Midway High School 2017 Fall Musical
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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. -
For Pffiforhlhcs Flrts Governors State University Presents
fOR PffifORhlHCS flRTS Governors State University presents Sunday, November 4, 2007 A MIDWEST The Center for Performing Arts' presentation of ANNIE is being sponsored in part by ArtsMidwest The Center for Performing Arts' 2007-2008 Season is sponsored in part by a generous grant from: NETworks Presentations, LLC CAST presents (in order of appearance) Molh- ,\NN/\L1SA DiBERN/VRDO Rooster Ifennigan ... J.MKHAELZYGO Pepper MADISON ZAVITZ Lily St. Regis CHERYL HOFFMANN Duffy .. ..MARINA ROSE MACHERONE Bert Healy ANDY MEYERS July JAEDA-IMAN BEN-fAMIN Fred McCracken TUG WATSON THE BEANS KZW fKOOTCTIOK Ttesie ABBY SPARE Jimmy Johnson FUS'nN GLASER Kate .. .GRACE ELIZABETH ETZKORN Sound EflectsMan MATTDAVID BOOK by Lyrics ly Armie AMANDABALON RcamSe Boylan JOLIE DUFRENE Thomas Meehan Charles Strouse Martin Charnin Miss Hannigan LYNN ANDREWS Bonnie Bc.y!an ... .RUTHIE ANN MILES Bundles McCJoskey ... JUS1IN GLASER Connie BoyJisn . .CHELSEY WHITELOCK Original liroadwav Production Directed by Martin Cliamin Apple Seller ANDY MEYERS Oxydent 'Hwir of Smiles" Producer ed on Broadway by Mike Nichols Dog Catcher .MATTDAVID PAT SIBLEY Produced by Sanely MIKEY H.V. Kahe»bom's Voice Ii-w.in Meyer Stephen R. Friedman Lewis Allen ...TUGWATSON ARCHIE T. TRIDMOR1EN Alvin Nederlandar The John F. Kennedy Center Icarus Productions Si^diie ths Kettle JAT SIBLEY F.D.R JEFFREY B. DUNCAN Associates, Inc for she Performing Arts Grace FarreJ] ABBY STEVENS Ickes MATT DAVID Bw«l (>r, UTTUP. ORPHAN' ANNIE™ Used by permission oi'Tribune Medis Services Drake JIKKYPOPE Howe TUG WATSON Mrs. Pugh .PAT SIBLEY Hull ANDY MEYERS David Barton Lynn Andrews Cecille Q1ELSEY WHITE [jOCK Perkins PAT SIBLEY Abby Stevens J. -
“Isn't It Swell... Nowadays?”: the Reception History of Chicago On
“Isn’t It Swell . Nowadays?”: The Reception History of Chicago on Stage and Screen A thesis submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Master of Music in the Division of Composition, Musicology, and Theory of the College-Conservatory of Music by Michael M. Kennedy BM, Butler University, 2004 MM, University of Hartford, 2008 Committee Chair: bruce d. mcclung, PhD Abstract The musical Chicago represents an anomaly in Broadway history: its 1996 revival far surpassed the modest success of the original 1975 production. Despite the original production’s box-office accomplishments, it received disparaging reviews regarding the cynicism of the work’s content. The musical celebrates the crimes and acquittals of two murderesses, and is based on Maurine Dallas Watkins’s coverage as a Chicago Tribune reporter of two 1924 murder cases, from which she generated a 1926 Broadway play. The 1975 Broadway production of Chicago: A Musical Vaudeville utilized this historical source material to comment on contemporary American society, highlighting parallels between the U.S. justice system and the entertainment industry, which critics and audiences of the post-Watergate era deemed as too cynical. Although Chicago initially achieved a mixed reception, the revival’s producers made few changes to John Kander’s music, Fred Ebb’s lyrics, and Ebb and Bob Fosse’s book, aside from simplifying the title to Chicago: The Musical. This suggests that the musical’s newfound success can be attributed to a societal shift in the perception of its subject matter. With further success from Chicago’s 2002 film adaptation, the originally dark and sardonic material became a smash hit and found itself as mainstream entertainment at the turn of the millennium. -
Theatermania 6-6-08
