ANNIE WARBUCKS Book by Thomas Meehan
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Comic Strips and the American Family, 1930-1960 Dahnya Nicole Hernandez Pitzer College
Claremont Colleges Scholarship @ Claremont Pitzer Senior Theses Pitzer Student Scholarship 2014 Funny Pages: Comic Strips and the American Family, 1930-1960 Dahnya Nicole Hernandez Pitzer College Recommended Citation Hernandez, Dahnya Nicole, "Funny Pages: Comic Strips and the American Family, 1930-1960" (2014). Pitzer Senior Theses. Paper 60. http://scholarship.claremont.edu/pitzer_theses/60 This Open Access Senior Thesis is brought to you for free and open access by the Pitzer Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Pitzer Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. FUNNY PAGES COMIC STRIPS AND THE AMERICAN FAMILY, 1930-1960 BY DAHNYA HERNANDEZ-ROACH SUBMITTED TO PITZER COLLEGE IN PARTIAL FULFILLMENT OF THE BACHELOR OF ARTS DEGREE FIRST READER: PROFESSOR BILL ANTHES SECOND READER: PROFESSOR MATTHEW DELMONT APRIL 25, 2014 0 Table of Contents Acknowledgements...........................................................................................................................................2 Introduction.........................................................................................................................................................3 Chapter One: Blondie.....................................................................................................................................18 Chapter Two: Little Orphan Annie............................................................................................................35 -
PLAYHOUSE SQUARE January 12-17, 2016
For Immediate Release January 2016 PLAYHOUSE SQUARE January 12-17, 2016 Playhouse Square is proud to announce that the U.S. National Tour of ANNIE, now in its second smash year, will play January 12 - 17 at the Connor Palace in Cleveland. Directed by original lyricist and director Martin Charnin for the 19th time, this production of ANNIE is a brand new physical incarnation of the iconic Tony Award®-winning original. ANNIE has a book by Thomas Meehan, music by Charles Strouse and lyrics by Martin Charnin. All three authors received 1977 Tony Awards® for their work. Choreography is by Liza Gennaro, who has incorporated selections from her father Peter Gennaro’s 1977 Tony Award®-winning choreography. The celebrated design team includes scenic design by Tony Award® winner Beowulf Boritt (Act One, The Scottsboro Boys, Rock of Ages), costume design by Costume Designer’s Guild Award winner Suzy Benzinger (Blue Jasmine, Movin’ Out, Miss Saigon), lighting design by Tony Award® winner Ken Billington (Chicago, Annie, White Christmas) and sound design by Tony Award® nominee Peter Hylenski (Rocky, Bullets Over Broadway, Motown). The lovable mutt “Sandy” is once again trained by Tony Award® Honoree William Berloni (Annie, A Christmas Story, Legally Blonde). Musical supervision and additional orchestrations are by Keith Levenson (Annie, She Loves Me, Dreamgirls). Casting is by Joy Dewing CSA, Joy Dewing Casting (Soul Doctor, Wonderland). The tour is produced by TROIKA Entertainment, LLC. The production features a 25 member company: in the title role of Annie is Heidi Gray, an 11- year-old actress from the Augusta, GA area, making her tour debut. -
Navigating Brechtian Tradition and Satirical Comedy Through Hope's Eyes in Urinetown: the Musical Katherine B
Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2016 "Can We Do A Happy Musical Next Time?": Navigating Brechtian Tradition and Satirical Comedy Through Hope's Eyes in Urinetown: The Musical Katherine B. Marcus Reker Scripps College Recommended Citation Marcus Reker, Katherine B., ""Can We Do A Happy Musical Next Time?": Navigating Brechtian Tradition and Satirical Comedy Through Hope's Eyes in Urinetown: The usicalM " (2016). Scripps Senior Theses. Paper 876. http://scholarship.claremont.edu/scripps_theses/876 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. “CAN WE DO A HAPPY MUSICAL NEXT TIME?”: NAVIGATING BRECHTIAN TRADITION AND SATIRICAL COMEDY THROUGH HOPE’S EYES IN URINETOWN: THE MUSICAL BY KATHERINE MARCUS REKER “Nothing is more revolting than when an actor pretends not to notice that he has left the level of plain speech and started to sing.” – Bertolt Brecht SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR OF ARTS GIOVANNI ORTEGA ARTHUR HOROWITZ THOMAS LEABHART RONNIE BROSTERMAN APRIL 22, 2016 II ACKNOWLEDGEMENTS This thesis would not be possible without the support of the entire Faculty, Staff, and Community of the Pomona College Department of Theatre and Dance. Thank you to Art, Sherry, Betty, Janet, Gio, Tom, Carolyn, and Joyce for teaching and supporting me throughout this process and my time at Scripps College. Thank you, Art, for convincing me to minor and eventually major in this beautiful subject after taking my first theatre class with you my second year here. -
Maple Syrup: a Sweet Sign of Early Spring by Paula Mchugh
THE TM 911 Franklin Street Weekly Newspaper Michigan City, IN 46360 Volume 21, Number 8 Thursday, March 3, 2005 Maple Syrup: A Sweet Sign of Early Spring by Paula McHugh Maple sugaring time is when daytime temperatures rise above the 32 degree freezing mark, and then drop again below freezing during the nighttime. Which means that we are now heading into that time of year in early, early spring when the sap starts flowing. Hurray! Hurray for two reasons: who doesn’t look forward to the promise of warmer days ahead, and who doesn’t appreciate the sweetness of pure maple syrup dribbled over a stack of pancakes? Yet, how many of us are aware that we could be tapping our own maple trees about now–if we are fortunate enough to have maples on our property? A recent program about everything you ever wanted to know about maple sugar farming was recently presented at the Deep River County Park Visitor Center by Historic Programs Coordinator Joanna Shearer, and the Beacher was there to learn and pass on a few tips for maple sugaring wannabes. Let’s get the trivia out of the way and tell you right now that Vermont is NOT the number one state for maple sugar pro- duction. New York claims that title. But here in the Midwest, Michigan ranks high as a maple syrup producer. Parke County Indiana, home of the most covered bridges, is a large syrup-producing area. And locally, Deep River Park produced nearly 500 bottles of the sweet syrup last year. -
JOSEPH SCHMIDT Musical Direction By: EMILY BENGELS Choreography By: KRISTIN SARBOUKH
Bernards Township Parks & Recreation and Trilogy Repertory present... 2021 Produced by: JAYE BARRE Directed by: JOSEPH SCHMIDT Musical Direction by: EMILY BENGELS Choreography by: KRISTIN SARBOUKH Book by THOMAS MEEHAN Music by CHARLES STROUSE Lyrics by MARTIN CHARNIN Original Broadway production directed by MARTIN CHARNIN. Based on “Little Orphan Annie.” By permission of Tribune Content Agency, LLC. ANNIE is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are supplied by MTI. www.MTIShows.com This production is dedicated to the memory of beloved Trilogy Repertory member Chris Winans who gave of his time and spirit for many years and in many performances. Chris was a valued member of our Trilogy family and will be greatly missed. Summer, 2021 Dear Residents and Friends of the Community, Good evening and welcome to the Bernards Township Department of Parks and Recreation’s 34th season of Plays in the Park. So many of you enjoy and look forward to the plays year after year. I am excited that the Township brings this tradition free to the public for all to enjoy. Bernards Township proudly sponsors this event and substantially subsidizes the budget because we recognize the importance of keeping performing arts alive. It is truly wonderful that these productions are here, under the stars, in Pleasant Valley Park. Bernards Township offers many opportunities to enjoy family outings such as Plays In The Park. You can stay current on all our special events by visiting our website at www.bernards.org. There you will find information on the wide variety of programs we offer. -
