DOCSLIB.ORG

US-Latinos on the Broadway Stage a Dissertation

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
US-Latinos on the Broadway Stage a Dissertation Coming Home: US-Latinos on the Broadway Stage A dissertation submitted by Colleen L. Rua in partial fulfillment of the requirements for the degree of Doctor of Philosophy in DRAMA Tufts University November 2011 © 2011, Colleen L. Rua ADVISER: Dr. Barbara W. Grossman ii Abstract The image of the Latino immigrant and the first-generation US-Latino on the American musical theatre stage is ever-evolving and is tied to issues of stereotyping, identity and cultural authenticity. This dissertation focuses on three Broadway musicals in order to explore the place and significance of the Latino character and culture with regard to the search for and construction of ―home.‖ The representative musicals considered in this study are: West Side Story (1957) and its 2009 revival, The Capeman (1998), and In the Heights (2008). Through a thorough investigation of these musicals and their original Broadway productions, I examine the ways in which theatre artists have represented Latino identity and space and the impact of these representations on both Latino and non-Latino audiences. Over the past fifty years, the perspective of Latino home in the Broadway musical has shifted away from the idea of the ―American Dream‖ and toward a self-constructed space that is a creation and reflection of bicultural identity. After an introduction to the theoretical models referred to in this study and an overview of current issues relevant to the Latino in the United States, I outline the history of the Latino on the Broadway musical stage, paying special attention to the musicals of the World War II era. Chapters two, three and four each focus on a different method whereby the artists associated with the representative iii musicals have treated Latino characters. These methods include: the use of Spanish language, memory and nostalgia, and the New York City barrio as setting. Through interviews, translating Spanish passages, analyzing lyrics and dialogue and considering choices made in performance, I demonstrate changes in character relationships, the assertion of power through language and education, the connections between cultural identity and memory and the idea of home as a public space. iv Acknowledgments With deep gratitude to my adviser, Barbara Grossman, whose encouragement and support have allowed me to reach this goal. I also offer heartfelt thanks to the members of my committee: Claire Conceison, who has provided guidance, faith and laughter, both in and out of the classroom; Downing Cless, who has generously offered his time, advice and invaluable teaching opportunities; and Iani Moreno, for fostering my love of Latin-American language and culture. Many thanks to the families of Arlington Children's Theatre, especially Julie Nash and Quentin Miller whose words of wisdom I have carried with me. My colleagues Wen-ling Lin and Hesse Phillips accompanied me on the early part of this journey. Kyle Sircus generously allowed me to use his interview material and Ali Ewoldt shared her time and thoughts for which I am endlessly grateful. Thanks to my dear friends Nicole Imbracsio and Matt Lundeen for being in the trenches with me and to Brian Calvert for helping me down the homestretch. This dissertation is dedicated to my mother, Ellie Rua, and my father, Ken Rua, who have always believed in me. v Table of Contents Introduction Page 1 Chapter One Performative Bodies and Criminal Minds : The History of Latinos On Broadway Page 32 Chapter Two El Poder y Educación: La Lengua Española Page 78 Chapter Three Here and Now: Memory and Nostalgia in the Latino Musical Page 139 Chapter Four Living el barrio : New York City as Setting Page 193 Conclusion Page 253 Bibliography Page 277 1 Introduction "In the Heights is a classic American story. It's really a celebration of this neighborhood at the top of Manhattan. It's about these three generations trying to find home and what that means to them." (Lin-Manuel Miranda, composer and lyricist of In the Heights) The above summary of In the Heights, the 2008 Tony Award winner for best musical, was provided by Miranda in an interview with documentary filmmaker Paul Bozymowski, who followed cast and crew for the five months leading up to opening night. In May 2009, PBS aired In the Heights: Chasing Broadway Dreams, documenting the eight-year journey in the making of a new musical; a new musical centered around a New York City barrio, largely inhabited by Latin American immigrants and first-generation US-Latinos. Only as recently as In the Heights has a major Broadway musical been written and composed by two US-Latinos, Miranda and book writer Quiara Alegría Hudes.1 In addition to presenting stories of US-Latino/a characters, the new breed of US- Latino/a production incorporates Latin and Afro-Latin music styles and manipulates language most notably through the use of bilingualism as a means of infusing the production with US-Latino/a culture and challenging familiar depictions of the US-Latino/a.2 1 A First-Generation American is commonly defined as an American born of immigrant parentage. I use it in this dissertation to refer to those Americans born in the United States, with parents born in any Latin American country. 