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The Evolution of Musical Theatre Dance
Gordon 1 Jessica Gordon 29 March 2010 Honors Thesis Everything was Beautiful at the Ballet: The Evolution of Musical Theatre Dance During the mid-1860s, a ballet troupe from Paris was brought to the Academy of Music in lower Manhattan. Before the company’s first performance, however, the theatre in which they were to dance was destroyed in a fire. Nearby, producer William Wheatley was preparing to begin performances of The Black Crook, a melodrama with music by Charles M. Barras. Seeing an opportunity, Wheatley conceived the idea to combine his play and the displaced dance company, mixing drama and spectacle on one stage. On September 12, 1866, The Black Crook opened at Niblo’s Gardens and was an immediate sensation. Wheatley had unknowingly created a new American art form that would become a tradition for years to come. Since the first performance of The Black Crook, dance has played an important role in musical theatre. From the dream ballet in Oklahoma to the “Dance at the Gym” in West Side Story to modern shows such as Movin’ Out, dance has helped tell stories and engage audiences throughout musical theatre history. Dance has not always been as integrated in musicals as it tends to be today. I plan to examine the moments in history during which the role of dance on the Broadway stage changed and how those changes affected the manner in which dance is used on stage today. Additionally, I will discuss the important choreographers who have helped develop the musical theatre dance styles and traditions. As previously mentioned, theatrical dance in America began with the integration of European classical ballet and American melodrama. -
The Shubert Foundation 2020 Grants
The Shubert Foundation 2020 Grants THEATRE About Face Theatre Chicago, IL $20,000 The Acting Company New York, NY 80,000 Actor's Express Atlanta, GA 30,000 The Actors' Gang Culver City, CA 45,000 Actor's Theatre of Charlotte Charlotte, NC 30,000 Actors Theatre of Louisville Louisville, KY 200,000 Adirondack Theatre Festival Glens Falls, NY 25,000 Adventure Theatre Glen Echo, MD 45,000 Alabama Shakespeare Festival Montgomery, AL 165,000 Alley Theatre Houston, TX 75,000 Alliance Theatre Company Atlanta, GA 220,000 American Blues Theater Chicago, IL 20,000 American Conservatory Theater San Francisco, CA 190,000 American Players Theatre Spring Green, WI 50,000 American Repertory Theatre Cambridge, MA 250,000 American Shakespeare Center Staunton, VA 30,000 American Stage Company St. Petersburg, FL 35,000 American Theater Group East Brunswick, NJ 15,000 Amphibian Stage Productions Fort Worth, TX 20,000 Antaeus Company Glendale, CA 15,000 Arden Theatre Company Philadelphia, PA 95,000 Arena Stage Washington, DC 325,000 Arizona Theatre Company Tucson, AZ 50,000 Arkansas Arts Center Children's Theatre Little Rock, AR 20,000 Ars Nova New York, NY 70,000 Artists Repertory Theatre Portland, OR 60,000 Arts Emerson Boston, MA 30,000 ArtsPower National Touring Theatre Cedar Grove, NJ 15,000 Asolo Repertory Theatre Sarasota, FL 65,000 Atlantic Theater Company New York, NY 200,000 Aurora Theatre Lawrenceville, GA 30,000 Aurora Theatre Company Berkeley, CA 40,000 Austin Playhouse Austin, TX 20,000 Azuka Theatre Philadelphia, PA 15,000 Barrington Stage Company -
ERIKA AMATO Vocal Range: D3 – A5 AEA/SAG-AFTRA/AGVA the Carson/Kolker Organization 212-221-1517| [email protected]
ERIKA AMATO Vocal Range: D3 – A5 AEA/SAG-AFTRA/AGVA The Carson/Kolker Organization www.erikaamato.com 212-221-1517| [email protected] st 1 NATIONAL TOUR Flashdance – The Musical Miss Wilde Dir. Sergio Trujillo OFF-BROADWAY The Sphinx Winx Cleopatra Dir. Matthew Hamel Signs of Life Berta Dir. Jeremy Dobrish OTHER NYC (partial list) Nell Dash...