Annie Role Breakdown
Adult Roles Oliver Warbucks : Must be able to appear age 40-65, Male. A powerful billionaire, who always has his mind on business, but has a kind heart looking for someone to love. Sings “Something Was Missing” and “I Don’t Need Anything But You”. (Vocal Range: Baritone to a high F.) Must be able to sing and act. The role involves a very small amount of dance. May be required to SHAVE head. Grace Farrell : Must be able to appear age 25-35, Female. Loyal and intelligent private secretary to Oliver Warbucks. She brings Annie and Warbucks together. Sings “I think I’m Gonna Like It Here”, “NYC”, “You Won’t Be an Orphan For Long” and “I Don’t Need Anything But You”. (Vocal Range: Soprano to high G). Must be able to sing, act and dance. Miss Hannigan : Must be able to appear age 35-60, Female. Desperate and unhappy with her lot in life, she is the alcoholic orphanage matron who is Annie’s nemesis. Sings, “Little Girls” and “Easy Street”. (Vocal Range: Alto A to D) Must be able to sing, act and dance. Lily St. Regis : Must be able to appear age 25 – 35, Female. Shady, floozy girlfriend of Rooster. Sings “Easy Street”. (Vocal Range: Soprano up to a high G) Must be able to sing, act, and dance. Rooster : Must be able to appear age 25-45. Male. Miss Hannigan’s greedy and dishonest brother. Sings “Easy Street” (Vocal Range: Tenor to high G). Must be able to sing, act, and dance. Roosevelt : Age 40-65, Male. -
Distance and Empathy: Constructing the Spectator of Annie Sprinkle's Post-POST PORN MODERNIST—Still in Search of the Ultimate Sexual Experience
Spring 1993 177 Distance and Empathy: Constructing the Spectator of Annie Sprinkle's Post-POST PORN MODERNIST—Still in Search of the Ultimate Sexual Experience Angelika Czekay Today, after seventeen years in the porn industry, ex-sex worker Annie Sprinkle is a performance artist. In her recent performance piece "Post-Post Porn Modernist Still in Search of the Ultimate Sexual Experience," Sprinkle talks about her life as a former porn star and ex-prostitute. The show's topic is sex, which Sprinkle "understands as her hobby, politics, spiritual experience, expertise, main subject matter . and the key to her great health and happiness" (Program note, Theatre Oobleck, October 1991). The performance is visually graphic: Sprinkle urinates and douches on stages, invites the spectator to look at her cervix, performs a "bosom ballet," and introduces sex toys for the fulfillment of various sexual desires. In a series of loosely linked segments, her narration moves through the different stages in her life and reveals its changes, both in job and attitude. To complement her stories, Sprinkle uses sets of slides; for instance, the "pornstistics" [sic], showing an image of the Empire State Building as a demonstration of the length of all the penises she "sucked," or a diagram that reveals in percentages her reasons for becoming a sex worker. I had the opportunity to see Sprinkle's performance piece on two separate occasions and in two different cultural contexts in 1991, once in Berlin in July and once in Chicago in October. Although the performance had basically remained the same, my reactions were almost directly opposite. -
Taking Comics Seriously
POP CULTURE clusively with daytime. The show features no gunfights or car chases; there are moments of leisurely, uneventful conversation between the younger and older generations. It is a curious inversion: Where once daytime TV fled prime time, prime time now copies daytime. The evidence is every- where, from the success of The Forsyte Saga and Upstairs Down- stairs (soap operas with extra starch) to major television serials like Rich Man Poor Man, Roots, and Captains and Kings. Spec- taculars aside, even a regular offering such as Family reflects a soap-opera sense of continuity. The major characters suffer. They have affairs, consider marriage, drop out of school, worry about mortality It goes too far to say that daytime dramas are genuinely realistic. The