2 I use the term bilingualism here to refer to the use of two languages throughout one play/production. In the case of In the Heights and the other musicals I will discuss here, the two 2 In the same interview, Miranda goes on to describe his motivations for writing In the Heights, ...at first it was, 'I want to write the kind of musical I would want to be in.' I also saw Rent and it was the first time I had seen a musical that took place now and a light bulb really went off. 'You can write a musical about you; about your life!' There is a generation of us who were born somewhere else and moved here or their parents came from somewhere else, whether it's from Latin America or Russia or the West Indies and don't know where they belong and what they're supposed to navigate and what traditions do you take with you. In their search for a geographic place and ideological space to call home, both the Latin American immigrant and first-generation US-Latino/a must grapple with issues of identity, authenticity and stereotyping. These themes are key to this discussion and are connected to a changing notion of home that is built upon the use of language, memory and urban setting. Much writing and research has been devoted to issues of US-Latino/a identity with regard to immigration and assimilation in non-musical plays written by Latin Americans and US-Latinos. Fewer scholars have studied the same themes in the Broadway musical. Through an examination of the place of the Latino/a on Broadway beginning in the early twentieth century and culminating with the 2009 revival of West Side Story, this study will show that the great American immigrant story, as far as US-Latinos are languages are English and Spanish. 3 concerned, is no longer about an attempt at assimilating into the existing American culture, but about reconciling native culture with American culture, and in doing so, creating a space that acknowledges both while transcending the status of ―foster home.‖ In the United States, the word ―home‖ has often been associated with the term ―American Dream.‖ This phrase conjures images of a two-story suburban dwelling, bordered by a white picket fence and a backyard. Endless cliches have shaped our idea of what home should mean. From ―there's no place like home,‖ to ―home is where the heart is,‖ each seems to suggest that our dwelling is a place that promises to satisfy all of our needs. Indeed, it is nearly impossible to divorce intellectual and emotional concepts of home. As scholar Theano S. Terkenli points out, ―A symbol becomes a sign of a thing but also has feelings behind it, as in a house and a home. Home is a multidimensional and profoundly symbolic term that cannot be mapped as an exclusively spatial concept, but it can be depicted as one aspect of human emotional territory.‖3 Over time and across cultures, ―home‖ has come to mean many different things. Terkenli points to the character for ―family‖ in old Chinese, which translates into English as "people in house," as an example of a culture which emphasizes the connection between home and family.4 For individuals in both Eastern and Western cultures, the social aspect of home 3 Theano S. Terkenli, ―Home as a Region, Geographical Review, Vol 85, no. 3, (July 1995), 326. 4 Ibid. 4 and its association with the people/family who live there ―becomes salient in the development of the idea of home by establishing a circle of social relations that validate an individual as a human being.‖5 This social component of home may be as specific as a particular dwelling which houses several family members, while for others, this term broadens to include multiple locations, multiple people and complex ideologies. Increasingly, the primacy of space as the main indicator of home is being usurped by home as ―a state of being, constructed on the accumulation of personal habits, thoughts, or emotional patterns of the lifeworld.‖6 In particular, American society has seen a shift in the idea of home that moves away from the interior, domestic sphere and toward an increasingly public existence. This perspective also suggests that lifestyle, rather than location, is an indicator of increasingly individualized concepts of home. Both individual and collective concepts of home are found on the Latino/a stage and these are connected to evolving attitudes toward public and private spaces as locations of home.