* Lady Dashwood Dir. Dennis Corsi (NY Winterfest) Jack London: Sex, Love & Revolution Ninetta Dir. Kimberly Eaton (NY Intl. Fringe) Triumph Of Love Hesione Dir. Brian Swasey (Astoria Perf. Arts. Ctr.) Waiting For Lefty Edna Dir. Victor Cuenca (Producers Club) REGIONAL (partial list) Biography* Marion Froude Dir. Gayle Stahlhuth (East Lynne Theater Co) The Secret Garden Mrs. Winthrop/Ensemble Dir. Terrence Nolen (Arden Theatre Co) A Funny Thing Happened…Forum Domina Dir. Bob Walton (The Wick Theatre) Backwards In High Heels Lela Rogers Dir. Jeremy Benton (Westchester Broadway) Into The Woods* Witch Dir. Kathryn Markey (Ocean State Theatre) Hairspray Velma Von Tussle Dir. Darryl Yeager (Tuacahn) Aladdin Beggar Woman Dir. Scott Anderson (Tuacahn) Sleeping Beauty Wakes* Bad Fairy/Clinic Director Dir. Jeff Calhoun (Center Theatre Group) Cinderella Fairy Godmother Dir. Ed Flesch (Fireside) The Sound of Music Elsa Dir. Ed Flesch (Fireside) How to Succeed in Business… Miss Jones Dir. Ed Flesch (Fireside) Anything Goes* Reno Sweeney Dir. Douglas Austin (Candlelight) White Christmas Betty Haynes Dir. Jon Engstrom (Welk Theatre) 42nd Street Dorothy Brock Dir. Jon Engstrom (Welk Theatre) The Bungler Hippolyte Dir. Jules Aaron (West Coast Ensemble) Sunday in the Park with George* Yvonne/Naomi Dir. Calvin Remsberg (West Coast Ensemble) Paint Your Wagon Cherry Jourdel Dir. -
Kansas City Repertory Theatre Announces Acclaimed Cast for the Diary of Anne Frank Jan
FOR IMMEDIATE RELEASE CONTACT: Ellen McDonald 816.444.0052 or 816.213.4355 [email protected] FOR TICKETS: Box Office at 816.235.2700 or www.KCRep.org. Kansas City Repertory Theatre Announces Acclaimed Cast for The Diary of Anne Frank Jan. 29 through Feb. 21, 2016 at newly renovated Spencer Theatre Kansas City, MO (Jan. 5, 2016) – Kansas City Repertory Theatre’s Artistic Director Eric Rosen is pleased to announce the cast of The Diary of Anne Frank, directed by Marissa Wolf, KC Rep’s Director of New Works. The play, based upon Anne Frank: The Diary of a Young Girl, was originally written for the stage by Frances Goodrich and Albert Hackett. In 1997, Wendy Kesselman published a revised version of Goodrich and Hackett’s Pulitzer Prize winning script, which integrated some of the more personal aspects of Anne Frank’s story that remained untold in the original script. Peer into the world of a family in hiding and a gifted young writer who came of age during the horrors of the Holocaust. Through Anne’s eyes, we see the prevailing hopes of a girl who – despite everything – inspired generations with her unwavering faith in humanity. This production begins Friday, Jan. 29 and runs through Sunday, Feb. 21 at KC Rep’s newly renovated Spencer Theatre. Kansas City Repertory Theatre Announces Cast for The Diary of Anne Frank Jan. 29 through Feb. 21 at Spencer Theatre Page 1 “This work by Wendy Kessleman is stunningly lyrical and poetic,” stated Wolf. “My hope is that KC Rep audiences will connect intimately with Anne as a budding young woman and all that goes with a young and emerging heart, in spite of the world looming outside.” The ensemble cast, drawn locally as well as from across the country, includes: Daniel Beeman as Peter Van Daan, Martin Buchanan as Mr. -
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00:00:00 Music Music Gentle, trilling music with a steady drumbeat plays under the dialogue. 00:00:01 Promo Promo Speaker: Bullseye with Jesse Thorn is a production of MaximumFun.org and is distributed by NPR. [Music fades out.] 00:00:12 Jesse Host I’m Jesse Thorn. It’s Bullseye! Thorn 00:00:14 Music Music “Huddle Formation” from the album Thunder, Lightning, Strike by The Go! Team plays. A fast, upbeat, peppy song. Music plays as Jesse speaks, then fades out. 00:00:22 Jesse Host Chris Morris is an absurdist, sort of. I mean, just about everything he’s made has been absurd. He was the host and creator of The Day Today, the BBC news parody where he’d read headlines like, “Sacked Chimney Sweep Pumps Boss Full of Mayonnaise”. Then there was Brass Eye, another brilliant news parody where he’d con elected officials into warning kids to stay away from a fake drug called Cake. I say he’s only sort of an absurdist, though, because as time has gone on, his work has gotten more and more deeply rooted in reality. His last two films revolve around the world of terrorism and counterterrorism. In preparing for them, he read court transcripts, talked with journalists, even attended actual trials. His newest is called The Day Shall Come. It’s a story about a guy named Moses Al Shabazz, played by Marshawn Davis. Moses leads a small religious group—a very small religious group—called the Star of Six. He talks to God through animals, lives on a commune in a little apartment in Miami with his family, and he preaches for a black revolution: one that won’t be achieved with guns or explosives, but with crossbows and a lot of duck walking. -