http://www.theatermania.com/peterfilichia/permalinks/2008/06/06/The%2DPartys%2Don%2Dthe%2DStrouse/ June 6, 2008 The Party's on the Strouse Had a nice time on Monday night at the Paley Center for Media. I was on stage helping to celebrate the career of Charles Strouse, who turns 80 this weekend. I was asked to participate because I’ve seen most every original production of a Strouse show. “Though,” I told the crowd on hand, “I didn’t see Six, his 1970 off-Broadway musical in which he wrote a song criticizing critics – which is why I’m glad I missed it,” I joked. Pat Mitchell, the center’s president and CEO, moderated. When she asked Strouse when he realized he had talent, he answered 15. That cued me to mention that I too was 15 when I realized he had talent, for it’s when I saw Bye Bye Birdie on stage. (I’d later add that few people have done as much to get kids interested in musicals: Bye Bye Birdie brought musical theater awareness to my generation, and Annie to the subsequent one.) Mitchell asked me to typify and describe “A Strouse tune.” What I first mentioned was that Strouse is so adept at writing for a specific time period. You want turn of the century? There’s the score of Rags. The ‘20s? Note “Kids” from Bye Bye Birdie, in which Harry McAfee uses the “rock music” of his youth – the Charleston – to complain about the ‘50s rock music. The ‘30s? “You’re Never Fully Dressed without a Smile.” The ‘40s? “Who’s That Girl?” from Applause has the appropriate boogie-woogie. -
STREETER-THESIS-2016.Pdf (880.7Kb)
Copyright by Joshua Rashon Streeter 2016 The Thesis Committee for Joshua Rashon Streeter Certifies that this is the approved version of the following thesis: Broadway Junior: Musical Theatre for Youth Performers APPROVED BY SUPERVISING COMMITTEE: Supervisor: Roxanne Schroeder-Arce Stacy Wolf Broadway Junior: Musical Theatre for Youth Performers by Joshua Rashon Streeter, B.A., M.A. Thesis Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts The University of Texas at Austin May 2016 Dedication This thesis is dedicated to Brett Scrafford. Thank you for sitting at the piano and playing through scores with me. Thank you for reminding me that my work in musical theatre and education matters. You are missed. Acknowledgments This thesis would not be possible without the support from many individuals who took the time to get to know me as an artist and educator. Roxanne Schroeder-Arce, thank you for your support through this entire process. Stacy Wolf, thank you for your generosity, feedback, and time. Katie Dawson and Megan Alrutz, thank you for your mentorship over my three years at UT. The things that you have taught me and asked me to wrestle with as a scholar, artist, and educator are in here. Dr. Jennings, thank you for your encouragement and interest in the intersection of Broadway, musical theatre, and youth. Lara Dossett and Sarah Coleman, thank you for your support and kindness during my time at UT. Steven Dietz, thank you for challenging me to make new work and be a fearless innovator. -
Annie and WWII………..28-39 (Includes Handout Tests)
J e f f e r s o n P e r f o r m I n g A r t s S o c I e t y Presents A S t u d y C o m p a n I o n JEFFERSON PERFORMING ARTS SOCIETY 1118 Clearview Parkway Metairie, Louisiana 70001 Phone: 504 885 2000..Fax: 504 885 [email protected] 1 Table of Contents Teacher notes………………………………………………………………..……….3 Educational Overview………………………………………….………………..4 History………………………………………………………………………………..5-15 Lesson Plans Cartoon Scavenger Hunt……………...16-19 (includes handout) Forming Opinions………………………………………….………….. 20-21 'Toon Tic Tac Toe.…………………..……….22-24 (includes handout) Cartoon Symbol Bingo…………………..25-27 (includes handout) Little Orphan Annie and WWII………..28-39 (includes handout tests) Standards and Benchmarks: English…………………….………….40-41 Annie: The Play……………………………………………………………….…..42-44 Annie: the Songs………………………………………………..