Load more

Recommended publications
  • TED Talks Education Revolution FINAL2
    TED Talks: Education Revolution Premieres Tuesday, September 13, 2016, on PBS Featuring Sal Khan, Anna Deavere Smith, Baratunde Thurston, Sara Ramirez, and Others, the Special is Part of the American Graduate Initiative SAN FRANCISCO – Hosted by best-selling author and comedian Baratunde Thurston and actress, musician and activist actress Sara Ramirez, TED Talks: Education Revolution explores new and innovative approaches to learning and teaching. TED Talks: Education Revolution premieres Tuesday, September 13, 2016, 10:00-11:00 p.m. ET (check local listings) as part of SPOTLIGHT EDUCATION week on PBS and is funded by the Corporation for Public Hosts Baratunde Thurston and Sara Ramirez Credit: Ryan Lash/TED Broadcasting (CPB), as part of “American Graduate: Let’s Make It Happen,” a public media initiative to help communities ensure more students graduate ready for college and careers. Filmed live at New York's The Town Hall theater, these new TED Talks brings together a wide range of cutting edge thinkers, performers, entrepreneurs, and educators. Featured speakers include: • Entrepreneur Sal Khan, the former hedge fund manager who went on to create the celebrated Khan Academy, shares new ideas about how we can transform classroom learning by giving students the tools they need to master concepts, which leads to character-building and heightened creativity. • Author Julie Lythcott-Haims challenges parents to stop micromanaging their children and focus on creating lives centered more on love than conventional concepts of achievement and career success. • Dr. Victor Rios, author and educator, recounts how a dedicated and empowering teacher rescued him from a life of poverty and prison.
    [Show full text]
  • Most Americans Say the Current Economy Is Helping the Rich, Hurting the Poor and Middle Class
    FOR RELEASE December 11, 2019 Most Americans Say the Current Economy Is Helping the Rich, Hurting the Poor and Middle Class Roughly half of lower-income Republicans say current economic conditions are hurting them and their families BY Ruth Igielnik and Kim Parker FOR MEDIA OR OTHER INQUIRIES: Ruth Igielnik, Senior Researcher Kim Parker, Director, Social Trends Research Tanya Arditi, Communications Manager 202.419.4372 www.pewresearch.org RECOMMENDED CITATION Pew Research Center, December, 2019, “Most Americans Say the Economy Is Helping the Rich, Hurting the Poor and Middle Class” 1 PEW RESEARCH CENTER About Pew Research Center Pew Research Center is a nonpartisan fact tank that informs the public about the issues, attitudes and trends shaping America and the world. It does not take policy positions. The Center conducts public opinion polling, demographic research, content analysis and other data-driven social science research. It studies U.S. politics and policy; journalism and media; internet, science and technology; religion and public life; Hispanic trends; global attitudes and trends; and U.S. social and demographic trends. All of the Center’s reports are available at www.pewresearch.org. Pew Research Center is a subsidiary of The Pew Charitable Trusts, its primary funder. © Pew Research Center 2020 www.pewresearch.org 2 PEW RESEARCH CENTER Most Americans Say the Current Economy Is Helping the Rich, Hurting the Poor and Middle Class Roughly half of lower-income Republicans say current economic conditions are hurting them and their families By many measures, the U.S. economy is doing well. Public gives the economy mixed reviews; most say it’s Unemployment is near a 50- helping the rich, while few say it’s helping them year low, consumer spending % saying economic conditions in the country are … is strong and the stock market is delivering solid returns for investors.
    [Show full text]
  • Puerto Ricans at the Dawn of the New Millennium
    puerto Ricans at the Dawn of New Millennium The Stories I Read to the Children Selected, Edited and Biographical Introduction by Lisa Sánchez González The Stories I Read to the Children documents, for the very first time, Pura Belpré’s contributions to North Puerto Ricans at American, Caribbean, and Latin American literary and library history. Thoroughly researched but clearly written, this study is scholarship that is also accessible to general readers, students, and teachers. Pura Belpré (1899-1982) is one of the most important public intellectuals in the history of the Puerto Rican diaspora. A children’s librarian, author, folklorist, translator, storyteller, and puppeteer who began her career the Dawn of the during the Harlem Renaissance and the formative decades of The New York Public Library, Belpré is also the earliest known Afro-Caribeña contributor to American literature. Soy Gilberto Gerena Valentín: New Millennium memorias de un puertorriqueño en Nueva York Edición de Carlos Rodríguez Fraticelli Gilberto Gerena Valentín es uno de los personajes claves en el desarrollo de la comunidad puertorriqueña Edwin Meléndez and Carlos Vargas-Ramos, Editors en Nueva York. Gerena Valentín participó activamente en la fundación y desarrollo de las principales organizaciones puertorriqueñas de la postguerra, incluyendo el Congreso de Pueblos, el Desfile Puertorriqueño, la Asociación Nacional Puertorriqueña de Derechos Civiles, la Fiesta Folclórica Puertorriqueña y el Proyecto Puertorriqueño de Desarrollo Comunitario. Durante este periodo también fue líder sindical y comunitario, Comisionado de Derechos Humanos y concejal de la Ciudad de Nueva York. En sus memorias, Gilberto Gerena Valentín nos lleva al centro de las continuas luchas sindicales, políticas, sociales y culturales que los puertorriqueños fraguaron en Nueva York durante el periodo de a Gran Migracíón hasta los años setenta.