necessities of the form require too many brushes with the kinds of crises that most families would suffer only a few times in a generation. But both soaps and game shows have certainly tried to move television closer to what Paddy Chayefsky called "the marvelous world of the ordinary." What daytime TV has given prime time is the possibility of exploring characters not through the prism of fantasy, but through a focus closer to the way most of us spend our lives. And that is no mean contribution. TAKING COMICS SERIOUSLY by Arthur Asa Berger New art forms are often greeted with derision. Attic tragedy was denounced by conservative Greeks, impressionism by high- brow Parisians. Americans, too, have snubbed new, indigenous art forms. The comics, for example, like jazz music, are a home- grown American product; and like jazz, they were long ignored by "serious" critics. -
Hannah Grace Colin Represented by Heyman Talent Height: 57” Weight: 75 Lbs
Hannah Grace Colin Represented by Heyman Talent Height: 57” Weight: 75 lbs. Agent: Kathy Campbell - (502) 589-2540 Eyes: Brown [email protected] Hair: Brunette THEATRE Annie Warbucks July/Dance Capt. Kids of the Arts, Laura Luc School of Rock Katie New Albany Riverstage, Jordan Price Beauty and the Beast Napkin New Albany HS, Amy Harpenau This Way To Broadway - Showbiz Kids Soloist/Ensemble New York City, New York, Thommie Retter Cinderella Kids Jaq DanceWorks Cinderella Young Cinderella New Albany HS, Amy Harpenau School House Rock Jr. Dori DanceWorks Romeo & Juliet Acrobat Louisville Ballet, Alun Jones, Helen Starr Nutcracker in a Nutshell Sheep/Cupcake The Louisville Palace, Denise Gillman LIVE PERFORMANCES Lyrics for Life Soloist/Ensemble Symphony Space NYC, Laura Luc Eden XO - Recording Artist Backup Dancer Myrtle Beach Conv Ctr, Dejan Tubic Broadway Kids Soloist New Albany HS, Amy Harpenau Dance Maker’s Inc. Dancer/Soloist Myrtle Beach Conv Ctr, Thomas Alexander Clara’s Dream Angel University of Louisville, Chuck Bronson Kellogg’s Tour of Gymnasts Dancer/Gymnast KFC Yum! Center, Louisville, KY VIDEO NYC Tap Technique Dancer Retter Entertainment, Thommie Retter That’s How You Know It’s Christmas Dancer Retter Entertainment, Thommie Retter Shirley Temple on the Dance Floor Dancer Music Works, Becca Retter Jesus Loves You Dancer/Actor Mediak Videos, Junnie Mediak AWARDS & ACCOMPLISHMENTS (partial list - full list available on request) 2017 DanceMakers Inc. (National Scholarship Winner), DanceMakers Inc. Indianapolis Pre-Teen Solo Starmaker runner-up, Adrenaline Performance Dance Crew, Kids Artistic Review (KAR) Cincinnati Junior 2nd Overall solo winner & Junior Dancer of the Year 1st Runner, KAR Biloxi National 4th Overall Solo Winner 2016 Adrenaline Performance Dance Crew, DanceMakers Inc. -
The Inventory of the Harold Gray Collection #100
The Inventory of the Harold Gray Collection #100 Howard Gotlieb Archival Research Center Gray, Harold #100 Gifts of Mrs. Harold Gray and others, 1966-1992 Box 1 Folder 1 I. Correspondence. A. Reader mail. 1. Fan mail re: “Little Orphan Annie.” a. 1937. b. 1938. c. 1939. d. Undated (1930s). Folder 2 e. 1940-1943. Folder 3 f. 1944. Folder 4 g. 1945. Folder 5 h. 1946. Folder 6 i. 1947. Folder 7 j. 1948. Folder 8 k. 1949. 2 Box 1 cont’d. Folder 9 l. Undated (1940s). Folder 10 m. 1950. Folder 11 n. 1951. Folder 12 o. 1952. Folder 13 p. 1953-1955. Folder 14 q. 1957-1959. Folder 15 r. Undated (1950s). Folder 16 s. 1960. Folder 17 t. 1961. Folder 18 u. 1962. Folder 19 v. 1963. 3 Box 1 cont’d. Folder 20 w. 1964. Folder 21 x. 1965. Folder 22 y. 1966. Folder 23 z. 1967. Folder 24 aa. 1968. Folder 25 bb. Undated (1960s). Folder 26 2. Reader comments, criticisms and complaints. a. TLS re: depiction of social work in “Annie,” Mar. 3, 1937. Folder 27 b. Letters re: “Annie” character names, 1938-1966. Folder 28 c. Re: “Annie”’s dress and appearance, 1941-1952. Folder 29 d. Protests re: African-American character in “Annie,” 1942; includes: (i) “Maw Green” comic strip. 4 Box 1 cont’d. (ii) TL from HG to R. B. Chandler, publisher of the Mobile Press Register, explaining his choice to draw a black character, asking for understanding, and stating his personal stance on issue of the “color barrier,” Aug. -