William and Mary Theatre Main Stage Productions
WILLIAM AND MARY THEATRE MAIN STAGE PRODUCTIONS 1926-1927 1934-1935 1941-1942 The Goose Hangs High The Ghosts of Windsor Park Gas Light Arms and the Man Family Portrait 1927-1928 The Romantic Age The School for Husbands You and I The Jealous Wife Hedda Gabler Outward Bound 1935-1936 1942-1943 1928-1929 The Unattainable Thunder Rock The Enemy The Lying Valet The Male Animal The Taming of the Shrew The Cradle Song *Bach to Methuselah, Part I Candida Twelfth Night *Man of Destiny Squaring the Circle 1929-1930 1936-1937 The Mollusc Squaring the Circle 1943-1944 Anna Christie Death Takes a Holiday Papa is All Twelfth Night The Gondoliers The Patriots The Royal Family A Trip to Scarborough Tartuffe Noah Candida 1930-1931 Vergilian Pageant 1937-1938 1944-1945 The Importance of Being Earnest The Night of January Sixteenth Quality Street Just Suppose First Lady Juno and the Paycock The Merchant of Venice The Mikado Volpone Enter Madame Liliom Private Lives 1931-1932 1938-1939 1945-1946 Sun-Up Post Road Pygmalion Berkeley Square RUR Murder in the Cathedral John Ferguson The Pirates of Penzance Ladies in Retirement As You Like It Dear Brutus Too Many Husbands 1932-1933 1939-1940 1946-1947 Outward Bound The Inspector General Arsenic and Old Lace Holiday Kind Lady Arms and the Man The Recruiting Officer Our Town The Comedy of Errors Much Ado About Nothing Hay Fever Joan of Lorraine 1933-1934 1940-1941 1947-1948 Quality Street You Can’t Take It with You The Skin of Our Teeth Hotel Universe Night Must Fall Blithe Spirit The Swan Mary of Scotland MacBeth -
The Menstrual Cramps / Kiss Me, Killer
[email protected] @NightshiftMag NightshiftMag nightshiftmag.co.uk Free every month NIGHTSHIFT Issue 279 October Oxford’s Music Magazine 2018 “What was it like getting Kate Bush’s approval? One of the best moments ever!” photo: Oli Williams CANDYCANDY SAYSSAYS Brexit, babies and Kate Bush with Oxford’s revitalised pop wonderkids Also in this issue: Introducing DOLLY MAVIES Wheatsheaf re-opens; Cellar fights on; Rock Barn closes plus All your Oxford music news, previews and reviews, and seven pages of local gigs for October NIGHTSHIFT: PO Box 312, Kidlington, OX5 1ZU. Phone: 01865 372255 NEWS Nightshift: PO Box 312, Kidlington, OX5 1ZU Phone: 01865 372255 email: [email protected] Online: nightshiftmag.co.uk host a free afternoon of music in the Wheatsheaf’s downstairs bar, starting at 3.30pm with sets from Adam & Elvis, Mark Atherton & Friends, Twizz Twangle, Zim Grady BEANIE TAPES and ALL WILL BE WELL are among the labels and Emma Hunter. releasing new tapes for Cassette Store Day this month. Both locally- The enduring monthly gig night, based labels will have special cassette-only releases available at Truck run by The Mighty Redox’s Sue Store on Saturday 13th October as a series of events takes place in record Smith and Phil Freizinger, along stores around the UK to celebrate the resurgence of the format. with Ainan Addison, began in Beanie Tapes release an EP by local teenage singer-songwriter Max October 1991 with the aim of Blansjaar, titled `Spit It Out’, as well as `Continuous Play’, a compilation recreating the spirit of free festivals of Oxford acts featuring 19 artists, including Candy Says; Gaz Coombes; in Oxford venues and has proudly Lucy Leave; Premium Leisure and Dolly Mavies (pictured). -
We Finally See Rockwell, Williams in FX's First 'Fosse/Verdon' Trailer