    [Show full text]
  • Growing Detroit's African-American Middle
    v GROWING DETROIT’S AFRICAN-AMERICAN MIDDLE CLASS THE OPPORTUNITY FOR A PROSPEROUS DETROIT GROWING DETROIT’S AFRICAN-AMERICAN MIDDLE CLASS THE OPPORTUNITY FOR A PROSPEROUS DETROIT Photography Tafari Stevenson-Howard 1st Printing: February 2019 GROWING DETROIT’S AFRICAN-AMERICAN MIDDLE CLASS THE OPPORTUNITY FOR A PROSPEROUS DETROIT 4 FOREWORD Foreword There’s a simple, universal concept concerning economic, social and educational growth that must be front of mind in planning about enlarging the black middle class: Authentic development and growth require deliberate investment. If we want to see more black people enter the middle class, we must invest in endeavors and interventions that lead to better- paying jobs, affordable housing, efficient transportation and effective schools. Though these amenities will attract middle- class people back to Detroit, the focus on development must be directed at uplifting a greater percentage of current residents so that they have the necessary tools to enter the middle class. Meaning, growing the black middle class in Detroit should not result from pushing low-income people out of the city. One may think a strategy to attract people back into to the city should take priority. White and middle-class flight significantly influenced the concentrations of families who make less than $50,000 in the suburbs (30 percent) and in Detroit (75 percent), according to findings in Detroit Future City’s “139 Square Miles” report. Bringing suburbanites back into the city would alter these percentages, and we most certainly want conditions that are attractive to all middle- class families. However, we also don’t want to return to the realities where the devaluing of low-income and black people hastened the flight to the suburbs.
    [Show full text]
  • Kert, Larry (1930-1991) Larry Kert and Carol Lawrence Performing on by Craig Kaczorowski the Ed Sullivan Show in 1958
    Kert, Larry (1930-1991) Larry Kert and Carol Lawrence performing on by Craig Kaczorowski the Ed Sullivan Show in 1958. Encyclopedia Copyright © 2015, glbtq, Inc. Film still from a YouTube video. Entry Copyright © 2010 glbtq, Inc. Reprinted from http://www.glbtq.com The gay actor and singer Larry Kert originated the lead romantic role of Tony in the landmark 1957 Broadway musical West Side Story. With his expressive, vibrant tenor, he introduced some of the most memorable songs in the Leonard Bernstein-Stephen Sondheim score, including "Maria," "Tonight," and "Something's Coming." In 1970, Kert triumphed again on Broadway in another Sondheim musical, Company, as Robert, a New York bachelor observing the strains and tensions in the marriages of his best friends, as well as struggling to commit emotionally to each of his three girlfriends. Other Broadway shows involving Kert were unfortunately short-lived, and his later career was devoted mainly to cabaret, television, and regional theater. He was born Frederick Lawrence Kert in Los Angeles, California on December 5, 1930 into a comfortably middle-class family. His father was a jeweler and his mother an actress. He had a brother, Morton, and two sisters, Evelyn and the singer later known as Anita Ellis. He initially attended Hollywood High School but transferred to the Hollywood Professional School in Los Angeles. While still in school, Kert performed as an extra and stunt double in several movies, including Lassie Come Home (1943), where he was a stand-in for the film's star Roddy McDowell. After graduation, Kert took some classes at Los Angeles City College but soon dropped out and moved to New York City where he studied with the celebrated acting teacher Sanford Meisner.
