephen Kummer and Donald Jenzcka Score conception and interpretive consultant Vince di Mura First workshop production presented at Artpark at the Church, Lewiston, NY- May, 1999 World Premiere at Tennessee Repertory Theatre, Nashville, TN - July, 2000 Audio Clips Designed by Ryan C. Mansfield Direction and Musical Staging by David Caldwcll Music Direction by Dennis DaVCnpOrt Scenic Design by Stephanie Gerckens Costume Design by Marcia Hain Lighting Design by Andy Baker Sound Design by Laura Fickley Featuring Tina Scariano Elizabeth Shivener Lucas Dixon Cory Smith Dennis Davenport, keyboard David White, bass Tomasz Jarzecki, drums Presented by arrangement with Summerwind Productions, PO Box 430, Windsor, CO 80550. -
Review of a Ship Without a Sail: the Life of Lorenz Hart by Gary Marmorstein
Review of A Ship Without a Sail: The Life of Lorenz Hart by Gary Marmorstein The hits of the songwriting team of Richard Rodgers (1902-1979) and Lorenz Hart (1895-1943) are numerous. People familiar with what has been called “American Popular Song” since publication of the seminal work by Alec Wilder entitled: American Popular Song: The Great innovators – 1900-1950 in 1972, are fondly aware of the charms of “Manhattan,” “With a Song in My Heart,” “The Blue Room,” “Dancing on the Ceiling,” “Isn’t It Romantic,” “Blue Moon,” “It’s Easy to Remember,” “The Most Beautiful Girl in the World,” “”My Romance,” “Lover,” “There’s a Small Hotel,” “”The Lady is a Tramp,” “Bewitched,” “My Funny Valentine,” “”Where of When,” “Falling in Love with Love,” “This Can’t be Love,” “and “I Didn’t Know What Time it Was.” These Rodgers and Hart songs were ubiquitous in the golden age of American Popular Song, when they were sung from the Broadway stage, in Hollywood films, on network radio, and by singers with the great dance bands that endlessly toured the nation. Consequently, they became embedded in the musical consciousness (and subconscious) of a significant part of the American populace in the years 1925-1950, and beyond. In addition to these hits, all of which have considerable musical merit (thank you Mr. Rodgers) and lyrical merit (thank you Mr. Hart), are many other Rodgers and Hart songs of great worth. These include: “Mountain Greenery,” “This Funny World,” “Thou Swell,” “My Heart Stood Still,” “”You Took Advantage of Me,” “A Ship Without a Sail,” “He Was Too Good to Me,” “Ten Cents a Dance,” “”Spring is Here,” “”You Are Too Beautiful,” “Little Girl Blue,” “Glad to be Unhappy,” “Quiet Night,” “Have You Met Miss Jones?” “My Own,” “It Never Entered My Mind,” “I Could Write a Book,” and Wait ‘Till You See Her.” The songs of Rodgers and Hart have transcended the purposes for which they were created and are now a part of the fabric of American culture. -
1 Learningenglish.Voanews.Com | Voice of America | March 24, 2014 Songs of Spring Describe Her Many Moods This Is America from V
Songs of Spring Describe Her Many Moods This Is America Spring brings bright greens to trees along the Susquehanna River in Maryland (Steve Ember) From VOA Learning English, welcome to This Is America. I’m Steve Ember. If you’ve checked your calendar lately, you know - at least in the northern part of the world – it’s spring. And, after a long winter, it’s time to celebrate. Hey, buds below Up is where to grow Up, from which below can’t compare with… 1 learningenglish.voanews.com | Voice of America | March 24, 2014 Now, your English teacher might have had a problem with that phrase, but let’s keep listening, shall we? Life down a hole takes an awful toll, What with not a soul there to share with If you’re wondering what those words are all about, she is singing to her flower pots. Hurry, it’s lovely up here Wake up, bestir yourself It’s time that you disinter yourself… Actress Barbara Harris in the musical “On a Clear Day, You Can See Forever” by Alan Jay Lerner and Burton Lane. And what a gift package of showers, sun and love You'll be met above everywhere with Fondled and sniffed by millions who drift by… And spring being the season of new growth, I hope that song, and all the others we’re going to play for you, will paint a musical picture of this lovely season. Come along with us! Come poke your head out! Open up and spread out! Hurry, it's lovely here! 2 learningenglish.voanews.com | Voice of America | March 24, 2014 She sometimes is slow to arrive… Sometimes spring comes slowly – that was certainly the case this year. -