We Finally See Rockwell, Williams in FX's First 'Fosse/Verdon' Trailer 02.25.2019 FX's upcoming eight-episode limited series, Fosse/Verdon, unpacks the turbulent five-decade relationship of legendary Hollywood director and choreographer, Bob Fosse (Sam Rockwell), and his wife, muse and star in her own right, Gwen Verdon (Michelle Williams). Their relationship starts as a director-star cliche and then evolves into something much more complicated as Fosse fuels his manic creativity with drugs, alcohol and sex. Verdon, meanwhile, reaches the height of her career as a Broadway triple threat and multiple Tony winner but watches Fosse stay in the spotlight as she fades into age and obscurity. Still, she remains his unrecognized collaborator even as their marriage unravels. Eventually, Fosse forges a connection with Ann Reinking (Margaret Qualley), an up-and-coming Broadway dancer who has all the talent and tenacity of a young Verdon. She hopes to follow in Verdon's footsteps, but may not have the stomach to put up with everything Fosse demands. Surrounding the couple are a coterie of fellow artists, friends, collaborators, and rivals: playwright and screenwriter Paddy Chayefsky (Norbert Leo Butz); former modern dancer- turned-homemaker Joan Simon (Aya Cash); Joan's husband, playwright Neil Simon (Nate Corddry); and theater producer and director Hal Prince (Evan Handler). The series is executive produced by Rockwell, Williams, Thomas Kail, Steven Levenson, Lin-Manuel Miranda, Joel Fields and George Stelzner. Levenson wrote the premiere episode, which is directed by Kail. Nicole Fosse, daughter of the couple, serves as key creative consultant, co-executive producer and keeper of the Verdon Fosse legacy. -
Eugenie Pastor-Phd Thesis Moving Intimacies
MOVING INTIMACIES: A COMPARATIVE STUDY OF “PHYSICAL THEATRES” IN FRANCE AND THE UNITED KINGDOM EUGÉNIE FLEUR PASTOR ROYAL HOLLOWAY, UNIVERSITY OF LONDON DEPARTMENT OF DRAMA AND THEATRE A Thesis submitted as a partial fulfilment of the requirements of the degree of Ph.D. August 2014 1 DECLARATION OF AUTHORSHIP I, Eugénie Fleur Pastor, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ______________________ Date: 7 August 2014 2 ABSTRACT This thesis is an exploration of movement in contemporary “physical theatres”. I develop a renewed understanding of “physical theatres” as embodied framework to experience both spectatorship and theatre-making. I analyse how, in this type of performance, movement blurs distinctions between the intimate and the collective, the inside and the outside, thus challenging definitions of intimacy and tactility. The thesis consists of a comparative study of examples of “physical theatres”, in the 21st century, in France and in the UK. The comparison highlights that “physical theatres” practitioners are under-represented in France, a reason I attribute in part to a terminological absence in the French language. The four case studies range from itinerant company Escale and their athletic embodiment of a political ideal to Jean Lambert-wild’s theatre of “micro-movement”, from Told by an Idiot’s position in a traditional theatre context in the UK to my own work within Little Bulb Theatre, where physicality is virtuosic in its non- virtuosity. For each case study, I use a methodology that echoes this exploration of movement and reflects my position within each fieldwork. -
Conference Abstracts and Biographies
Conference Abstracts and Biographies Listed in alphabetical order by contributor’s surname TaPRA2009 Organizers at the University of Plymouth: Dr Lee Miller Dr Roberta Mock Dr Victor Ramirez Ladron de Guevara www.plymouth.ac.uk/arts/theatre Siân Adieshiah (Performance Identity Community Working Group) University of Lincoln “I just die for some authority! A little touch of leadership, a bit of bracing tyranny!”: Barriers to Utopia in Howard Brenton’s Greenland Written and performed just after Margaret Thatcher’s third election victory in Britain in 1987, Howard Brenton’s final play in his Utopian trilogy, Greenland is an isolated example during this period of a Left playwright’s attempt to construct a utopian future on stage. The second act of Greenland partially resembles classical utopian fiction and in doing so, has led some commentators to dismiss the play as tedious, static and lacking in dramatic interest. The act’s absence of conflict, lack