LES MISERABLES Music by Claude-Michel Schönberg / Lyrics
LES MISERABLES Music by Claude-Michel Schönberg / Lyrics by Herbert Kretzmer Based on the novel by Victor Hugo December 5, 2014 – January 10, 2015 Producer – Susan Jacobson Director – Matt Joslyn Musical Director – Kristin Baltes Choreographer/Movement – Marianne Kubik Assistant Director – Kisha Jarrett Production Stage Manager – Sarah Cain Scenic Designer – David Weiss Lighting Design – Robert Benjamin with David Weiss Costume Designer – Cat Randall Hair & Make-up Designer – Hank Fitzgerald Special Effects Make-up – Mariah Johnson Properties Designer – Daryl Bray Sound Designer – Wren Curtis Dramaturg – Annie Rappeport Assistant Sound Designer – Taylor “Clams” Thomas Assistant Stage Manager – Cage Lambert Light Board Technician – Joe Monaghan Sound Board Technician – Felype Ferro Stage Crew – Lizzie Carp, Brandi Duncan, Jackie Lichtman, Lydia Riddle, Debbie Wong MUSICIANS Piano – Kristin Baltes Percussion – Rob Dunnenberger Piano/Brass – Kip McCharen Bass/Guitar – Jim Polson Audition Accompanist – Erica Umback CAST GRANTAIRE/FARMER/FOREMAN – John Ashley MARIUS – Ian Charles THENARDIER – Jon Cobb COSETTE – Patricia Cougenhour YOUNG COSETTE – Violet Craghead-Way & Elena Witt JAVERT – Chris Estey GAVROCHE – Finn Faulconer & Greyson Taylor JEAN VALJEAN – Hank Fitzgerald COMBEFERRE/BAMATBOIS – Joe Folds JEAN PROUVAIRE/ENSEMBLE – Lou Garcia EPONINE – Lindsay Goodrich FANTINE – Alice Hoover MADAME THENARDIER – Elizabeth Howard YOUNG EPONINE – Libby Janucik & Jane Zahorik FAUCHELEVANT/BRUJON – Tim McNamara LEGLES/ENSEMBLE – Daniel Neale ENJOLRAS/ENSEMBLE – Daniel Owen COURFEYRAC/ENSEMBLE – Jach Showalter BISHOP/CLAQUESOUS/ENSEMBLE – Steve Tharp MONTPARNASSE/ENSEMBLE – Edward Warwick-White JOLY/CONSTABLE/ENSEMBLE – Wesley Webster FEUILLE/ENSEMBLE – Kristopher Yorke ENSEMBLE – Danielle DeAlmiñana, Jayne Gallagher, Kristen Gleason, Laura Heck, Deandra Irving, Lauren Lukow, Michelle Majorin, Mariko Schaper, Miranda Soler, Lynn Thorne . -
Annie Belle Boss Papers (League of Women Voters) 1914-1931 (3 Hollinger Legal Size Boxes) (1 Flat Box with 1 Scrapbook (16” X 10 1/2” X 4”), with Deed of Gift)
IUSB Archives Inventory of Collections Annie Belle Boss Papers (League of Women Voters) 1914-1931 (3 Hollinger legal size boxes) (1 Flat Box with 1 Scrapbook (16” X 10 1/2” X 4”), with Deed of Gift). The papers pertain to the Woman’s Franchise League of Indiana and its successor, the Indiana League of Women Voters, and especially to the activities of Annie Belle Rittel Boss (Mrs. John C. Boss) (circa 1874-1946), a middle-class woman of Elkhart, Indiana who was active in these organizations on the local, district and state levels. Mrs. Boss’s papers became the property of her daughter, Helen K. Boss Winterhoff, and upon Mrs. Winterhoff’s death were obtained by members of the League of Women Voters of Elkhart. They presented the collection to IUSB in 1984. These papers include publications, correspondence, internal records and other memorabilia of the Woman’s Franchise League of Indiana (1915-1920) and the Indiana League of Women Voters (1920-1931) as well as a history of the latter organization compiled in 1977. Some of the materials concern the local Elkhart branch of the two organizations. Many of the items originated with Helen Beardsley of Elkhart, who founded the Elkhart chapter of the Woman’s Franchise League of Indiana in April, 1913. Serving on the board of the state organization, she became the first president of the Indiana League of Women Voters in 1920. During her years as president (1920 - 1922), the state headquarters was at Elkhart, after which time it was moved to Indianapolis. Mrs. Beardsley was the wife of Andrew Hubble Beardsley, a leading Elkhart businessman, who as a state legislator included woman suffrage in his platform and was influential in the passage of suffrage legislation in Indiana.