………………..45-51 NACAE Lesson Plan: Little Orphan Annie: Leapin' Through the Depression……………………………………………………………...…………..52-62 Standards and Benchmarks: English Language Arts……….…63 Annie: the History of the Production………………………………64-67 A n n i e: the Films 1982 & 2014…………………………….....………….…..68-86 Trivia, Bloopers and Quotes Standards and Benchmarks: theatre Arts………….……………87-89 Standards and Benchmarks: Music……………………………………90 Additional resources………………………………………………………..92 Image Retrieved From: http://cgi.ebay.com/Little-Orphan-Annie- BROADWAY-Orphans- 12_W0QQitemZ260058976576QQihZ016QQcategoryZ778QQrdZ1QQcmdZViewItem 2 Teacher notes Welcome to the JPAS production of Annie, directed by Lynne L. Bordelon. Annie is a spunky Depression-era orphan determined to find her parents. Annie’s parents abandoned her years ago on the doorstep of a New York City Orphanage run by the cruel, embittered Miss Hannigan. In adventure after fun-filled adventure, Annie foils Miss Hannigan and her evil helpers, befriends President Franklin Delano Roosevelt and finds a new family and home with billionaire Oliver Warbucks, his personal secretary, Grace Farrell, and a lovable mutt named Sandy. -
Playbill.Com 3-11-08
http://www.playbill.com/news/article/115793.html Concerts, Tributes and Starry Annie Recording Will Celebrate Strouse's 80th Birthday By Andrew Gans 11 Mar 2008 To celebrate the 80th birthday of Tony-winning composer Charles Strouse, a year-long celebration — including concerts, tributes, revivals and world premieres — has been scheduled. Strouse, who will turn 80 June 7, won Best Score Tony Awards for Annie (with lyricist Martin Charnin) and Applause (with Lee Adams). His other musicals include Bye Bye Birdie, Applause, "It's a Bird...It's a Plane...It's Superman!", Bring Back Birdie, Annie Warbucks, Golden Boy, A Broadway Musical, I and Albert, Charlie and Algernon, Rags, Dance a Little Closer and All American. The following events will celebrate Strouse's birthday: March 15 at 3 PM Screening: "The Colors of My Life - The Musical Theatre of Michael Stewart" Dorothy and Lewis B. Cullman Center, 40 Lincoln Center Plaza Lincoln Center Library for the Performing Arts, New York A screening of the 2006 event honoring Strouse's Bye Bye Birdie collaborator Michael Stewart. Includes tributes by Strouse, Charles Busch, Melissa Errico, Jim Dale, James Naughton, Lee Roy Reams and Steve Ross. March 20 at 5:30 PM Panel discussion & DVD signing of "Life After Tomorrow" Barnes & Noble at Lincoln Center, New York To celebrate the DVD release of the documentary "Life After Tomorrow," Barnes & Noble hosts a panel discussion with Strouse and several of the Annie alumni featured in the film. May 2008 "Annie – The 30th Anniversary Cast Recording" The two-CD set, the most musically complete recording of the Strouse/Charnin score, features Carol Burnett, Gary Beach, Kathie Lee Gifford, Andrea McArdle, Harve Presnell, John Schuck and Sally Struthers. -
Casting, Stigma, and Difference in Broadway Musicals Since "A Chorus Line" (1975)
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 5-2019 Broadway Bodies: Casting, Stigma, and Difference in Broadway Musicals Since "A Chorus Line" (1975) Ryan Donovan The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/3084 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] BROADWAY BODIES: CASTING, STIGMA, AND DIFFERENCE IN BROADWAY MUSICALS SINCE A CHORUS LINE (1975) by RYAN DONOVAN A dissertation submitted to the Graduate Faculty in Theatre and Performance in partiaL fulfiLLment of the requirements for the degree of Doctor of PhiLosophy, The City University of New York 2019 © 2019 RYAN DONOVAN ALL Rights Reserved ii Broadway Bodies: Casting, Stigma, and Difference in Broadway MusicaLs Since A Chorus Line (1975) by Ryan Donovan This manuscript has been read