    [Show full text]
  • Bangor, Maine, 1880-1920 Sara K
    The University of Maine DigitalCommons@UMaine Electronic Theses and Dissertations Fogler Library 2001 "The Littleit C y in Itself ": Middle-Class Aspirations in Bangor, Maine, 1880-1920 Sara K. Martin Follow this and additional works at: http://digitalcommons.library.umaine.edu/etd Part of the Human Geography Commons, Social History Commons, and the Urban, Community and Regional Planning Commons Recommended Citation Martin, Sara K., ""The Little itC y in Itself": Middle-Class Aspirations in Bangor, Maine, 1880-1920" (2001). Electronic Theses and Dissertations. 197. http://digitalcommons.library.umaine.edu/etd/197 This Open-Access Thesis is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of DigitalCommons@UMaine. "THE LITTLE CITY IN ITSELF": MIDDLE-CLASS ASPIRATIONS IN BANGOR, MAINE, 1880-1920 By Sara K. Martin Thesis Advisor: Dr. Martha McNamara An Abstract of the Thesis Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts (in History) December, 2001 This thesis examines the inception and growth of "the Little City in Itself," a residential neighborhood in Bangor, Maine, as a case study of middle-class suburbanization and domestic life in small cities around the turn of the twentieth century. The development of Little City is the story of builders' and residents' efforts to shape a middle-class neighborhood in a small American city, a place distinct from the crowded downtown neighborhoods of immigrants and the elegant mansions of the wealthy. The purpose of this study is to explore builders' response to the aspirations of the neighborhood's residents for home and neighborhood from 1880 to 1920, and thus to provide insight into urban growth and ideals of family life in small American cities.
    [Show full text]
  • 2019 Silent Auction List
    September 22, 2019 ………………...... 10 am - 10:30 am S-1 2018 Broadway Flea Market & Grand Auction poster, signed by Ariana DeBose, Jay Armstrong Johnson, Chita Rivera and others S-2 True West opening night Playbill, signed by Paul Dano, Ethan Hawk and the company S-3 Jigsaw puzzle completed by Euan Morton backstage at Hamilton during performances, signed by Euan Morton S-4 "So Big/So Small" musical phrase from Dear Evan Hansen , handwritten and signed by Rachel Bay Jones, Benj Pasek and Justin Paul S-5 Mean Girls poster, signed by Erika Henningsen, Taylor Louderman, Ashley Park, Kate Rockwell, Barrett Wilbert Weed and the original company S-6 Williamstown Theatre Festival 1987 season poster, signed by Harry Groener, Christopher Reeve, Ann Reinking and others S-7 Love! Valour! Compassion! poster, signed by Stephen Bogardus, John Glover, John Benjamin Hickey, Nathan Lane, Joe Mantello, Terrence McNally and the company S-8 One-of-a-kind The Phantom of the Opera mask from the 30th anniversary celebration with the Council of Fashion Designers of America, designed by Christian Roth S-9 The Waverly Gallery Playbill, signed by Joan Allen, Michael Cera, Lucas Hedges, Elaine May and the company S-10 Pretty Woman poster, signed by Samantha Barks, Jason Danieley, Andy Karl, Orfeh and the company S-11 Rug used in the set of Aladdin , 103"x72" (1 of 3) Disney Theatricals requires the winner sign a release at checkout S-12 "Copacabana" musical phrase, handwritten and signed by Barry Manilow 10:30 am - 11 am S-13 2018 Red Bucket Follies poster and DVD,
    [Show full text]
  • 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.
    [Show full text]
  • The Club Welcomed Broadway Producer Jeffrey Seller on Monday, May 7 for the 90Th Annual Dinner Meeting Celebrated at the Hilton Chicago Hotel
    The Club welcomed Broadway producer Jeffrey Seller on Monday, May 7 for the 90th Annual Dinner Meeting celebrated at the Hilton Chicago Hotel. The evening started with retiring board member Jack Hartman presenting the Nominating Committee’s 2018-2019 slate of officers and directors of the Club, which members unanimously accepted. The program began with remarks from Mr. Seller – producer of Hamilton, Rent and Avenue Q, among many other shows– which detailed his career and the business of making musicals. Afterwards, Chair Mellody Hobson moderated a candid discussion that touched on topics including Mr. Seller’s path to Broadway, his process of creation, and future projects. The previous day, Mr. Seller and Lin-Manuel Miranda announced the opening of Hamilton: The Exhibition, a traveling museum that will open in Chicago on Northerly Island in November. It will serve as an immersive exploration of the American Revolution through the perspective of Alexander Hamilton. In Mr. Seller’s eyes, Chicago is the ideal place to launch the museum. “Chicago embodies the intersection of civic stewardship, cultural engagement and capitalism that define American exceptionalism,” he said. “The Herculean efforts of the business and civic leaders that architects who dreamed up and built the Chicago’s World Fair in 1893 exemplified how a city can enrich the lives of citizens through entertainment, education and illumination. “ These kinds of strategic considerations are skills Mr. Seller honed over his 25-year storied career in theater. Given the role he plays in making artistic visions a reality, he emphasized two points. First, that commercial potential is impossible to predict, so he has only brought to stage art that he loves; and second, he is committed to expanding the demographics of Broadway.