of historicism, and the contentment of its inhabitants have been cited as reasons for its alleged dullness. This interpretation to some extent concurs with the character, Severan-Severan, whose view is that misery and suffering are essential to the human condition and that liberation is a living death. However, this approach neglects a more complex engagement with utopia that is present in the play. Audiences – along with the non-utopian character, Joan – respond to Greenland in a way that can be illuminated by Frederic Jameson’s idea of the ‘terror of obliteration,’ an idea that considers our hostility to utopia to be based upon the inconceivability of altogether different notions of subjectivity available in utopia. -
Summer Camp Guest Artist Biographies
Summer Dance Camp 2012 Instructors * Returning from the 2010 and 2011 Summer Dance Camps Director/Choreographer Ashley Barnes earned a BFA from East Carolina University. She served as choreographer for Stage Struck and Center Stage Theatre for nine musical productions including: The Wizard of Oz, Seven Brides for Seven Brothers, Into the Woods, Lil’ Abner, Fiddler on the Roof, and Guys and Dolls, and was the winner of the Herman Award for outstanding choreography six times from 1998-2007. Her performance credits include such lead roles as "Clara," in The Nutcracker, "Anastasia" in Cinderella, "Louise" in Carousel, "Jitterbug" in The Wizard of Oz, "Eliza" in The King and I, and “The Wolf” in Peter and the Wolf. Ashley is currently a member of Forward Motion Dance Company. As Artistic Director of The Dance Element, Ashley directed, choreographed and created costumes for Peter and the Wolf (2010) and The Velveteen Rabbit (2011.) She has written the stage adaptation for this year’s production of Charlotte’s Web. Assistant Director Susan Turner* began dancing at age 5, and was assisting her teachers by age 14. Susan received her Bikram Yoga Certification in 2001, and enjoys teaching children and adults. Susan is a member of Forward Motion Dance Company. She teaches 1st and 2nd Grades at Friends School of Wilmington, where she has led summer and after-school art and yoga programs as well as assisted with the production of the musical The Wizard of Oz. Susan spent the summer of 2010 with The Dance Element, teaching a Yoga workshop, and starring as "Grandfather" in Peter and the Wolf. -
Theatre Getaway
HAMILTON THE MUSICAL THE MUSIC MAN BREAKFAST & DINNER INCLUDED THEATRE GETAWAY T AUGUST 7 – 8, 2021 SATURDAY - SUNDAY FUN & LAUGHTER FEATURING “THE MUSIC MAN” AT THE CHANHASSEN DINNER THEATER AND HAMILTON AT THE ORPHEUM. Join Judy’s Leisure Tours as we travel to Minneapolis for a theater get- away. We have lots to look forward to: food, laughter and two wonderful performances. $495.00Based on Double Occupancy Single Supplement Add $65 For Reservations Contact: • Motorcoach JUDY’S LEISURE TOURS • Quality Accommodations 4906 16TH ST N • Tour Director FARGO, ND 58102 • Chanhassen Dinner Theatre 701-232-3441 • AThe Music Man@ • The Orpheum Theatre • AHamilton” • Breakfast/Dinner Day 1, Saturday, August 7: Traveling down I-94 with our traveling companions we enjoy the view of the Minnesota countryside. We will stop in route for you to have lunch before we arrive in the twin cities at our overnight lodging, the Country Inn and Suites in Chanhassen. You will have time to relax and freshen up before we head over to our performance this evening. We have reserved seats at the Chanhassen Dinner Theatre where we will enjoy a delicious dinner from their menu and see the exciting musical “The Music Man” a fun transformative story. This musical theater classic features songs like “(Ya Got) Trouble.” “Seventy-Six Trombones,” The Wells Fargo Wagon,” Til There Was You,” “Gary, Indiana” and more. Meredith Wilson’s six-time, Tony Award- winning musical comedy has been entertaining audiences since 1957. The Music Man follows fast-talking salesman, Harold Hill, as he cons the people of River City, Iowa into buying instruments and uniforms for a boys’ band that he vows to organize- this, despite the fact that he doesn’t know a trombone from a treble clef.