and accepted for the Graduate Faculty in Theatre and Performance in satisfaction of the dissertation requirement for the degree of Doctor of PhiLosophy. ________________ ______________________________________ Date David Savran Chair of Examining Committee ________________ ______________________________________ Date Peter EckersaLL Executive Officer Supervisory Committee: Jean Graham-Jones ELizabeth WolLman THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Broadway Bodies: Casting, Stigma, and Difference in Broadway MusicaLs Since A Chorus Line (1975) by Ryan Donovan Advisor: David Savran “You’re not fat enough to be our fat girl.” “Dance like a man.” “Deaf people in a musicaL!?” These three statements expose how the casting process for Broadway musicaLs depends upon making aesthetic disquaLifications. -
Communicating in Song: the American Sung-Through Musical from in Trousers (1979) to Caroline, Or Change (2004)
Communicating in Song: The American Sung-Through Musical from In Trousers (1979) to Caroline, or Change (2004) A dissertation submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Division of Composition, Musicology, and Theory of the College-Conservatory of Music by Alexandre Bádue BM, Federal University of Paraná, 2007 MM, University of Cincinnati, 2012 Committee Chair: bruce d. mcclung, PhD ABSTRACT In the American musical theater, the book musical has always presented a conspicuous alternation of songs and spoken dialogue. The former interrupt the latter and provides additional means to depict the characters and the dramatic situations. In the last quarter of the twentieth century, however, a second subgenre of the musical came to prominence: the sung-through musical, in which the entire script—monologues, conversations, turning points—all occur in song, eschewing spoken dialogue and contrasting with the aesthetics of the book musical. This dissertation demonstrates that by avoiding spoken dialogue and increasing the amount of music, American sung-through musicals from 1979 until 2004 challenged the means of structuring musicals. This study investigates how creative teams of sung-through musicals have used songs alone to create, organize, and communicate dramaturgy, questioning the limits between singing and speaking in musical theater. This study comprises twelve sung-through musicals that were written and composed in the United States and originally produced in New York City’s Broadway or Off-Broadway circuits. It does not consider the British sung-through musicals that were successful on Broadway during the same time period. -
Golden Age” Narrative
UNIVERSITY OF CALIFORNIA Los Angeles Reconsidering the “Golden Age” Narrative for the American Musical in the New Millennium A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Musicology by Arreanna Christina Rostosky 2017 © Copyright by Arreanna Christina Rostosky 2017 ABSTRACT OF THE DISSERTATION Reconsidering the “Golden Age” Narrative for the American Musical in the New Millennium by Arreanna Christina Rostosky Doctor of Philosophy in Musicology University of California, Los Angeles, 2017 Professor Raymond L. Knapp, Chair This dissertation proposes that we consider Broadway’s history and genre development to be periodic rather than a singular trajectory of growth and inevitable decline. Situating the structural, musical, and aesthetic changes on Broadway within a periodic model, we begin to see phases of aesthetic cohesion and fragmentation emerge within a recurring pattern taking place every fifteen to twenty years. In reframing the evolution of Broadway as a model of continued regeneration, rather than a model of inevitable decay, we can see how various stylistic and structural elements from previous generations of musicals rematerialize in contemporary shows. More importantly, by removing the “Golden Age” as a fixed point of comparison in our analysis, we can come to understand the significance of shows often overlooked in more traditional analyses. ii Each chapter of this dissertation after the introductory chapter supports this view by offering a case study of a significant trend found on twenty-first century Broadway between 2000-2015 and situating that trend within the proposed periodic model. Chapter Two offers a close analysis of the scenographic practices in the output of the Disney Theatrical Group after 2000. -