    [Show full text]
  • UCLA Electronic Theses and Dissertations
    UCLA UCLA Electronic Theses and Dissertations Title Doing the Time Warp: Queer Temporalities and Musical Theater Permalink https://escholarship.org/uc/item/1k1860wx Author Ellis, Sarah Taylor Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Doing the Time Warp: Queer Temporalities and Musical Theater A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Theater and Performance Studies by Sarah Taylor Ellis 2013 ABSTRACT OF THE DISSERTATION Doing the Time Warp: Queer Temporalities and Musical Theater by Sarah Taylor Ellis Doctor of Philosophy in Theater and Performance Studies University of California, Los Angeles, 2013 Professor Sue-Ellen Case, Co-chair Professor Raymond Knapp, Co-chair This dissertation explores queer processes of identification with the genre of musical theater. I examine how song and dance – sites of aesthetic difference within the musical – can warp time and enable marginalized and semi-marginalized fans to imagine different ways of being in the world. Musical numbers can complicate a linear, developmental plot by accelerating and decelerating time, foregrounding repetition and circularity, bringing the past to life and projecting into the future, and physicalizing dreams in a narratively open present. These excesses have the potential to contest naturalized constructions of historical, progressive time, as well as concordant constructions of gender, sexual, and racial identities. While the musical has historically been a rich source of identification for the stereotypical white gay male show queen, this project validates a broad and flexible range of non-normative readings.
    [Show full text]
  • 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.
    [Show full text]
  • Franciscoisraeldecarvalho TESE
    UNIVERSIDADE FEDERAL DO RIO GRANDE DO NORTE CENTRO DE CIÊNCIAS HUMANAS, LETRAS E ARTES DEPARTAMENTO DE LETRAS PROGRAMA DE PÓS-GRADUAÇÃO EM ESTUDOS DA LINGUAGEM LITERATURA COMPARADA Francisco Israel de Carvalho A IMAGEM BARROCA DE CARMEN MIRANDA NO CENÁRIO DA MODERNIDADE Natal /RN 2017 FRANCISCO ISRAEL DE CARVALHO A IMAGEM BARROCA DE CARMEN MIRANDA NO CENÁRIO NA MODERNIDADE Tese apresentada ao Programa de Pós- Graduação em Estudos da Linguagem – PPgEL, do Departamento de Letras da Universidade do Rio Grande do Norte, como requisito parcial para obtenção do título de doutor. Orientador: Prof. Dr. Francisco Ivan da Silva Natal/RN 2017 Universidade Federal do Rio Grande do Norte - UFRN Sistema de Bibliotecas - SISBI Catalogação de Publicação na Fonte. UFRN - Biblioteca Setorial do Centro de Ciências Humanas, Letras e Artes – CCHLA Carvalho, Francisco Israel de. A imagem barroca de Carmen Miranda no cenário da modernidade / Francisco Israel de Carvalho. - Natal, 2017. 373f.: il. color. Tese (Doutorado) - Universidade Federal do Rio Grande do Norte, Centro de Ciências Humanas, Letras e Artes, Programa de Pós-Graduação em Estudos da Linguagem. Orientador: Prof. Dr. Francisco Ivan da Silva. 1. Miranda, Carmen - 1909-1955 - Tese. 2. Barroco - Tese. 3. Antropofagia - Tese. 4. Carnavalização - Tese. 5. Samba - Tese. 6. Cinema - Tese. I. Silva. Francisco Ivan da. II. Título. RN/UF/BS-CCHLA CDU 7.034.7(81) FRANCISCO ISRAEL DE CARVALHO A IMAGEM BARROCA DE CARMEN MIRANDA NO CENÁRIO DA MODERNIDADE Tese apresentada como requisito parcial para a obtenção do título de doutor, em Estudos da Linguagem – Literatura Comparada – da Universidade Federal do Rio Grande do Norte Aprovado em 31/Maio/2017 BANCA EXAMINADORA ____________________________________________________ Prof.
    [Show full text]