Teacher Resource Guide Table of Contents
“I DOUBT I’LL SEE A BETTER PRODUCTION IN MY LIFETIME” THE WALL STREET JOURNAL Photo by Jeremy Daniel TEACHER RESOURCE GUIDE TABLE OF CONTENTS INTRODUCTION . 1 THE PLAY . 3 Overview . 3 The Story . 4 The Characters . 7 The Writers . 9 Classroom Activities . 10 THE BACKDROP: DRAMATIZING HISTORY . 12 The Setting: Siam in the 1860s . 12 Beyond Siam . 15 The People: Anna and the King . 17 Classroom Activities . 20 THE STYLE: AMERICAN MUSICAL THEATER . 22 The Evolution of the American Musical . 22 The Book Musical . 23 The Building Blocks . 24 Classroom Activities . 27 BEHIND THE SCENES: REVIVING A CLASSIC . 29 Insights from the Creative Team . 29 Classroom Activities . 33 EXPLORING THE ISSUES . 35 Thematic Elements . 35 Classroom Activities . 37 RESOURCES/BIBLIOGRAPHY . 40 INTRODUCTION Almost from the beginning of his career, Oscar “ Hammerstein had been dedicated to the idea of bringing seriousness to the musical stage . He was impassioned by finding something which was neither operetta nor escapism, something which had purpose and coherence, something that was unmistakably American, rather than European in tradition ”. FREDERICK NOLAN, RODGERS AND HAMMERSTEIN BIOGRAPHER Welcome to the teacher resource guide for The King and ,I Richard Rodgers and Oscar Hammerstein’s poi- gnant musical portrait of two fascinating historical figures, Anna Leonowens and King Mongkut of Siam. The King and I chronicles a turning point in Siam’s history. It is the early 1860s and the threat of western imperial- ism casts a shadow upon the country. King Mongkut must find a way for Siam to embrace modernity and take its place among the nations of the world while still honoring its traditions and maintaining its independence. -
With a Song in My Heart
Mississippi State University Scholars Junction Sheet Music Collection Charles H. Templeton, Sr. Music Collection 1924 With A Song In My Heart Richard Rodgers Follow this and additional works at: https://scholarsjunction.msstate.edu/cht-sheet-music Preferred Citation [Physical ID#]: [Title], Charles H. Templeton, Sr. sheet music collection. Special Collections, Mississippi State University Libraries. This Sheet Music is brought to you for free and open access by the Charles H. Templeton, Sr. Music Collection at Scholars Junction. It has been accepted for inclusion in Sheet Music Collection by an authorized administrator of Scholars Junction. For more information, please contact [email protected]. ,,v l ..f l-1 J-\ S O~I G I ~I J'J\ Y l-1 EJ-\ R..f I n C, (b to d) In E~ ,!dto f ) Duet in E~ Soprano (d t o f ) Alto or Baritone (b~ to d~) FROM THE MUSICAL COMEDY "SPRING IS HERE" WORDS BY LORENZ HART MUSIC BY RICHARD RODGERS PUBLISHED IN THE ~OLLOWING ARRANGEMENTS Vocal Solo, 2 Keys, C-Eb .. ... ... .. each .60 Accordion Solo IB .C.l. .50 Vocal Duet, Eb . • . • • • .60 Bb Trumpet and Piano . .60 2 Part Treble (SA) ..... ...... : . .18 Violin and Piano . • . • .75 3 Part Treble (SSA ) . .18 2 Pianos - 4 Hands . • • • • . • . 1.00 4 Part Mixed ISATB). .20 Vocal ·Orchestration, Eb . 1.25 4 Part Male (TTBB) . .1 8 Dance Orchestration (Fox Trot) . ..... •. .. .• 1.00 Piano Solo (Gotham Classics No. 56) . .SO Dance Orchestration (Ork ate Serles) . .60 Piano Solo (Concert Paraphrase) . • . .75 Symphonic Band - "B" Set . • . • . 3 .00 Piano Duet . • . • . .75 " C" Set .