Ordway Cabaret
JUN 18–27, 2021 Season Sponsor Sponsored by Ordway Resident Artists ORDWAY CABARET: LIVE AT THE LOADING DOCK! JUNE 18–27, 2021 Ordway Resident Artists help create new work, explore new ideas, and share ORDWAY CENTER FOR THE PERFORMING ARTS 345 Washington St., Saint Paul, MN 55102 their knowledge and expertise with the Ordway community, all in the spirit ordway.org | 651.224.4222 of continued collaboration. The fresh voices of these artists invigorate our organization and play a vital role in creating the artistic and creative culture at the Ordway. Rod Kaats Please join us to welcome Reese Britts as a new Ordway Resident Artist, joining previously named Resident Artists Jamecia Bennet and Tyler Michaels King Producing Artistic Director . Jamecia Bennett Welcome to ‘the Dock’ – the Ordway’s new stage – and a brand-new version of the pop-up show that was last Fall’s surprise hit: Ordway Jamecia Bennett is a 3-time Grammy Cabaret: Live at the Loading Dock. We made this show for this Award winner, NAACP Image Award space and for this moment and just for you. Because, like everything winner, lead vocalist of Sounds that happens at the Ordway, you made this possible. Because of of Blackness, performer with J supporters like you, we have been able to connect people through Movement, and a veteran of Twin live performance even while our indoor stages have been dark. Cities stages, most recently appearing in 42nd Street at the Ordway, Marie Artists, craftspeople and technicians also make a difference. They are and Rosetta at Park Square Theatre, theater-makers because by making stories come to life, they make and Crowns with New Dawn Theatre. -
MUSICAL THEATRE a History
MUSICAL THEATRE A History John Kenrick This book is dedicated to Mary Pinizzotto Kenrick Marotta and Frank Crosio. Neither my life nor this book would be possible without their unfailing support. CONTENTS Acknowledgments 9 Introduction “Let’s Start at the Very Beginning . .” 11 1 Ancient Times to 1850—“Playgoers, I Bid You Welcome!” 18 2 Continental Operetta (1840–1900)— “Typical of France” 35 3 American Explorations (1624–1880)— “The Music of Something Beginning” 50 4 Gilbert and Sullivan (1880–1900)— “Object All Sublime” 75 5 The Birth of Musical Comedy (1880–1899)— “It Belong’d to My Father Before I Was Born” 95 6 A New Century (1900–1913)—“Whisper of How I’m Yearning” 111 7 American Ascendance (1914–1919)—“In a Class Beyond Compare” 134 8 Al Jolson—“The World’s Greatest Entertainer” 156 9 The Jazz Age (1920–1929)—“I Want to Be Happy” 168 10 Depression Era Miracles (1930–1940)— “Trouble’s Just a Bubble” 207 11 A New Beginning (1940–1950)—“They Couldn’t Pick a Better Time” 238 8 CONTENTS 12 Broadway Takes Stage (1950–1963)— “The Street Where You Live” 265 13 Rock Rolls In (1960–1970)—“Soon It’s Gonna Rain” 298 14 New Directions (1970–1979)—“Vary My Days” 318 15 Spectacles and Boardrooms—“As If We Never Said Goodbye” 342 16 Musical Comedy Returns (The 2000s)— “Where Did We Go Right?” 370 Suggested Reading: An Annotated Bibliography 383 Recommended Web Resources 394 Index 395 ACKNOWLEDGMENTS It would be impossible for me to thank all the people who have inspired, assisted, and cajoled me in the process of creating this book, but a few curtain calls are in order.